Education Is The Most Powerful Weapon Essay Paper Example For Students

Training Is The Most Powerful Weapon Essay Paper Training is the way toward living through a ceaseless recreation of encounters while Nadir Gandhi had It that Education Is a freeing power and In our age, It Is likewise a showing power, cutting over the boundaries of station and class, streamlining disparities Imposed by birth and different conditions however I have developed to comprehend Education as a constant and long lasting procedure. It begins from the belly of the mother and proceeds till death. It is the procedure of advancement from outset to development. It incorporates the impact of everything which impacts human character. Instruction must not be likened with tutoring or formal training alone. It remembers for formal and casual methods of guidance and learning also, incorporating customary learning gained in the home and network. The comprehension of the job of advanced education In national improvement changed through history. Soon after the freedom time frame, African colleges were viewed as basic to country building and improvement as they were an advantaged wellspring of human capital for authority and open calling development. Human capital, created by instruction, preparing, experience, and non-formal learning, has critical positive Impacts on financial turn of events. Notwithstanding material advantages, for example, cultivating supportable financial development, efficiency and income, there are non-material ones, for example, more prominent social attachment, decrease of wrongdoing, better wellbeing and child rearing. Be that as it may, many are not completely mindful of these. Instructive establishments have a vital impact in the propagation of social structures, which implies that, as spots of information transmission, colleges can assume a change job. Instructive spaces are spots of experimentation, social development and basic investigation and deconstruction. The vision that lessen colleges to specialized aptitudes conveys reviews the provincial emulates in which advanced education had the main point of shaping nearby functionaries, outfitting them with utilitarian instruments for down to earth purposes. The objective of instruction Is to make individuals more astute, increasingly proficient, better Informed, moral, dependable, basic and equipped for proceeding to learn. Were all individuals to have such ablest and characteristics, the universes issues would not be naturally settled, yet the methods Ana ten divider to eradicates overflow would De at nana. Training additionally serves society Day giving a basic reflection on the world, particularly its failings and treacheries, and y advancing more prominent cognizance and mindfulness, investigating new dreams and ideas, and concocting new procedures and apparatuses. Instruction is likewise the methods for scattering information and creating qualities and ways of life, and for advancing open help for the proceeding and crucial changes that will be required if humankind is to adjust its course, leaving the natural way that is driving towards developing troubles and conceivable disaster, and beginning the tough move towards maintainability. At long last, with this, we would broadly concur that training is the best implies that society has for going up against the difficulties of things to come.

Osteoarthritis and the Ideal Treatment Essay -- Medicine Health Papers

Osteoarthritis and the Ideal Treatment Osteoarthritis, or degenerative joint infection, is a type of joint inflammation described by the breakdown of ligament inside joints. Ligament serves to give pad at the parts of the bargains, when the pad isn't adequate, as in osteoarthritis, the bones rub together. Accordingly, osteoarthritis victims are continually tormented by hardened, swollen, and kindled joints (http://www.arthritis.org/answers/diseasecenter/oa.asp). It is a generally regular condition, with an expected 20 million American victims, the vast majority of whom are older (http://webmd.lycos.com/content/article/1668.50297). Conventional medicines incorporate Tylenol, anti-inflamatory medicine, or other non-steroidal mitigating drugs (NSAIDs), however the drawn out negative impacts of these medications joined with the way that they offer just transient alleviation has driven specialists and researchers to look for better treatment choices. While dietary enhancements as a type of elective medication have been delayed to pick up acknowledgment by American doctors (Schenck, 2000), glucosamine has surfaced as a reliably powerful treatment strategy for osteoarthritis, and when utilized related to chondroitin, the help this treatment program can accommodate victims of this crippling condition is hotly anticipated and much-invited. What is glucosamine? How can it work? How successful is the treatment? How does the glucosamine treatment contrast with conventional strategies for treatment? What proof is offered on the side of these cases? What’s the drawback? Logical Analysis of Data End List of sources What is glucosamine? Glucosamine is a characteristic sugar created by the body and found in certain nourishments (http://webmd.l... ...lysis. Diary of the American Medical Association, 283 (11), 1469-75. McCarty, M.F. (1994). The disregard of glucosamine as a treatment for osteoarthritis: An individual point of view. Clinical Hypotheses, 42, 323-327. Pipitone, V.R. (1991). Chondroprotection with chondroitin sulfate. Medications Exp Clin Res, 17, 3-7. Schenck, R.C. Jr. (2000). New ways to deal with the treatment of osteoarthritis: oral glucosamine and chondroitin sulfate. Instructional Course Lectures, 49, 491-494. Tapadinhas, M.J., Rivera, I.C., and Bignamini, A.A. (1982). Oral glucosamine sulfate in the administration of arthrosis: Report on a multi-focus open examination in Portugal. Pharmatherapeutica, 3, 157-168. Towheed, T.E., and Anastassiades, T.P. (2000). Glucosamine and chondroitin for rewarding side effects of osteoarthritis: proof is broadly touted yet inadequate. JAMA, 283(11), 1483-1484.

10 profesiones mejor pagadas en Estados Unidos en 2018

10 profesiones mejor pagadas en Estados Unidos en 2018 Las 10 profesiones mejor pagadas en Estados Unidos en 2018 superan de media los $168.000 de ingresos anuales brutos, todas ellas pertenecen al mbito de la salud. En este artã ­culo se enumeran las 25 profesiones mejor pagadas y se informa sobre quã © opcionesâ de visas de trabajoâ hay profesionales extranjeros que puedan estar interesados en trabajar en EE.UU. Y es que una cosa es que existan profesiones muy bien pagadas en las queâ adems, roughage demanda por ms empleados y otra muy distinta que los extranjeros con esas capacidades puedan trabajar en Estados Unidos. 10 profesiones mejor pagadas en Estados Unidos en 2018 Todas estn relacionadas con la salud y child las siguientes: Anestesista: $269.000 sueldo medio anual brutoCirujano generalista: $252.910Obstetra y ginecã ³logo: $234.310Cirujano especialista en maxilofacial: $232,870Ortodontista: $228.780Mà ©dico generalista: $201.840Psiquiatra: $200.220Pediatra: $184.240Dentista: $173.860Dentista especializado en estã ©tica e implantes de dientes: $168.140. Los mã ©dicos extranjeros se encuentran entre los profesionales a los que ms atrae la thought de trabajar en Estados Unidos. Para explorar esta posibilidad conviene saber que para desempeã ±arse como mã ©dico se requiere un mã ­nimo de once aã ±os de estudios superiores. En este contexto, para los mã ©dicos extranjeros no es fcil validar sus estudios realizados en universidades extranjeras. El proceso es duro y largo, pero desde luego que es algo posible.  Adems, es posible estudiar la residencia en Estados Unidos para asã ­ especializarse. Se utiliza para ello una visa J-1 de intercambio. Precisamente porque los trmites pueden ser complejos y demorarse por aã ±os, muchos mã ©dicos prefieren obtener licencias para trabajar en USA como enfermeros/as ya que tambiã ©nâ estn bien pagados, aunque menos que los mã ©dicos. En cuanto a la validaciã ³nâ deâ los estudiosâ de enfermerã ­a se requiere que se sigan pautas comunes an otras profesiones. Profesiones mejor pagadas posiciã ³n 11 a 25 en EE.UU. en 2018 Enfermera especialista en anestesia: $164.030Ingeniero especialista en la industria petrolera: $147.030Gerente IT: $145.740Gerente de promoting: $144.140Podà ³logo: $144.110Abogado: $139.880Gerente financiero: $139.720Gerente de ventas: $135.090Asesor financiero: $123.100Gerente de operaciones de negocio: $122.090Farmacà ©utico: $120.270Optometrista: $117.580Actuario: $114.120Polità ³logo: $112.250Gerente de servicios mã ©dicos y de salud: $109.370 Los farmacã ©uticos extranjeros estn en alta demanda porque los que estudian en EE.UU. no child suficientes para cubrir la demanda. Sin ban, feed que tener en cuenta que los farmacã ©uticos que han estudiado fuera de EE.UU. deben convalidar sus estudios tomando una serie de exmenes para obtener homologaciã ³n, certificaciã ³n y licencia. An estos exmenes se les conoce en inglã ©s por sus iniciales de FPGEE y NAPLEX. Tambiã ©n estn altamente demandadas las enfermeras extranjeras. Para las interesadas, estas sonâ 10 agencias que encuentran empleador para enfermeros extranjeros, y destacar que, en el caso de candidatas mexicanas, es posible obtener una visa TN para desempeã ±ar esta profesiã ³n en los Estados Unidos. Cuando los beneficios tambiã ©n importan En algunas profesiones los sueldos no child muy altos pero brindan importantes beneficios, que se deben tener en cuenta. Destacan en este sentido los de los funcionarios del gobierno government o de los estatales y muy especialmente los beneficios e incentivos de alistarse en el Ejã ©rcito. En muchos casos los trabajos federales estn prohibidos a personas que no child ciudadanas o residentes permanentes legales, es decir, no se pueden desempeã ±ar con una visa de trabajo. Incluso los que child sensibles por cuestiã ³n de seguridad estn reservados exclusivamente para ciudadanos estadounidenses. Debe saberse sobre el mercado laboral en Estados Unidos Para las personas interesadas en conocer el mercado laboral en EE.UU., à ©stas child las 30â profesiones que tendrn una city hall leader demanda en Estados Unidos de aquã ­ a 2022, segã ºn el Departamento de Trabajo. Adems, debe tenerse en cuenta algo que muchas veces se olvida, en Estados Unidos los impuestos varã ­an mucho entre estados con lo que con el mismo salario bruto lo que realmente se ingresa puede varã ­an mucho. Estos child los 10 estados donde se agnostic ms y menos impuestos. Tambiã ©n feed que tomar en consideraciã ³n que Estados Unidos es un paã ­s muy grande y que la economã ­a no es igual en todos los estados. Finalmente, tambiã ©n se debe tener en cuenta que el nivel de vida y los gastos no child iguales a lo largo y ancho del paã ­s. De hecho feed una gran diferencia entre las 10 ciudades ms carasâ y las 10 ms baratas. Y es que a veces ganar menos, dependiendo de donde se viva, significa poder ahorrar ms o vivir mejor. Requisitos migratorios para poder trabajar en Estados Unidos Para trabajar legalmente en Estados Unidos feed que tener una situaciã ³n que lo permita. Las opciones child las siguientes; Ciudadanã ­a estadounidenseResidencia permanente. Los caminos para conseguir una tarjeta de residencia child mà ºltiples.Permiso de trabajo por estar en una categorã ­a particular como asilados, etc.Visa de trabajo. Aquã ­ tambiã ©n las posibilidades child muchas. Una empresa en Estados Unidos tiene que patrocinar al trabajador extranjero.â Las empresas pueden utilizar el sistema e-check para comprobar si un trabajador est autorizado para trabajar legalmente en Estados Unidos. Salario mã ­nimo y otros dato Justo en el lado opuesto de las profesiones que ms ganan estn todas aquellas en las que los trabajadores cobran el salario mã ­nimo. Entã ©rate en el enlace foremost cul es el fijado por el gobierno government y cul aplica en cada uno de los 50 estados y en el Estado Libre Asociado Puerto Rico. Finalmente, en este paã ­s de inmigrantes, à ©stas child lasâ 10 nacionalidades hispanas ms exitosas econã ³micamente en Estados Unidos. Este es un artã ­culo informativo. No es asesorã ­a legitimate.

