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Wiki Charly

simplycharly — Fri, 28 Mar 2008 10:19:48 CDT

Welcome to WIKI CHARLY, your wiki to exploring the great historical figures of the arts, sciences and humanities.

Analysis of Godel’s Incompleteness Theorem

simplycharly — Thu, 24 Jan 2008 00:36:52 CST

Kurt Gödel was a mathematician born in Austria in 1906. The Gödel family made their money in textiles, but Kurt’s father was not a well-educated man. His mother, on the other hand, had undergone formal schooling, and instilled a firm belief in getting a good education in Kurt. As a result, he completed his studies at the top of his class in high school, and then went on to earn several degrees from the University of Vienna, including his doctorate in mathematics. What is so ironic about Gödel’s life is that, though he spent nearly his entire life studying theories of logic, he was a hypochondriac who feared being poisoned. He died from a lack of nutrition, and starvation, because he was convinced that someone was trying to kill him by putting something harmful in his food.

His most famous work, still discussed today, is the Incompleteness Theorem in mathematics, which consists of two parts. One of the main themes of his work suggests that “the axiom system must be incomplete,” and that not everything can be sufficiently proven when it comes to the axiomatic mathematical system (Devlin 2002). Originally written in 1931, his theorems have caused much controversy about what math and logic should truly mean, since many theorists believe in the absolute truths and outcomes that math has to offer. Gödel challenged this vein of thought, and created the belief that there might be more than one correct answer when it comes to problem solutions.

What Gödel’s theorem seems to do is it “imposes some [sort] of profound limitation on knowledge, science, mathematics” (Gödel’s Theorem 2007). It takes the concept of axioms, which are indisputable truths, and places a certain level of questioning upon them, so that it sort of breaks apart logical answers and conclusions that we may come to when figuring out a problem. This can be incredibly dangerous on the surface, because it may (and probably has) opened up an indefinite number of solutions to problems. In doing so, there is no distinct way to prove that something is correct, so then the sciences we should see as definitive, become a bit more subjective. Gödel’s critics feel that this type of thinking throws everything off balance, and can interfere with other scientific principles.

The first part of Gödel’s theory seriously questions the usage of proofs in mathematics, which specifically affects the area of geometry. Thus, for every proven mathematical statement, another one can be conversely constructed that is not necessarily provable. They may be implied by the set of axioms, because they are able to be constructed, given the conditions of the axioms. But, all the same, that does not mean that they should be constructed, because, in turn, they may end up contradicting themselves. What is accepted as truth in math is not necessarily proof. The two terms are not interchangeable according to Gödel, which would lead us to prove concepts that are not necessarily valid. This might seem like a waste of time, but the best test of something’s validity might be to in fact explore other facets of an argument in order to eliminate any shade of doubt.

The second part of this incompleteness theory involves consistency for provable theorems. It suggests that, somewhere in the many linear equations to be solved, there is something that can eventually break off, and not be in line with the rest of the proof that these mathematical concepts are in fact true. When defining natural numbers, this actually defies logic, because Gödel states that a formal system which aims to do so can specifically and definitively prove these numbers. Somewhere in that number system will be some statement or axiom that will be neither true nor false. And thus, since it cannot be proven, does not make it decidedly so.

As with any theory, there are limitations on Gödel’s incompleteness theorem that allow for some debate. For example, just because one is questioning whether or not something is true, does not mean that all cases call for such. As an illustration, it could be seen in terms of the Ancient Greek Liar Paradox: “a person stands up and says ‘I am lying’; if the person is lying, then the statement is true, so they are not lying; and if they are not lying, the statement is false, so they are lying” (Devlin 2002). So, either way, it is neither true nor false, and thus not worth the effort in saying it. That is how many felt about Gödel’s theorem.

But, in any event, he did leave quite a mark on the world of mathematics because he chose to refute the status quo, and not simply accept proven mathematical concepts as true, because there are very few absolute truths, even when it comes to science.