Strategic ability of Hong Leong Bank

Vital capacity of Hong Leong Bank Hong Leong Bank Berhad was found by Ji Chiew. The bank begins tasks in 1905 in Kuching, Sarawak. In 1 January 1982, the Head Office migrated from Kuching to Kuala Lumpur. The union of banking establishment to meet the prerequisite of Bank Negara Malaysia denotes another achievement for Hong Leong Bank Berhad. Hong Leong Bank Berhad was recorded on Kuala Lumpur Stock Exchange on 17 October 1994. The market capitalization as of ongoing days is RM 470 million, as indicated by bank site. Hong Leong Bank has differentiated the organizations into money related administrations, assembling, and property and framework advancement. The administrations accessible are close to home monetary administrations, for example, charge cards, speculation, credit, stores, protection, need banking, individual banking and Hong Leong Club Rewards for client dedication (Hong Leong Bank, 2009). Industry Analysis 2.1 Why Porters 5 models Watchmen model decides the seriousness of an association utilizing the five distinct powers and shows how the powers are connected. To create business techniques adequately, associations must comprehend and act because of those powers. (Doorman, 1985) (Fornell and Wernerfelt, 1987) Contention Among Existing Competitors There are 37 banks, which are perceived and authorized to work in Malaysia and progressively budgetary establishment are opening soon. The pattern of augmentation of the quantity of banks inside the business is quick and there are extraordinary difficulties for HLB to make and keep up a decent piece of the overall industry. Different banks are is by all accounts increasingly forceful to get and hold clients. This power isn't supportive of Hong Leong Bank. (BNM, 2009) Danger of Substitute Products and Services Despite the fact that there are numerous budgetary foundations accessible, some one of a kind offices must be gotten from the bank as it were. American Express offices, co-marked items (for example MTV), higher financing cost, club rewards, junior/senior investment funds, overdraft are the couple of items which just accessible to this bank. Subsequently this power is in favor to the bank. (Hong Leong Bank, 2009) (BNM, 2009) Dealing Power of Buyers Having the entire scope of monetary players separated from the retail banks, it is apparent that clients can move inside the 40 administrators and can likewise choose to change to the next non-banking establishments. Their decision can even reach out to the insurance agencies, contingent upon the idea of the item. For example if a client is searching for a limited quantity of credit, he/she can even get the said item from associations like Eon, and so on. The nearby area of different banks is additionally giving client an extremely high haggling power as well. For example in an area of Puchong Jaya, along the road of Jalan Kenari it is anything but difficult to track down in any event 9 banks inside 100 meters Maybank, Public Bank, Eon Bank, CIMB Bank, HSBC, Alliance Bank, Bank Simpanan Nasional, UOB. With this focus the dealing of clients consistently goes high before clients begin looking on a separated help. For the said bank, this is completely a negative kindness since the poten tial clients can move effectively to various point. (BNM, 2009) Bartering Power of Suppliers The center business of the Hong Leong Bank is item and administrations which for the most part centers around wellbeing of money related administration. The providers give some physical assets like checkbooks, storage spaces, private banking, need banking. The effect of these in HLB isn't a lot of critical since they are not so much like the crude material. (Hong Leong Bank, 2009) Danger of New Entrants The Bank Negara Malaysia has set a base capital necessity of RM5 billion for a bank to be enlisted. The conditions set for enrolling a bank are not hard to acquire, subsequently section hindrances become low. Along these lines increasingly outside claimed money related firms are quick to start their business in Malaysia. Surely these foundations will present risk on existing financial business as theyll have remarkable items and administrations. This power isn't supportive of Hong Leong Bank. . (Hong Leong Bank, 2009) From the above examination of HLB 5 powers investigation, the outline underneath will give a rundown of the banks in general industry investigation. Danger of New Entrants (- ) Danger of Substitute Products and Services (+) Dealing Power of Buyers (- ) Contention among existing contenders (- ) Dealing Power of Buyers (+) 2.2 Limitations of the Porters Model Doormen 5 power examination discusses the outer powers material to the outside of business. Todays business is significantly more tremendous and hearty requiring dynamic methodologies which ought to be an incorporation of various methodologies as opposed to relies upon a solitary examination. Inward factor investigation requires a lot of examination as outside. Structuring, visioning and learning approaches ought to be viewed as when an industry investigation is finished. Proters 5 powers are absence of these elements. (Watchman, 1985) (Gronroos, 1997) Key Capability Analysis 3.1 Stakeholders Partner Analysis recognizes significant gatherings of individuals or people that can have an effect on the Project. These Stakeholders can have their own goals and perspectives, which may vary and struggle with different Stakeholders. A Stakeholder Analysis is required to distinguish all the gatherings who are straightforwardly or in a roundabout way influenced by the endeavors activities. This incorporates the customary investors, yet additionally some new gatherings that the experiences of supportable advancement disclose to us must be counseled in choices that influence them. (Roberts, Varki, and Brodie, 2003) (Fombrun and Shanley, 1990) In an association, inward partner is the representatives or individuals who work inside the association. Outer partners exist outside the association yet have an immediate enthusiasm for what it does (for example investors, governments, clients) and so forth. (Roberts, Varki, and Brodie, 2003) 3.2 SWOT Analysis 3.2.1 Why SWOT Analysis? SWOT investigation is a device for evaluating an association and its condition. It is the principal phase of arranging and causes advertisers to concentrate on key issues. SWOT represents qualities, shortcomings, openings, and dangers. Qualities and shortcomings are inward factors. Openings and dangers are outer elements. (Spreng and Chiou, 2002) In SWOT, qualities and shortcomings are inward factors and openings and dangers are outer components. 3.2.2 Hong Leong Bank SWOT Analysis Quality Hong Leong Bank Berhad (HLB) head movement is giving buyer banking administrations including Mastercards, venture, contract, stores, protection and need banking. Different exercises incorporate business banking, exchange financing, working capital offices, treasury, remote trade, currency showcase activities, capital market protections exchanging, venture, and takaful business. It has been perceived as one of the most gainful bank in Malaysia. (Hong Leong Bank, 2009) It has 186 branches, 17 business places with capable and spurred representatives all through Malaysia making it one of the most augmented financial areas in Malaysia. Their first honor year 2004, an affirmation for their dynamic support in prodding the development of the SMEs in the nation. This honor absolutely prod Hong Leongs solidarity to bring more worth added money related administrations to clients and the SMI people group and to assist them with confronting the amazingly testing and serious business condition both locally and universally. Propelled in October 2005; the Hong Leong Mobile Credit Card is the first of its sort, permitting clients who are furnished with a six-digit individual ID number (PIN) to pay for merchandise and enterprises utilizing cell phones by means of short informing administration (SMS). This contribution is the consequence of Hong Leong Bank tie-up with innovation supplier Mobile Money International Sdn. Bhd. This remarkable technique for installment, known as Mobile Money is quick, helpful and financially savvy. Utilizing just the cell phone for endorsement of exchanges and installments, there is not, at this point a requirement for the physical plastic card, vendor terminals or Internet terminals. Installment demands are conveyed through SMS. There is no requirement for card individuals to be available at the purpose of deals or at the vendor outlets. Installments can along these lines be produced using any place card individuals are, at whichever place where there are cell phone signals. ( Hong Leong Bank, 2009) In 2007, Hong Leong Bank stowed the Asian Bankers Best e-Banking Project 2007 with its Internet banking offering, Hong Leong Online. The honor perceives the best developing innovation practices and benchmarks in Asia Pacific banks. Aside from the Asian Banker grant, Hong Leong has likewise been positioned as the third most well known Malaysian internet banking webpage. Web based financial exchanges helped the bank spare about RM24mil from March to October 2007 as each online exchange cost about 20% contrasted and about RM3.50 for each over-the-counter exchange. Shortcoming In accordance with its solid client care culture, the HLB keeps on keeping up its boss conveyance gauges which have been behind against global ISO guidelines. HLB is yet accomplished bank-wide ISO 9001:2000 accreditations for client care at the front office of its branches and bank-wide credit conveyance administration. This is a significant disadvantage for the HLB to have a superior client base. (Hong Leong Bank, 2009) As to contend in the business of banking, loan fee is a significant test as client will decide for a higher loan cost for investment account and for the most reduced financing cost for the credits that the clients are looking for their money related helps and better assistance for the client. Hong Leong Bank needs to change as indicated by the earth as to contend and stay as the market head. (Hong Leong Bank, 2009) As Hong Leong Bank has pushed forward to the Electronic banking or exchange there is more serious hazard or security dangers circled to the clients of web based banking or exchange. There are non specialized dangers, for example, phising whereby it is the demonstration of tricki

Record Applications at Dartmouth

Record Applications at Dartmouth November 4 Dartmouth has set a new benchmark for Early Decision applications this admissions cycle. Record applications at Dartmouth! Dartmouth College marks the first Ivy League college to report their Early Decision / Early Action application figures for this admissions cycle. And what an Early Decision pool it is for Dartmouth. The school in Hanover, New Hampshire has received 1,856 Early Decision applications. This figure is up 10% from last year, when 1,678 applicants applied through the binding program. And while last year was an off year for Dartmouth, the school has more than bounced back with this new record mark. Last year, Dartmouth experienced a 14% drop in Regular Decision applications (read our Founder, Bev Taylors, remarks on the decline  last year on the pages of The Dartmouth), though the College on the Hill did indeed secure a high yield. 1,801 marked the previous Early Decision record for Dartmouth and that was for the Class of 2016. According to an article on the record applications at Dartmouth  via Early Decision this year, Average standardized test scores, class ranks and racial and geographic makeup for the Class of 2019 early decision applicant pool are currently unavailable because admissions officers have not yet fully processed secondary school reports, dean of admissions and financial aid Maria Laskaris said, but she noted that this marks the first time in two years that more women than men applied early decision.  Laskaris said the higher early decision application numbers likely resulted from recruiting road trips and connections that prospective applicants make on campus visits. Congratulations to Dartmouth College on their record Early Decision applicant pool for this admissions cycle. Do you think the other seven Ivy League colleges will also break records? Let us know your thoughts by posting a Comment below. We look forward to hearing from you.

Internet Privacy A Growing Concern - Free Essay Example

The expanding issue which I believe people all around the globe should be more aware of is internet privacy. A user’s convenience of being able to use the internet comes with a critical responsibility of concealing their personal information online as best as possible. Online privacy is a primary human right and without it, all activities on the web are liable to be handled and scrutinized by committed corporations. Advertisers are tracking all of a users movements as they browse through several platforms on the web. Techniques such as cookie profiling are used to trace and formulate specific biographies on internet habits. Even though these unethical practices dont deter some, there are still many who keep matters of internet privacy at the top of their priority list as I suppose they should. Internet privacy, also known as online privacy, is a growing concern in the world we dwell today. Users of the internet are entitled to personal privacy when it comes to the information they store on various web software of their devices, yet it’s becoming increasingly challenging to manage private assets online. With such a considerable amount of people using the internet for their needs, users should be educated on the basic rules of safety regarding their digital footprint. According to Javelin Strategy, 17 million Americans have been affected by identity theft in 2017. Criminals on the web use malware and phishing procedures to hack into a multitude of online accounts to steal whatever information they can, and this is something that violates a crucial right of a user’s privacy on the internet. Even though the online universe provides people with a great selection of panels in which they are allowed to roam across the web in the comfort of their privacy, there are b oth positive and negative sides to this debate. The world has evolved in more ways than one, and the same goes for the internet. As the times change day by day, it’s best to always be updated, especially regarding something as sensitive as the nature of internet privacy. It isn’t touched upon as much as it should be in schools throughout the nation and the lack of knowledge upon this topic within the children of this generation makes for quite a large amount of future predicaments simply waiting to unfold. If people aren’t instructed about internet privacy and topics of the sort, they won’t be fully prepared to take on all the hazards on online platforms they utilize most. Only with proper knowledge can situations such as identity theft be avoided. The internet privacy which users are provided with certainly helps in various ways. One method is how it may present protection to younger users. Cybercriminals lose the ability to take advantage of easy targets online with strengthened levels of internet privacy. Being warned by browsers of the credibility status regarding particular web pages or false advertisements which begin dragging users down into misleading depths let people have a quick glimpse into just how dangerous the online world can turn out to be. Severe measures may be taken if anything gets out of hand over the internet, which is why online privacy allows web users to make their own decisions of personal information while assisting in the removal of viruses and fraudulent declarations along the way. Another possible positive aspect that online privacy offers may be how the internet keeps data safe enough for people to gain self-confidence through the actions they take and the statements they make online. Users of the web feel safer sharing comments behind an anonymous icon and username than they are in their own skin in the real world. This does help in building esteem in one way, but this also has a negative impact on many. Instead of using internet privacy as a positive outlet, many also hide behind anonymity just to post abusive and hateful commentary wherever they see public remarks are allowed. This creates the ability to harm others which is unjust. On the other hand, internet privacy also promotes innovation as it’s a blank and equal canvas for all. Without the privacy given to users online, ideas would be stolen far too often from each other and projects with potential would almost be nothing more than a waste of time when found in the wrong hands. Internet privacy also lets everyone have a chance to seek their own voices instead of letting them be waltzed around like marionettes. With top companies running the news sources in America, those businesses have the power to inform citizens of only snippets of a story instead of parts they choose to cut out to benefit themselves or corporate partners. Int ernet privacy can change this and, with the help of given anonymity, it encourages the freedom of the press so independent presses can cover events in alternative ways for users to get full details instead of lacking the knowledge they desire. Although people don’t seem to acknowledge the fact that their business online is being traced and stored throughout every day, it appears that their concern regarding this delicate issue only grows once they become a victim. The freedom that has been given to users online should be dealt with responsibly and maturely before they make a mistake concerning their privacy online and it comes back to mess up their entire lives. This is why even if internet privacy doesn’t get touched upon much in the educational system, it should be explored very widely once lessons regarding the topic are taught to children. If they start losing interest in these matters, their online lives may just take sharp turns straight down to paths of online w reckage and havoc. It’s true that companies online may take advantage of weak consumers with faulty connections that aren’t entirely secure, but some steps can be taken to have online privacy be protected. For example, if someone is wary of what companies use their data to their benefit, they can merely use safe browser extensions to give control over whether or not the sites they visit collect information about them and send them to other related companies or not. The information of users is precious, and they should understand that once they post something on the internet, the options they have to get that post deleted are minimal. Safety is a top priority when it comes to internet privacy, and not only should children start being educated on this, but people of all ages as well. People should learn how to protect themselves online, especially when almost everything and everyone can be found on the internet with just a few clicks and keywords. It may be argued that internet privacy is harmful because not only does it give everyone the freedom to post whatever they’d like about another being, whether the post is positive or negative, but having such privacy online also allows m any to slip into roles that are not, by any means, theirs. It’s too easy to assume the identity of someone else on the web due to how private profiles may be, which makes identity theft strikingly easy as well. However, there are always measures to be taken for whenever hate comments get uploaded or someone strange attempts to start a conversation. There are always risks to activities online, but protection is available from making sure to use only reputable websites to using strong and complicated passwords. Other steps that can be taken to protect personal information is clearing browser history and cache regularly to make sure that the browser is clear, avoiding shopping on unsafe sites, and avoiding to expose personal data on sites with low levels of security. Overall, although internet privacy appears to be a tricky subject with many different topics ranging from security hazards to identity thefts, I firmly believe that whatever privacy we are given on the web should rightfully be treated with respect, and companies should be stopped from making money off the information and data of users that visit their site, links, and advertisements. Even though privacy online is almost rare to find due to how transparent the government is with the personal information of internet users, steps should still be taken to protect whatever is left to be guarded. Anonymity is almost non-exist in the online world, but internet users may protect their privacy through very measured exposure of information. To keep themselves safe on the web, people must be careful with what they submit and view. When acquiring merchandise or filling out forms, bits of data start being tracked and, because the person may not have protected their information, companies begin se nding those users spam and advertising on products similar to their purchases. Overall, internet privacy is an integral part of web users’ everyday lives. Safety and personal security must remain a priority, especially with all the new hacking techniques starting to be used by cybercriminals. If people don’t begin taking care of what they post online, they might just find themselves in situations they never even thought they’d be in

Joseph Cornell Box