References
Devlin, K. (2002). Kurt Godel—separating truth from proof in mathematics. Science,
298(5600), 1899-1901. Retrieved November 22, 2007 from Academic Search
Premier.
“Godel’s Theorem.” (2007). Center for the Study of Complex Systems, University of
Michigan. Retrieved November 22, 2007 from
http://www.cscs.umich.edu/~crshalizi/notebooks/godels-theorem.html.

Analysis of The Persistence of Memory by Salvador Dali

simplycharly — Mon, 10 Dec 2007 22:16:13 CST

Salvador Dali was a surrealist painter born in 1904 in Figueras, Catalonia, a major region of Spain. He studied art in several different parts of the country, and became a master at adapting various styles into his repertoire effortlessly. When he was a teenager, he became fascinated with the ideals and concepts of psychologist Sigmund Freud, which he carried over into his twenties. He liked the link between artistic works and the subconscious mind, which caused him to focus heavily on the content of his art. Dali became very aware of the things he was trying to convey to the viewer, all the while dabbling in erotic and dreamlike imagery. Another major influence on his work was becoming immersed in the works of the Paris Surrealists who liked to paint from the subconscious mind, not necessarily with a definitive purpose in mind for the outcome of the work.

Arguably, one his most famous works was The Persistence of Memory, which he painted as a relatively young man in 1931. This painting depicts several pocket watches, detached from their chains, and melting slowly on rocks and a tree branch. It is quite deceiving to the eye initially, because it is a fantasy scene placed over a very lifelike setting, the ocean. The main part of the painting is that “hard objects become inexplicably limp in this bleak and infinite dreamscape” (The Museum of Modern Art 2007). An interpretation of this is that things that appear strong and always purposeful come to a point where they fade away and become somewhat useless. Many critics of the surrealist painters have felt that there paintings lack substance, and that there appears to be no rhyme of reason for their style of work. But, as we can observe from The Persistence of Memory, this painting certainly has depth and makes a statement.

The surrealists, including and especially Dali, did not hide the fact that much of the imagery found in their works came directly from hallucinations. Drugs and dreams alike become the driving forces behind his unusual statements through his art. Furthermore, Dali felt that painting in this way provided a much needed release, as he viewed painting in a similar way to that of making love.

At the center of The Persistence of Memory is a strange creature lying in the sand, looking somewhat pathetic and lifeless. Many art historians have said that this ‘monster’ actually has the face of Dali himself, and “its long eyelashes seem disturbingly insectlike or even sexual” (The Museum of Modern Art 2007). Perhaps this is how he pictured himself, somewhat peaceful and yet lost with no concept of time to keep him going forward. Further interpretation could reveal felt somewhat flat like the monster depicted, and grew tired of the burden that time and place brought to him. This could be seen in his real life, since the surrealists eventually grew tired of Dali’s antics and eccentric nature. They no longer considered him as part of their group due to his unwillingness to take a political stance amidst their predominantly Communist approach to life.

What is remarkable about Salvador Dali’s work is that it represents a clash of two different sides: real and imagination. But, he does not only in concept but also in shape. For example, when we go to the beach, we do of course see the water and sand, and sometimes rocks or cliffs off in the distance, as is displayed in the painting. Yet, the entire left side of the painting not only has the unusual clocks melting away, but very rigid lines and boxes that provide a platform for the pocket watches. What bridges them together is the monster that slides gently over rocks in the center of the painting. But what brings sentimentality to this work is that Dali revealed the cliffs in the distance are actually from a place in Catalonia, where he grew up.

A subtle theme in The Persistence of Memory, which Dali has used before, is ants. They are drawn to the decaying of time, much as they would be as if it were “like rotting flesh” (The Museum of Modern Art 2007). By depicting insects hovering together, it gives the painting a somber tone, perhaps suggesting that, despite the lack of time, things must come to an end somehow anyway.

No matter what is said about the painting, this work has stood the test of time, and is still referenced in much of pop culture today. Salvador Dali has become an icon for a generation of people interested in the abstract and distortion of reality.