Sample details Pages: 34 Words: 10138 Downloads: 7 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Introduction My dissertation explores the power of engagement exerted on the viewer by the boxed constructions of Joseph Cornell. These boxes have fascinated me for many years, giving me an irresistible urge to satisfy my curiosity. I feel compelled to respond to the invitation to look into each boxed frame, and I am lured into the world within Cornells boxes. Don’t waste time! Our writers will create an original "Joseph Cornell Box | Arts Dissertation" essay for you Create order When I look into a Cornell box it is like seeing things again, but for the first time. I am forced to interact, to reassess what I see, yet I do so willingly. The lure feels like magic. I have chosen this subject for my dissertation because I am intent on discovering where the power in Cornells boxes originates. Two basic questions arise about the power of curiosity that Cornells boxes evoke in the viewer: does the power come from the box, the device that Cornell used, or does the power come from what is in the box? What part does the viewer play in the equation? These are the main questions in my mind as I begin this study. I am also curious to discover other artists who have used the device of the box to contain their work, as I myself have done, and so I will look at a selection of other artists who frame their work in a box, Betye Saar, Mariko Kusumoto, and Joseph Bennett. I will compare the motivation and intention of these artists, and look at the nature of the message that their work delivers. By looking at the work of these artists in comparison with the work of Joseph Cornell, I hope to find answers to my questions. I will explore these issues in five chapters. In order to find out more about the power that comes from Cornells boxes, I believe that it is essential to look closely at the mind behind the work. The first chapter will look at Cornells formative years, and I will offer my view of the gradual coming together of seven particular circumstances in his life. The next will consider the effect of these special circumstances on Cornells work, seeking to identify the layers of meaning that Cornell displays in his boxes. I will look at the power of the box as a containing device in chapter three, and will consider the effects that it creates. The fourth chapter will look at three other artists who have used the box as a device for containing their work. I will identify the intentions, the motivation, the content, and the message of these artists. My concluding chapter will draw together all the main threads of the enquiry, and will present the results. All questions will be answered, and I will summarise the findings. I have drawn my research from a variety of sources, electronic as well as published, from interviews, CD and DVDs, from my visits to galleries and exhibitions, and from correspondence. Chapter 1: The Mind behind the Boxed Constructions: Seven Phases. This chapter sets the foundation for understanding more about the power that comes from Cornells boxes. In order to discover the mind behind the work, I will examine the significant aspects of Cornells life, highlighting the particular circumstances that have shaped his ideas, and I will set this in the context of his time. It is not within the scope of this study to describe Cornells life in minute detail, but nonetheless I consider it essential to look carefully at his formative childhood experiences. I will show that these experiences have a direct bearing on the enquiry, agreeing with Arthur Danto that:- The life and art are reciprocal in that it is hard to imagine Cornells art made by someone with a life greatly different from his. This makes biography unusually relevant to critical appreciation in his case, one of the rare examples in which someones art is almost a transcription of lived experiencetransfigured, to be sure, by a kind of magic that biography would have no way of accounting for. Should it bet in Italic? (Little Boxes the cloistered life and fantastic art of Joseph Cornell. By Arthur Danto) page, book details? Born in 1903, into an artistic and prosperous family in Nyack, New York, Joseph Cornell enjoyed a close-knit, affectionate family life. There were servants and nurse maids to help run an idyllic home life for the Cornell family, in a stylish area on the edge of the Hudson River. Josephs energetic young parents, of Dutch origin, were musical and artistic. His well-educated mother had planned to become a kindergarten teacher before marriage, she wrote film scripts as a diversion, was an avid reader, and a pianist. Her husband was a textile designer, with a hobby of carving wooden toys and making furniture. (McShine, 1990: 92) The impressionable Joseph would have absorbed much from this rich, artistic, and secure atmosphere. He was the first of four children: two sisters, Elizabeth and Helen, followed in the next two years, and then a brother, Robert, who arrived when Joseph was six. Robert, who was later diagnosed with cerebral palsy, was to become a central part of Josephs life. These early days would later be recalled with affection and nostalgia by Joseph, who particularly remembered family holidays, trips to nearby Coney Island, the penny arcades, theatre visits, vaudeville shows, seeing Houdini at the Hippodrome, museum visits, family celebrations, listening to music with the family at home on Sundays, and numerous other happy family scenes. Like his mother, young Joseph was an avid and inquisitive reader, enjoying fairy stories, the tales of Grimm and Hans Anderson, poetry, essays, and information books on a wide range of subjects. In the next chapter I will show how these early experiences, the first phase in the journey of the artist, have strong echoes in Cornells work. Josephs world was badly disrupted at the age of thirteen when his father died of leukaemia. This must have been a horrific nightmare for Joseph, for as well as the grief and ongoing feelings of loss, his mother was soon compelled to relocate with her young family, to a vastly different and reduced lifestyle. Five months later, Joseph became a scholarship boarder at Phillips Academy in Andover, Massachusetts, with yet another massive emotional adjustment to cope with. His curriculum choices were biased towards science yet also included four languages and literature. Records indicate that Joseph was nervous, sensitive and he experienced nightmares and stomach ailments, which may well be attributed to the feelings of loneliness and loss that he was forced to bear. His headmaster suggested that Joseph should repeat a year since he needed increased maturity, but he left after four years and did not manage to gain his diploma. There can be no doubt that Joseph retreated into an internal world at this time to escape from his torments, to a spiritual place that would become more and more real to him. Already a strong duality of feeling had set in, an inner spiritual world that was quite separate from the physical earthbound world. These lonesome experiences, in contrast to Josephs earlier happiness, set the foundation for the art that was to follow. I see this period as the second significant phase in the artists development. Joseph left school in 1921 and took on the responsibility of supporting the family, and also of caring for Robert, whom he adored. Being extremely shy, Joseph did not enjoy his first post as a textile salesman in Lower Manhattan, the place of wondrous amusements (ref)(little blue book?). (Schaffner, 2003: page) However, the city life seems to have been the catalyst to his development as an artist. Between appointments, Joseph could visit bookstores and galleries, or sit in cafeterias just thinking, reading, watching, and jotting down his many ideas. All forms of art and knowledge captured Josephs imagination, particularly ballet, literature, theatre, science, art, astronomy, history, cinema, and almost everything French. (McShine, 1990: 96) His multifaceted curiosity was innate, Hartigan writes. (artblogbybob.blogspot.com) Here was the third phase in Cornells preparation for artistic expression, Josephs introduction into the rich artistic life of Manhattan. Joseph Cornell has been described as an extraordinary artist yet he had no formal instruction in art. How could this be? Some clues from Josephs early years have already been identified, and now another indication emerges, for it was during these years, while working in Manhattan, that Joseph started his legendary collecting of ephemera, prints, books, postcards, records, calendars, photographs, and found objects and items from thrift shops. At the same time, his interest in theatre, film, music, art, dance, and especially the movies, took off. Joseph had immersed himself in every possible cultural experience that he could afford, and had become familiar with the contemporary American art scene. (McShine, 1990: 96) I see this period of avid collecting as the fourth phase, leading Cornell onwards to his unique artistic and poetic expression. In the mid 1920s, Joseph was introduced to Christian Science. Part of the appeal to him was its belief in the healing power of goodness, which later cured his own stomach problems. Josephs enthusiasm as a new and devout member caused his sister, Elizabeth, to convert, and she later remarked that it was Christian Science that led to Josephs striking art work. (Hartigan, Hopps, Vine, Lehrman, 2003: 37) Richard Vine describes the central belief of harmony and completeness in Christian Science as a vital link to Cornells work, which was about to make its entrance. (Hartigan, Hopps, Vine, Lehrman, 2003: 38) Mary Baker Eddy, Discoverer and Founder of Christian Science, stated that This scientific sense of being, forsaking matter for spirit, by no means suggests mans absorption into Deity and the loss of identity, but confers upon man enlarged individuality, a wider sphere of thought and action, a more expansive love, a higher and more permanent peace. (McShine, 1990: 97) Joseph was a devout member of the Christian Science movement until the end of his life, which required daily prayer and meditation, lecture and church attendance, and a belief in the healing power of God. This became an integral part of Cornells life, extending his interest into metaphysical thoughts and the world beyond. An element of Christian Science belief is to uplift others, to emphasise the completeness of Gods plan. The idea of unity is an abiding element of Cornells work, and I see this as a crucial fifth stage in his awakening, to inspire others to pursue uplifting voyages into the imagination. (https://www.pem.org) In May 1929, the family moved again, buying the home where Joseph, his mother and brother would live for the rest of their lives. It was fittingly referred to as a small frame house in Utopia Parkway, Flushing, the Queens area of New York. Soon after 1930, both of Cornells sisters married, and the next year, as the Depression set in, Joseph was one of the fifteen million people to lose his job. Was this was a lucky break for Cornell, who now had time on his hands? It is possible that he started making his early collages at this time, but there is no way of knowing. The period of unemployment could be seen as a sixth stage of opportunity, for now Cornell had time to further explore Manhattan, Brooklyn, and Long Island, with its galleries and museums, his beloved sanctuary and retreat of infinite pleasures. (https://artblogbybob.blogspot.com) Although New Yorks art scene did not have many galleries exhibiting modern art during the 1920s, when Paris was the fashionable art capital, the famous Julien Levy Gallery opened in November 1931. It very soon became the headquarters for Surrealism in America and it was here that Cornell first discovered Surrealist art and literature. A short time after his first memorable visit, Cornell returned to the gallery with some of his own work, early montages made from illustrations that were scissored out of nineteenth century books. Levy was thrilled and accepted Cornells work straightaway for the forthcoming exhibition, Surrealisme, in January 1932. This was a life-changing event for Cornell, and could be seen as the seventh phase, his launch as a young artist. (McShine,1990: 99) ..his is a slow process, a gradual accumulation of artistry mirroring his gradual accumulation of artistic material. (htpp://www.artblogbybob.blogspot.com) The artistic material that Joseph was accumulating came from a variety of sources. After the First World War, theatre, art, exhibition, and cinema were all popular distractions. The silent film industry was very popular in New York City with the first talking picture premiered in Broadway in 1926. There was great enthusiasm for the new technology cars, air travel, and the telephone. Cornells intense admiration of the French symbolist poet, Stephane Mallarme, and his growing love for the music of Claude Debussy, ranked highly among other influences. Both these artists, in their own field, attempted to catch the fleeting moment in word, sound, or image, and this would be soon be Cornells quest, as the next chapter will show. This chapter has looked at Cornells formative years, and I have interpreted Cornells life up to this point as a seven phase journey, a route where unique elements are gathering power together, soon to find expression. The next chapter will show how the memories, experiences and ideas of Cornell come together in his innovative boxed constructions. (1712 including quotes) Chapter 2: There is no Impression without Reflection This chapter will identify the particular way that Cornell expressed his memories, experiences and ideas in his boxed constructions. The title of this chapter is taken from a quote about personality types. It suggests: Introverts find energy in the inner world of ideas, concepts, and abstractions. They can be sociable but need quiet to recharge their batteries. Introverts want to understand the world. Introverts are concentrators and reflective thinkers. For the introvert, there is no impression without reflection. (www.masterteacherprogram.com) This appears to exactly describe Cornell, a shy and reflective person from childhood onwards. Although he did not enjoy this description of himself, all accounts of his lifestyle declare it to be accurate. Introverts want to develop frameworks that integrate or connect the subject matter. To an introvert, disconnected chunks are not knowledge, merely information. Knowledge means interconnecting material and seeing the big picture. (www.masterteacherprogram.com) I believe that the seven particular conditions I identified in chapter one, magnified by Cornells introspective personality, produced his reflective and metaphysical view of the world. This is not to say that the seven conditions in themselves are unique. What is unique, I believe, is the combination, the foundation, the context, and the particular sensibility of Joseph Cornell, that caused the seven circumstances to lead to his unique artistic expression. His memories, experiences and ideas intermingled in his inner world, bringing a new clearer understanding of existence, that everything was connected. New associations were formed with richer deeper meanings and symbols, and a transformation occurred. Using a variety of objects from his personal vocabulary of symbols, Cornell constructed his boxes. His work became a fusion of art, literature, poetry, sculpture, science, theatre, cinema, dance, wonder, and more. All of these threads combined to form a new medium of poetic imagery. His boxes contain fragments of what he sees as perfect in the spiritual sense, reassembled and purified to become physical memorials for his subjects. The first Cornell box that I saw was Planet Set, Tte Etoile, Giuditta Pasta (ddicace) 1950 at the Tate Modern in London. It was displayed at waist height in a large cabinet painted in bright white paint and covered with a clear glass panel. From the moment I entered the room I felt drawn to the work. It really was quite an emotional experience for me. I scarcely noticed the other art works surrounding it, such was the lure of the box. The power was even greater than I had imagined with its mysterious and poetic associations. The display caption describes the work: Giuditta Pasta, a nineteenth-century Italian opera singer. Cornell idolised a number of almost-forgotten stars of the ballet and opera, who epitomised for him the ideals of the Romantic era. The box includes astronomical charts and two balls balanced on rods, which suggest planets orbiting the sun. This astronomical theme may relate to a contemporary account, which Cornell kept among his cuttings, in which Pastas voice is described as evoking the beauty of the night sky. (https://www.tate.org.uk) Pastas voice was described by her biographer, Henry Pleasants, as having the ability to produce a kind of resonant and magnetic vibration, which, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator. ( Quoted in Five Centuries of Women Singers, 2005, Greenwood Publishing Group, By Isabelle Putnam Emerson p 114 ) The hypnotic effect upon the soul that Pastas voice induced is echoed in the hypnotic effect upon the soul that Cornells box induced in me at the Tate, London. Viewing the dreamlike arrangements of objects in Cornells boxes, it is easy to understand how his work came to be associated with Surrealism, the art of the absurd, with its links to mixing the weird and the wonderful, dream and reality, the unconscious, and the uncanny, in a shocking sort of way. Surrealism was deeply influenced by Sigmund Freuds theories of the unconscious. For the Surrealists the dream was a source of pure imagination, an expression of the marvellous and the unexpected. (https://cdhi.mala.bc.ca/jengine/index.htm) Although Cornell was inspired by the New York Surrealists, exhibited with them, and used the same sort of materials and ideas, Cornells work developed very differently. As I have shown, Cornells life was sharply focused on eternity, infinity, and another spiritual world rather than anything reckless and earth-bound. This box, a tribute to Lauren Bacall, is based on the penny arcade games that Joseph loved as a child. Many of Cornells favourite associations can be identified. There is the Manhattan skyline and the game element: a wooden ball hurtles through the box, flicking past Bacalls face, like a snippet of flickering film. As it rattles past, the viewers attention is drawn towards a snapshot review of Bacall at earlier stages of her life, perhaps signifying that film captures our childlike imagination. Bacall seems trapped in her childhood and her innocence behind the thick blue glass. Cornell was infatuated with Lauren Bacall and her looks, and, says Schaffner, reminded him of a Renaissance painting by Botticelli. (Schaffner, 2003: 95) Cornells silent fascination with a series of women is another recurring theme in his work. This particular box is based on an afternoon at the movies. Cornell saw the film, To Have and Have Not, many more times and made copious notes that he would use later. In his personal notes he wrote: the penny arcade symbolizes the whole of the city in its nocturnal illumination a sense of awe splendour overriding (its) violence in darkness. (Tashjian, 1992: 122) The Bacall Box is interactive and can be played as a game but it is silent, perhaps a reminder of the early movies. Cornell describes it as a machine reminiscent of the early peep show boxes worked with a coin by plungers with an endless variety of contraptions. (fullstops before or after .?) (Tashjian, 1992: 125) There are many layers of meaning and loaded associations in Cornells boxed constructions, generally reflecting back to his experiences. Many of his favourite themes appear in each box in one way or another his nostalgia for childhood, his reverence for life, his idealisation of women, his encyclopaedic knowledge, his fascination with astronomy, his love of the expressive arts, his devotion to his brother, his familiarity with Manhattan, and his passion for French culture, all of these elements bound together and transformed by his beliefs about the nature of life and of infinity. I believe that the unifying factor in Cornells work is his yearning to keep his memories fully present and alive. It is vitally important for him to revisit his cherished experiences and revel in the delight that they originally caused. Perhaps each box contained a vivid dream, an essential treasure, a piece of information, a remembered conversation, or a vital truth. Perhaps revisiting the work refreshed Cornells energy and insight and his relationship with his subject. I suspect that it is all of these. By capturing a fleeting thought, a memory, an idea, a portrait, or a fragment of his imagination, Cornell expanded the two dimensions of a traditional frame into something greater to contain his whole experience. Somehow, Joseph Cornell found a way to combine all these aspects into one medium, and he invented his novel frame. The box construction was Joseph Cornells innovation. He generally made the boxes as gifts for particular individuals, people who had made an impact on him, sometimes people he had never met or who were dead. The memories were very much alive to him, however, in the works created around his subjects. There is a strong aspect of entertainment in Cornells boxes. Infused with a childlike sense of wonder and fantasy, he retained his ability to see the world through the eyes of a child. Edward Skip Batcheller, a great nephew of Josephs, offers valuable insight into the Cornell home that he remembers visiting as a boy. He describes Cornell as a benign eccentric man who lived timelessly, and says that he was very spiritual, and often seemed to be in another world. Cornell would take naps as he needed, living and working through day and night with no regard for the clock. Above all, Skip says, Josephs brother, Robert, was the primary source of his inspiration. Joseph took the responsibility of amusing and entertaining his brother very seriously, as his notes show. The two brothers would sometimes work alongside each other on constructions, and playfulness or amusement was a vital ingredient. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Skip says that the Cornell house was cluttered with art, piled high with saved publications, jottings and notebooks. It was like a laboratory for boxes they were everywhere, the garage, the yard, his sisters homes, and in their sheds. I find it significant that Skip describes Cornells boxes as always being on his mind. Like special friends, it appears that Cornell needed to interact with his boxes, to refer to them as if they could communicate back to him, in a shared dialogue from another world. This helps me understand why Cornell sometimes asked for a box to be returned, as if he were going back to add an afterthought to a conversation or to include a newly discovered aspect of meaning that had since occurred to him. Because he had compiled so much information in his dossiers and collections and had worked on ideas and images long before commencing the work, Joseph was already deeply immersed in the world and ideas of his subjects. I imagine that the boxes were like meeting places for the intimate memories he had shared with his subjects, in a spiritual sense. To him, the immortalised celebrity of each box was somehow still alive and living in the miniature world that Joseph had constructed for his chosen star. Yet, despite the great benefits of the box device that Cornell invented to contain his poetic expression, he also recorded frustration with its form. Even that expanded frame was not always sufficient to contain all the threads of meaning that he wanted to convey. The disappointment was expressed as (an) intense longing to get into the boxes this overflowing, a richness and poetry felt when working with the boxes but which has often been completely extraneous in the final product. (Caws, 1993: 188-194) ( page no.?) (CAWS, M, Ed., 1993, Joseph Cornells Theater of the Mind: Selected Diaries, Letters, and Files, New York, Thames Hudson, 188-194.)