Reference
The Museum of Modern Art. (2007). Salvador Dali Collection. Retrieved November 25,
2007 from http://www.moma.org/collection/browse_results.php?object_id=79018

On Dalí

simplycharly — Mon, 10 Dec 2007 22:09:24 CST

The man who was not only the most famous and prolific surrealist but claimed to embody surrealism itself, Salvador Dalí was as known for his flamboyance and eccentricity as for his vast and compelling body of work. In his cultivation of an artistic and bizarre image, he contributed as much to the idea of "the artist" as a social phenomenon or clique as he did to painting, sculpture, and film. So come inside and explore the world of Salvador Dalí: his life, his art, and his character.

Analysis of In Memory of Major Robert Gregory by William Butler Yeats

simplycharly — Mon, 10 Dec 2007 22:03:14 CST

William Butler Yeats was an Irish poet, born in Dublin in 1865. He grew up listening to folktales told to him by his mother, and being inspired by his artist father. This definitely helped him to develop his creative side, along with growing up in a modest household during a time of political strife.

One of the more touching and sentimental poems from Yeats’ collection was entitled In Memory of Major Robert Gregory. This was a poignant eulogy type piece, meant as a tribute for the son of a close friend of William Butler Yeats, Lady Gregory.

Many of Yeats’ poems have a certain dark quality to them, in that they are expressive and really try to connect to the reader’s most blatant emotions. Of course, something that we all experience is the loss of a loved one, and in the poem In Memory of Major Robert Gregory, this is a chance to honor the life of someone whom he felt was an honest and accomplished young man.

In the first stanza, it is clear that he is still reeling from this painful loss, as he “makes the trek up the stairs in the tower to go to bed” (Washington and Lee University 2007). He defines for the reader how difficult it is to do normal tasks like heading to bed when we are experiencing a great deal of grief. Things that once seemed effortless are now tedious because our emotions are clouding the thought process.

The second stanza is very poignant and bittersweet, because Yeats hopes that, upon arriving in the afterlife, Gregory will be taken in by all of his old friends. What is particularly noticeable is his second use of the word ‘dead’; yet he does not use it to refer to Gregory’s passing. Instead, he attributes it to his own thoughts and feelings, suggesting that his struggle comes from feeling empty and cold inside. Gregory’s body is dead, but Yeat’s thoughts are as well.

Stanzas three through six take the reader on a journey through the many losses that William Butler Yeats has experienced in recent years. The first two mentioned, Lionel Johnson and John Synge, had died in their thirties, and what was of course perceived as well before their time by Yeats. The latter, Yeats felt, was never able to reach his potential,” which is most likely the sentiment he feels about Major Gregory (Washington and Lee University 2007). He is lamenting not only on the death itself, but also how unjust it is when human life is taken from someone who is on the path toward great things and huge success.

The last man mentioned who had passed is George Pollexfen, Yeats’ uncle, who was a strong and well-respected man. This stanza shows the admiration that Yeats had for Gregory, because he is comparing him to someone to whom he was very close. He even mentions in the next stanza that Gregory’s death is a discourtesy, perhaps suggesting that he wishes to believe his passing as more of an abrupt departure, rather than a permanent farewell.

The poem begins to shift in stanzas seven through ten, where Yeats offers more of a tribute, rather than mourning, for Major Gregory. As in a typical elegy, Yeats takes great care in listing all of his attributes and accomplishments, noting him as a “soldier, scholar, horseman” (Yeats 1918). He even sought the help of Lady Gregory to add a stanza so that she, through Yeats, could truly honor the memory of her son.

But, the final two stanzas of the poem take on a rather aggressive tone, as if Yeats begins to forego all he had written in the previous parts, and just write stream of consciousness to show his true feelings. He ponders, “What made us dream that he could comb grey hair,” in a sort of lashing out that laments how such a brave and vibrant soul could be removed from this Earth well before his time. It is almost as though he is suggesting that it was Robert Gregory’s destiny to die young, so that he could combust into the atmosphere, rather than slowly fade away. His legacy was too great not to be noticed, and dying young would certainly help him obtain notoriety in Yeats’ eyes.

Yeats ends by noting that he really has no more words, because what else could be said about such a man taken away so soon? William Butler Yeats’ poem is incredibly well-written, because it is real and takes us on a true journey of what it is like to lose a loved one. Sometimes we become sentimental; others, we become resentful; and still others, there is a lingering sadness. But, this encompasses all the emotions, and delivers as a great speech and tribute to Major Robert Gregory.