/ Cornell placed great importance on dreams. Richard Feigan, an art dealer who knew Cornell well, described him as being on another planet. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Could he mean hypnagogic, a word sometimes used in regard to Cornells visionary work, or is Cornell communicating as in a whispered prayer, transformed or transported onto a different spiritual plane? The definition of hypnagogia helps us to understand this state: An individual may appear to be fully awake, but has brain waves indicating that the individual is technically sleeping. Also, the Individual may be completely aware of their state, which enables lucid dreamers to enter the dream state consciously directly from the waking state. (https://www.wikipedia.org) Cornells urge to download his feelings into his boxed constructions suggest that he had special links set up between his imagination and the unseen world, as if engaged in urgent and ongoing conversations. Leila Hadley Luce, interviewed on this subject, says He travelled in his mind. He encompassed places. He absorbed them. Its like being in a dream world, but very, very real. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Walter Hopper, a respected American artist, describes Cornells work as sublime, saying that something very special and transcendent was going on here. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) This chapter has acknowledged the huge power evoked by Cornells boxed work. I have shown that great power arises from Cornells special way of communicating his experiences, his memories, his ideas and his dreams. His work is visionary, and has a timeless quality, taking no account of whether a particular person is alive or dead for it made no difference to his appreciation of their relationship with him. Cornells unique ability to connect different branches of knowledge into one focused creation prompted the invention of his new device, the box, to contain his multi-dimensional work. The next chapter will look more closely at the device of the box. (2097 inc. quotes) Chapter 3: The Power of the Box: Free-Form Contemplation This chapter will look at the power of the box as a containing device, and will consider the effects that it creates. I will show how the box frame can separate the artists work from its surroundings into an experience within its own world. I will try to establish whether the framing box has a bearing on the way the viewer focuses upon it in a spirit of curiosity. This will take us to consider the nature of curiosity. ..by virtue of its very presence the box makes an announcement: I contain something valuable. In concealing, the box reveals. (Gunter, 2004: 6) The box, as opposed to a two dimensional frame, encloses space for storing, protecting or displaying one or more objects. Tony Lydgate calls this a contradiction, in the sense that the box reveals, by hiding. Straight away, the nature of the box sets up the enquiry, What is in here? Who has put this in here, and why? A box can usually be opened and closed, and it has depth and space, whereas a frame shows everything at once, the flat or textured visual material that it is designed to enhance and border. Everything within a two-dimensional frame is immediately evident: there are no internal walls to inspect, no surprising variation in what it may contain, no mysterious recesses to discover, no drawers to open, no room for sculpture or for a third dimension. The frame is fitting for a standard two dimensional image, but the box is innovative and exciting with its third dimension and its opportunity for interaction. It introduces novelty and is very different and separate. Curiosity is evoked by the viewer wanting to know and check what is contained within. An open question is set up in the mind, and a range of associations present themselves in the imagination. The box can instantly evoke curiosity. Containing art in a boxed frame offers the artist extra freedom, both aesthetic and creative. The box has more surfaces that can be decorated, both inside and out, the space can be used to contain fascinating three-dimensional scenes, it can be left empty, or filled with historic, nostalgic, personal, or other types of material. The artist has freedom to create intrigue and mystery by the arrangement of his objects within the space of the four walls, and the effect can be altered by using some or all of the planes. Two dimensional framed art in a gallery might be affected by neighbouring work, whereas work in a box invites the viewer to come close, excluding all neighbours while privately inspecting and interacting with its contents. There may be a sense of the voyeur peering into a private window, adding excitement to what is perceived in the box. Since Cornell, many artists have used the box form in an individual way to encase their artwork. I will look at some of this work in the next chapter. Throughout history, boxes have been a basic and necessary part of civilization. Ornate boxes were used by early man for carrying and storing a variety of valued items. In ancient Egypt, the dead were buried in highly decorated boxes. Ancient Egyptian boxes have been found containing cosmetics, jewellery, writing tools, and even slippers. One, made for an Egyptian lady in 1800 BC, was decorated with gold fittings and carnelian stones. Precious boxes are still crafted today. In the 16th and 17th centuries, Cabinets of Curiosities held strange and wonderful collections that had been gathered by explorers, the rich and the noble. Initially these were elaborate rooms where an assortment of exotic items was displayed, to inspire awe and to evoke wonder and curiosity. The collections were categorised according to the owners wishes, and reflected the collectors personal ideas of how to impose order on objects from the natural world. In time, these diverse collections developed into actual cabinets, and later the contents became the precious items now in our museums, which still inspire wonder, awe, and curiosity today. The adult Cornell vividly remembered his fascination with collections and exhibits in polished wooden cases and frames as a boy. Years later he amassed his own personal Wunderkammer in the cellar of his home in Utopia Parkway, a vast collection of objects, dossiers of information, jottings and notebooks, that chronicled his feelings and ideas. To appreciate the sense of awe and wonder that vast collections inspire, and in preparation for this study, I visited the Ashmolean Museum in Oxford, which was opened in 1683, the nearby Pitt Rivers Museum, The British Museum in London, which opened in 1759, and The Natural History Museum in Tring, Buckinghamshire. All buildings house remarkable collections that, once private, have now been gifted to the nation. The vast number of collections of so many species and artefacts evoked a deep sense of wonder in me, and I noticed people of all ages displaying intense curiosity and amazement as they gazed at the exhibits. Cornell savoured his childhood sense of awe and wonder all through his life and we see reminiscences of these nostalgic memories in many of his boxed constructions. Joseph Cornell, Untitled (a Butterfly Habitat), 1940 Religious groups use special and decorative boxes to contain their most holy objects. Catholic churches have a box containing relics of a particular saint built into the altar, known as the sepulcrum. A locked tabernacle on the altar contains the sanctified host. An air of awe, mystery, and reverence is linked to these special boxes. Our most treasured possessions, jewels, money, curios and keepsakes, are often protected in special boxes. Boxes with hidden compartments were very popular in Victorian times, fuelling the feel of mystery and concealment. It isnt just the box that can evoke feelings of excitement and curiosity but the associations that have been attached to it in earlier years. Consequently, once an animated attachment has been fixed to a box or a particular container, the magic might last indefinitely. Again in Victorian times, we learn of the Penny Arcades, the mechanical fun box machines: Curious, quaint, beautiful and bizarre: devious mechanical marvels of mahogany, oak, iron and brass occupied side shows, bars, guest houses, arcades and piers from before the turn of the century. Their attraction is broad. Diverse in form and theme; a whole social milieu is captured in lively period images and pop-art graphics, giving both historic and aesthetic appeal. (https://www.pennymachines.co.uk) After putting a penny in the slot, there was a handle to pull, a ball to shoot, or a scene to watch, and the chance to win another go or have your penny returned. The fun was in operating the machine with its many and various ingenious functions rather than winning the prize. Joseph Cornell used his memories of these fun slot machines, adding a layer of nostalgia, chance, or history to his tribute. His penny arcade pieces, like the original Victorian machines, were designed to be used as a game, adding a visual and a sound quality. It is highly likely that Cornell devised his penny arcade pieces to amuse his brother, Robert, with whom he shared a very close bond. In mythology, the popular tale of Pandoras Box suggests intrigue. Pandora was given a box by the gods and told not to open it, but her strong curiosity got the better of her. She opened the box (it was actually a jar) and out flew several illnesses and undesirable things, just leaving Hope behind. Another box that has inspired contradiction and curiosity is the telephone box. It is a private space on a public street, a box where you can be seen but not heard. It is an anonymous space yet often is used for deeply personal conversations. When researching the subject of boxes and curiosity, I discovered a humorous angle, called the Medicine Chest Caper. It is said that people feel an irresistible urge to open a bathroom cabinet when visiting anothers home. To exploit this urge, pranksters fill the cabinet with ping-pong balls to booby trap their over-curious visitors. Here is another instance of the power of curiosity with a box, when the imagination or the inquisitive mind becomes engaged with the nature of its hidden contents. But what is curiosity? To me, curiosity is a pleasant state of persistent inner questioning, along with an urge to discover possible answers. It is when my inner mind starts to contemplate and say I wonder and why? It also contains an element of wonder and excitement. Curiosity makes my mind scan through associations that already exist in my own experience, trying to find a link with what I am seeing in order to make sense. Einstein expanded this view when he said: The important thing is not to stop questioning. Curiosity has its own reason for existing. One cannot help but be in awe when he contemplates the mysteries of eternity, of life, of the marvellous structure of reality. It is enough if one tries merely to comprehend a little of this mystery everyday. Never lose a holy curiosity. (https://www.personal-development.com) Einstein is suggesting that curiosity is a sacred gift, an insatiable appetite to explore creation. This fits perfectly with Cornells own Christian Science view, that life is an endless discovery of the meaning and unity of life. The allure of Cornells mysterious boxes has been well documented, and it is possible to identify some sources of his attraction to using the box frame for his work. Beyond the peep shows and shadow boxes of his youth, Cornells writing shows that he was fascinated with shop window displays. His jottings reveal that he would spend time contemplating the completeness they could offer as he absorbed the contents of the displays, sealed in their own world. (Caws, 1993: 165) The view seen from ones seat in a theatre or cinema gives the impression of looking into a box, or a window, and this is similar to Josephs experience of travelling into town on The El, the elevated railway, where he could peer into the windows and glimpse strangers private lives being played out in the public gaze. This feeling is carried over to the viewer of a Cornell box. Peering in could induce exciting, strange or disturbing feelings, even perhaps, a voyeuristic sensation. Hartigan says that (https://artblogbybob.blogspot.com) (Correct way?) Cornell equates art with the experience of life itself, as just another window upon the world. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) The objects in a Cornell box are sealed behind glass, concealed by shadows, filtered, hidden, and cropped. The glass pane acts as a fourth wall in his miniature theatre, showing the contrast between his two worlds, of chaos and of order, safety and danger. As a teenager, Cornell had shared his fear of infinite space with his sister. To young Josephs fear of large empty spaces, a defined space would have brought comfort and solace. The box conveys a sense of security, definition and order, rather than chaos or undefined space. Containment denotes safety. Whether expressed by the frame of a box or a collage, his intent was similar directing us to a highly defined space or field of vision for free-form contemplation. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) This chapter has looked at the different ways boxes have been used historically, showing how an air of mystery and wonder has often been linked to the boxs purpose. I have shown how the form of the boxed frame, coupled with a sense of curiosity, generates intrigue in the viewer. The viewer feels a need to peer inside, and an expectation of discovery and anticipation is set up in peoples minds from an early age, from memories of gifts, treasures or novelties in boxes. I have also mentioned how experiences from Cornells early life are echoed in his boxed constructions. It has become clear that the device of the box is powerful in evoking a sense of curiosity because of its general and its particular associations in every mind, from childhood onwards. Chapter 4:Enlarged Individuality (improve this title) This chapter will look at other artists who have used the box as a device to enclose their work and it will identify the intentions, the content, and the effects of this work in comparison to the work of Cornell. The three artists whose work I will explore are Betye Saar, Mariko Kusumoto, and Joseph Bennett. These artists are all living and working today and they have all used the box device to frame their work. Each artist has a different intention and different results, which I will contrast with the work of Cornell. I will first look at Betye Saar, an American artist born in 1926, who is well known for her shadow box constructions that deal with the memory of racism in her country. Betye, who comes from a mixed heritage of African, Irish and Native American, felt very angry about the way that black people were perceived. She began to focus on using derogatory images of black people in her work. A famous example of this work is The Liberation of Aunt Jemima, exhibited in 1972. This was a wooden box displaying a black smiling mammy, holding a rifle in one hand and a broom in the other. Aunt Jemima is a recognizable trademark for advertising pancake flour in America. Betye Saars message in this box was about the way African-American women were treated as sex object, as domestic soldier. And it was about this particular womans revolt to be free of that image. (https://www.npr.org) The Liberation of Aunt Jemima, 1972. Betye saw a Joseph Cornell exhibition in 1968 and was greatly influenced by his assemblages, although the beginning of her passion to create recycled art occurred when she was a young girl visiting her grandmother in Watts. She remembers seeing Simon Rodia sculpting the Watts Towers during the period of 1921-1951. Seventeen interconnected structures were built, the tallest over thirty metres high, and they were filled with found objects. Betye remembers the experience vividly, saying Ive seen corn cobs in there, Ive seen tools. Its like, the cement is wet, what can we put in here? (https://www.npr.org) Another influence on Saars work was the American artist, Romare Bearden, whose first collages appeared in the 1960s, at the time of the Civil Rights Movement. Bearden also used found materials to create collages which carried powerful messages about African-American life. Betyes motivation to create art works was anger at the racism issues: Beardens work helped her to define her message, and Cornells to find the medium and the form. The intentions of Saars boxes are about declaring her reactions to the experience of racial issues in her country. Saar uses a mixture of images and symbols from different cultures and religions, bringing a spiritual dimension to her work. The pieces speak of cultural differences, stereotypes, and the liberation of African Americans. Like Cornell, symbols and visual metaphors are a central role in Saars work, although hers are rooted in her physical environment. The content of her boxes are collections of materials such as photographs, advertisements, toys, fabrics, figurines, household objects and musical instruments, bought from flea markets and junk shops. Betye uses nostalgic bric-a-brac to portray her broad social messages, particularly in the choice of real fabrics that have been worn by the real characters she is championing. Here is a link to Cornell, who took great pains to obtain significant mementoes of his subjects to use in his tributes. Like Cornell, Betye Saar revisited her earlier themes, particularly with The Liberation of Aunt Jemima, for what the artist calls unfinished business. In the revisited work of 1998, Workers and Warriors: The Return of Aunt Jemima, Betye refines her message and expands on her previous approach. Using vintage washboards, as if each is a window, the pieces have been collaged with Black Collectibles from the 1940s to 50s - debasing images of slavery-era black women often sold to tourists in southern areas of the United States. The message is still the same, if not more muted than her original piece, aiming to shock the public and cause radical changes in the perception of black Americans. (Insert) Cant find workers and warriors image have you seen it? Betye Saar essentially wants the viewer to be seduced by the beauty and the mystery of her work, to draw her viewers closer. The frames are the perfect medium for her to gather her viewers close up to her message. Then, once she has captured the attention, the focus sharpens so that the story hiding inside the box can be discovered. Her powerful statements about race, stereotyping, and gender cannot be missed. By concentrating the viewers eye into the frame, Saar is able to hold the viewers attention while all the elements of her message are absorbed and hammered home. Betye often invites interaction by creating puzzles for her viewers to decode which, like the playful elements in Cornells boxes, is a shared similarity. Unlike Cornell, Betyes concerns are very much of this world rather than the metaphysical themes of Cornells, although her energy appears as immediate, heartfelt, and strong, and her passion is evident. The second artist I am going to look at is Mariko Kusumoto, born in Japan and brought up in a four hundred year old Buddhist temple where her father was a priest. Marikos boxes are made from old wood, polished metals and found objects, which are replicas of the materials, colours and textures in her childhood temple. Mariko creates multiple doors and compartments in her constructions, and fills them with highly detailed miniature worlds that reflect her childhood memories of living in the temple. She describes her intentions: I am striving to create a world of shadows, light, silence, spirituality, and my personal memories. (https://www.mobilia-gallery.com) Another of Marikos sources comes from her fascination with the Tansu box, a tall dark wooden box found in the temple, with multiple drawers and compartments. This must have seemed a gigantic chest of drawers to a young girl and Mariko describes it as being dark with hidden secrets lurking inside the drawers that invoked a thrill for her as she set about her regular task of polishing it. It seems that Mariko wants to recreate the sense of wonder and excitement that she experienced each time she looked inside the Tansu box, her main motivation being nostalgia for what she has lost. I could never anticipate what would appear from the darkness. I had mixed feelings of excitement and fear whenever I opened it. It was a great wonder box to me. The darkness inside the tansu stirred up my imagination. (https://www.mobilia-gallery.com) When I look at Marikos boxes, I sense the same darkness and hidden secrets that I imagine her to have seen as a child, although her boxes are much smaller. Perhaps the small scale draws the viewer over to look within, to open each compartment and look inside to the magical world of memories that she has created. There is a childlike thrill in Kusumotos art, as with Cornells, with the invitation to play, touch, and cooperate. Most of my pieces are interactive the viewer must keep opening things to see the secrets inside or push, pull, or wind up something to see movement or hear sounds. (https://www.americancraftmag.org) Iroha Uta (interior), 2003 Photo: Lee Fatheree From Marikos description of her inspirations, we learn that she is recreating elements from her past for which she has a nostalgic longing. The absence of the familiar childhood home, the temple with all the curious artefacts it held, has intensified her feelings of being Japanese amongst the diverse cultures in the United States. As time goes by, my memories become stronger and more vivid. This feeling is the inspiration of my artwork today. (https://www.mobilia-gallery.com) Here are echoes of Cornells nostalgia, to recreate a poignant and happy memorial to childhood memories, although Cornells yearning for the past is part of his belief that everything is connected. Again, the three dimensional frame is the essential medium for Kusumoto, who wants to envelop her viewer in the mystery, darkness, space and atmosphere of her miniature world. By using the device of the box, the viewer can soak up the spiritual atmosphere that Mariko has designed without any outside interference. As wit h Betye Saar, the intention of Kusumotos work is planted in the physical world, reliving the sense of nostalgia for her experiences as a child in Japan and searching for new understanding in the noisy western world with its diverse cultures. My third comparison is Joseph Bennett. A self taught American artist, Bennett began his creative career in 1999 creating boxed assemblages. He uses found objects such as rusty metal, aged wood, photos, and toys. He has said that he was heavily influenced by Joseph Cornell and that the experience of seeing Cornells boxes in a 1968 exhibition changed his life. (https://www.artbybennett.com) For Bennett, the Intention of his boxes is to reinvent discarded objects, transforming them into newly discovered loved objects. He gives them a new lease of life, and falls in love with their beauty. He says I believe that this body of work began during childhood; standing in front of my fathers workbench and admiring all that lay before me tangled wire and rust, heavy metal and bits of color, dusty cabinets hiding treasures beneath faded cobwebs. (www.artbybennett.com) Unlike Cornell, Joseph Bennetts reasons for making his boxed assemblages do not seem to come from a deep inner yearning for spiritual expression. Rather, he simply finds joy in presenting discarded objects in a new light, as a purely aesthetic exercise. With his lifelong partner and inspiration, Eli Hans, Bennett is involved in the interior design and transformation of homes so as to create an aesthetically pleasing environment that supports life goals in a perfect balance of form function. (www.sublimeinteriors.com). This accords with his Artists Statement, of transforming discarded items into newly loved pieces. Configuration? Details? Configuration is an attempt to think outside the box and add color and movement to my work. This piece continues to be my lover Elis favorite piece. (ref Bennetts blog). I can see the strong influence of Cornell in this piece but I cannot detect either a development from it or a personal angle. Bennetts work is predominantly an aesthetic activity but is linked to a desire to retain discarded items. He says that he sees his work as a form of art-activism, saying Its a passive way of teaching about not consuming so much I want people to appreciate things that they would otherwise throw away. (https://pem.org) Bennett is involved in a campaign to alleviate world poverty for which exhibiting his work raises money. I notice that Bennett has dedicated some of his work to Cornell. He has also dedicated a piece of art to a famous public performer, Joseph Beuys, which is a very Cornellian thing to do. Many of the found objects used in Bennetts work are the same or very similar to those used by Cornell, as are the overall designs and compositions, although I sense a more cluttered feeling in Bennetts pieces. These are my personal responses to Bennetts work, after having a brief e-mail correspondence with him. (REF) (Joseph Bennett recently sent me an image of a new piece that has not yet been displayed, although he has made no direct comments about this piece so far. INSERT and describe?) This chapter has taken a close-up view of the work of three artists who have all used the boxed device to frame their work. Each has a different emphasis and message, with very different subject matter, materials, and intention. In every case, the artist has felt an urge to expand the space that contained their message by using the box frame. Whether an intricate metal sculpture with multiple doors and compartments like Kusumotos, or bric-a-brac, fabric and black figurines like Saars, or found objects that have been liberated into a new existence like Bennetts, the boxed frame has played its part in transforming the materials into works of art that powerfully engage the viewer. I have compared the intentions, motivations, and effects of these three artists with the work of Cornell. The final chapter will pull all the threads of this study together, and will reconsider the various elements of the power of Joseph Cornells boxed constructions. Conclusion This concluding chapter seeks to summarise the findings of the study and arrive at a new understanding of how Cornells boxed constructions exert their powers of engagement on the viewer. Throughout this study, I have kept my initial questions in mind. In my introduction I asked where the power of engaging with a Cornell box originates: does the power come from the box or from what is in the box? What part does the viewer play in the equation? As I studied each element of the enquiry, many answers began to emerge. Firstly, concerning the power of engagement with the viewer, I found that a spirit of curiosity is fundamental to making the first connection. Curiosity is a natural, energetic and active human state that seeks answers. The idea of what can be in this box? sets up a chain of expectation, priming the curious viewer to want to know the answer, and so that person is likely to accept the invitation to look inside. This willingness to engage leads the viewer to enter into a relationship with the artist by investigating the work further. Once glimpsed, some sort of connection has been made. What follows may be a brief encounter, or it may be a deep and lingering fascination for what is discovered within. A spirit of playfulness and an open mind connects the viewer with the scene inside the artists window, and the message of the artist then becomes available for free association. At this point, the interested viewer may be seeking to understand the intention of the artist, or simply enjoying the flashes of memory and the personal associations that the work induces with no interest in the artists message at all. The essential point is that an engagement has occurred. The viewer has accepted the challenge or the opportunity to find points of contact, to be reflective, or to revisit personal memories which may resonate from the contents of the box. In summary, curiosity is the key, and the inquisitive viewer feels compelled to cooperate. Concerning the power of the box itself, this study has shown that from childhood onwards, boxes are an integral part of everyday life, with associations of excitement, fun, awe, intrigue and joy. In this sense, the box as a device has an appeal all of its own. Even if the box were empty it is likely that a curious person would still need to look inside, just to be sure that nothing was being missed. The box, with its depth and space, carries the opportunity for more senses to come into play than a conventional two-dimensional frame, which is an added bonus. The more senses that are excited in the viewer, the greater will be the impact on the imagination. My conclusion about the boxed frame is that it has a special appeal of its own for all the reasons discussed, evoking the curiosity that is essential to capture the viewers interest. What is contained in the box is the third element of the enquiry. The contents of the box may have an instant appeal that transfixes the viewer, or the curiosity may be short-lived and easily satisfied by a quick uninvolved glance. The reaction of the viewer will depend on a variety of factors, such as ones interest in topical issues, ones sensory reaction to what is viewed, ones tolerance of enigmas, ones appreciation of the particular colour and form used, and other similar considerations. Clearly, some scenes will resonate more with one person than another, as with all personal preferences. A deeper understanding of a particular artists imagery and symbolism would enhance the experience of appreciating that body of work. This is especially true of Cornell, whose rich symbolism and imagery is multi-layered. The study looked at the work of three artists who have used the box as a containing frame for their work, with a range of intentions, style, and message. It was shown that Bennett uses his frames to design an aesthetic experience for the viewer, Saar wants to publicise the burning political issues of racism and gender in order to provoke reaction and social change, while Kusumoto is externalising her inner feelings of nostalgia and longing, to keep alive and savour her childhood memories of Japan. These artists have used the physical space of the frame to create an earthly message, a display that inspires their viewers with here-and-now social, personal, and political issues. Cornells work was shown to be on a different level, since he did not primarily create his constructions with a viewer in mind. Creating his pieces arose from a strong compulsion to rearrange and reinterpret earthly experiences so that they were aligned with a purpose beyond earth, almost as in a vision or a prayer. In this way of connecting to unseen things, Cornell linked in to a potent energy which, even if not comprehended by the viewer, still exerted an uncanny power over him. His work expressed mans connection with infinity, the world beyond earth which Cornell believed was an illusion. His many threads of poetic knowledge were woven together and transformed into layers of meaning that lead the viewer back to contemplate the source of creation through the elements and symbols of his work. In Cornells case, the boxed construction was surely the only possible frame that could contain all the elements of his multi-faceted vision. Summarising all the points that have emerged from the study, it is clear that there is a strong link between the attitude of the viewer and the device of the box. Curiosity is the link between the two. The box has its own power because of our associations from childhood onwards. The viewer cooperates with this power by demonstrating the human characteristic of anticipation, curiosity, and a yearning to be entertained. At the start of the study, my intuition was that Joseph Cornell exerted a unique power of engagement with his viewer because of the special nature of his poetic imagery in the boxed constructions. Now, at the end of the enquiry, my hunch has not altered but it has expanded. I now believe that the power is a shared force. I believe that the power originates from all three areas, from the box itself, from the latent curiosity and the willingness to cooperate on the part of the viewer, and also from the contents within the box. The last factor is the one that decides how long the viewer remains spellbound and connected to the work in the box. The starting point for Cornells work was his life experience, his perceptions, and his continued wonderings. I believe that the seven phases I identified in his early life are the key to his unique and powerful artistic expression, as this study has shown. Ken Johnson, writing in The Boston Globe, says: the feeling one gets with Cornell is that being boxed in whether by familial circumstances or by neurotic shyness is what led to the cultivation of an extraordinary lively and adventurous inner life. He didnt think outside the box; rather, he thought deeper into the box by transforming its interior into a space of infinitely elastic possibility. Every box sculpture he made represents the triumph of a wide-ranging imaginative vision over the deadening captivity of external, terrestrial existence. (Quoted from The Boston Globe , see print out) The trio of curiosity, the device of the box, and the unique message of Cornell, indeed exert a great power of engagement with the viewer, which I now understand to be the human quest for knowledge and understanding. I conclude with Cornells own words: All things are interrelated. As above, so below. We are fragments of an unutterable whole. Meaning is always in search of itself. Unsuspected revelations await us. (SIMIC, C) where from?