References

“Facing the Reality of Death: A Critical Analysis of In Memory of Major Robert
Gregory.” (2007). Washington and Lee University, Irish Studies Department.
Retrieved November 21, 2007 from
http://ireland.wlu.edu/landscape/Group1/index.htm.

On Yeats

simplycharly — Mon, 10 Dec 2007 22:00:55 CST

Ezra Pound called young William Butler Yeats the only poet worth paying attention to. The eldest son of an Irish painter, Yeats came of age alongside Irish nationalism, and developed his love of the Romantic poets into an abiding interest in Irish culture. An enthusiast of mysticism and the occult, he was also invested in politics -- but for most of his life shied away from becoming deeply involved in activism.

Analysis of Freud’s Oedipus Complex

simplycharly — Mon, 10 Dec 2007 21:59:05 CST

Sigmund Freud was born in 1856 in Austria to Jewish parents during a time of economic and political strife. His parents had always placed high importance upon education, and as a result, Freud focused a great deal of time on his studies, becoming an excellent student. After earning a medical degree, he became fascinated with the human psyche, particularly emphasizing the developmental stages of human sexuality.
The Oedipus Complex theory developed its name from the play Oedipus Rex, written by Sophocles in Ancient Greece. The plot involves Oedipus being sent away as an infant because he was destined to kill his father. Not knowing who his biological parents were, he ends up slaying his father after an argument and because of his pride. He had sexual relations with his mother, unknowingly, and when their true identities are revealed, she hangs herself, and he blinds himself with a pin on her dress.

A major part of Sigmund Freud’s theory comes from displacement of repressed fears or desires that are not fully explored. Freud studied a five year old boy named Hans who, he had concluded, wanted to have sexual relations with his mother. Because of the wrongfulness he felt in expressing this suppressed love, he became afraid of many things around him, to compensate for the sexual feelings that were not returned to him. Children at this age, of course, do not realize they are doing this, so it is the subconscious at work that begins breeding these irrational fears within the psyche.

Sigmund Freud has highlighted all of the stages of psychosexual development, which is magnified in boys as opposed to girls. They enter into phases in which they must shift emotions and attachment to objects, and some eventually develop feelings for their mothers, stemming from oral fixations at a young age. As an infant, it soon “comes to appreciate its mother as the first external love object” (Britannica 2007).

There becomes a conflict within the individual, which is the pinnacle and turning point in the Oedipus Complex. The boy begins to resent his feelings for his mother, and often struggles with being the man of the house over the father. If there is no father figure, then the boy’s role in the home becomes even more confusing, and the bond is extremely hard to break when the son eventually leaves the home. However, if there is a father figure, there are often feelings of guilt between father and son, but more often than not, Freud notes that there are certainly unexpressed feelings of hate toward the father, and unusual love for the mother.

Another arbitrary aspect of the Oedipus Complex involves female sexuality. Freud does not account for a girl’s love for her mother in his studies, but more suggests that, in sexual development, women grow to actually resent men. That is not to say that women hate men, but more suffer from penis envy for a good portion of their lives. He “had a problem conceptualizing female sexuality,” going so far as to believe that women really felt like castrated males, instead of embracing their own femininity and genitalia (Morgenstern 2003). This shows that the majority of Freud’s studies center around how men face sexuality and their inner struggles, rather than extending the research to both sexes.

Some critics of Freud’s theories have suggested that his research is nothing more than a mere retelling of an age old story with no basis of truth. Other research has indicated that Freud also studied the reverse aspect of the Oedipus Complex, in which the boy has a great deal of affection for the father, and abhorrence for the mother. In this case, the boy would exhibit a great deal of chauvinistic behavior, and feel a coldness toward most women.

Usually, it has been found that those suffering from a strong sense of the Oedipal Complex tend to seek mates that possess characteristics of their mothers. The comfort level that they feel from that affection is unlikely to subside, and rather than giving into those repressed subconscious desires to actually pursue something with the mother, they find a substitute instead. This would constitute the concept of transference, which “is the reenactment of childhood urges cathected (invested) on a new object” (Britannica 2007). For those that never fully mature from this lost state of childhood, that ‘object’ becomes another person who can fulfill the needs that have not fully been realized, or maybe have been realized too much, by the boy and his mother.

The work of Sigmund Freud is still greatly discussed in modern society, because of the amount of emphasis he placed upon urges and our quest to find a healthy sense of sexuality in our lives. Whether disputed or revered, the Oedipus Complex remains one of the most talked about theories in psychology.

References

Mortensen, N. (2003). University of Toronto Quarterly, 72(4), 777-788. Retrieved
November 26, 2007 from Academic Search Premier.
“Sigmund Freud”. (2007). In Encyclopædia Britannica. Retrieved November 21, 2007,
from Encyclopedia Britannica Online: http://search.eb.com/eb/article-22605.

On Freud

simplycharly — Mon, 10 Dec 2007 21:55:24 CST

The father of psychoanalysis, Sigmund Freud developed or popularized almost all of the core notions that comprise what the average person thinks of as "psychology." He's responsible not only for the ideas of sexual repression and the sexual nature of neuroses, but for the professional approach to dream analysis, the idea of the ego (and id and super-ego), and most importantly, for talk therapy.

On Gödel

simplycharly — Mon, 10 Dec 2007 21:36:42 CST

One of the major modern mathematicians, Kurt Gödel's contributions quickly became part of the foundation of his field, before he had even turned 30. He never stopped working, after his early successes, and continued to augment the field right up into his 60s, including a major paper on the work of his friend, Albert Einstein.

Lack of Gore in Hitchcock Films

simplycharly — Mon, 10 Dec 2007 21:25:54 CST

Alfred is arguably one of the most influential filmmakers in history, having created several masterpieces of horror and suspense. His films had various psychological themes and complex characters that helped to drive the plot. Yet, his films highly contrast the horror films of today, with the major component missing being gore. Hitchcock felt that a true thriller could be made by delving into the depths of the viewers mind, rather than making blatant attempts at showing blood and mutilation, as we see today.

Born in the Leytonstone region of London, England in 1899, Alfred Hitchcock was brought up in a somewhat reserved and middle-class family. He was very visually stimulated from a young age, and began his career in film creating set designs on paper. A twist of fate led him on a path of directing films, and he developed his own themes and plots shortly after.

One of the major elements that Hitchcock brought to his films was to expose our voyeuristic tendencies as a society. In doing so, he showed how we like to be teased and titillated, and given just a glimpse of sexuality, without revealing everything as a whole. This deconstruction played heavily upon human desires, but also revealed a darker and more sadistic side. Many viewers found his films to be quite dark and have dismal content. He was even considered a misogynist because many of the victims in his films were portrayed as helpless females.

However, Alfred Hitchcock was a master of scene manipulation, and created startling images for the viewer, without using blunt or gruesome displays. Even when he shot a scene involving murder or accidental death, he did it in such a way that was creepy, and allowed the viewer to draw many of his or her own conclusions. A classic example of Hitchcock’s depth is his most popular film, Psycho. This was one of the first times an audience had seen such a depiction of a cold-blooded killer, as played masterfully by Anthony Perkins. He was a fresh-faced and gentle young man who harbored a dark secret, never able to fully express his grief or sexual impulses. Thus, he creates perversions in his own mind, and despite his sexual attraction for Marion Crane, he uses the alter-ego of his dead mother to react adversely to this repression.

Most horror films today do not tend to enter into this deep connection with the killers, usually depicting them as mindless barbarians who were tortured or caged in some way. While it may make sense in a way why they react and brutalize their victims, they do not display the inner struggles of the characters and how they feel about the victims. Furthermore, these films usually do not show a rhyme or reason for why the characters are killed; but in Psycho, we know that Norman Bates killed Marion Crane because he wanted her, yet felt it was wrong.

Unlike suspense films of today, Hitchcock’s Rear Window is another classic example of how the unknown can be much scarier than the obvious. What makes this film so unique and thrilling is that it is as if we are being let in on a little secret, of a world according to L.B. Jefferies, or ‘Jeff’ as he is mainly known. Using roaming and tight camera angles has always been Hitchcock’s trademark, but none are so powerful as the ones used in this film. Rather than immediately revealing the foe, Lars Thorwald, and having major encounters with Jeff, the viewer is built up with suspense of Jeff finally getting caught for all of his insatiable viewing habits.

Alfred Hitchcock does not need to use gore in his films, mainly because, above all else, his films often try to teach lessons. Using circumstance and consequence, he shows the nature of wrongdoing, and perceived evil to show the true horror of human nature. He does not need to create a great deal of bloodshed because a gruesome end for someone like Jeff or any of his other characters suggests that their fate is sealed without any kind of action being committed. There needs to be some kind of redemption, even in a horror or suspense film, because we are supposed to be able to in some perverse way relate to the characters. We may not freely admit to voyeurism or twisted attractions to the opposite sex, but all the same, we want to go with the feeling and be tricked into thinking that it is safe. This is a far better reward onscreen than seeing someone getting hacked to pieces. And fortunately for us, Hitchcock completely understood that.

On Hitchcock

simplycharly — Mon, 10 Dec 2007 21:22:58 CST

A filmmaker whose career began in the silent era and stayed strong through the advent of sound, color, and television, Alfred Hitchcock was one of the leading directors of his day. Both critically lauded and commercially successful, he had an enormous influence on the development of the thriller and the black comedy. His stylistic influence has been felt in his popularization of the expressionistic techniques he learned in Germany during the silent era, his use of special effects and dream sequences, and his use of the famous "MacGuffin" plot device. His effect on culture has been felt even outside the realm of film and television: his fascination with the criminal mind helped to introduce the general public to many of the foundational ideas in modern psychology, by portraying mentally ill criminals realistically instead of as the sheerly unpredictable madmen who had populated most films and entertainment.

On Chaplin

simplycharly — Mon, 10 Dec 2007 09:15:52 CST

A pioneer in the world of cinema, the work of Charlie Chaplin defined the silent film era: while he was not the only master of physical comedy of the day, his Little Tramp character has become the best known and most-beloved of the day. He helped to stretch the bounds of filmmaking even before synchronized dialogue was added, doing more with the limited technology of the day than many would have done with twice as much. In addition to his work on-screen, he co-founded United Artists with Mary Pickford, Douglas Fairbanks, and D.W. Griffiths, among the earliest filmmakers to seek creative control over their work in an industry that -- then and now -- has been dominated by financial types. So come inside and explore the world of Charlie Chaplin: his life, his art, and his character.

Analysis of Charlie Chaplin and ‘Talkies’

simplycharly — Thu, 06 Dec 2007 18:22:50 CST

Sir Charles Spencer Chaplin, Jr., whom we know on the silver screen as Charlie Chaplin, was born in Walworth, London in 1889. He grew up in a family of entertainers, and began singing at a young age. His parents had separated when Charlie was three years old, and he moved around quite a bit while living under his mother’s care. The Chaplin family was plagued with demons, as his father became a reclusive alcoholic, and his mother had fallen mentally ill and was eventually placed in an insane asylum. After all of this, Charlie and his brother became very close, and relied heavily on their performing talents to survive.

Above all else, Charlie Chaplin was a true cinematic artist, and took the work he did very seriously, because he wanted to entertain the masses. After the invention of the ‘talkies’, or movies with sound, he felt that cinema began to decline in artistic value, and that actors relied too heavily on dialogue rather than movement and interaction. Chaplin firmly believed that “silent film's message reaches the entire spectrum of ‘intellectual and the rank and file’”(Durham, Handler, Racusin & Simonian 1999). The motivation behind his early silent films was the extensive use of imagination, both by the actors as well as the audience. He had almost complete control of his work because not only was he an actor, but a director and writer as well.

Much of Chaplin’s fame has come from the conception of his hilarious and offbeat character, the Tramp. He had explained that it was a sort of bold statement against the status quo. Prior to shooting the film Mabel’s Strange Predicament, he was feeling indecisive about the wardrobe for the main character. As a result, he decided to play it over the top, and choose a look that defied the status quo. He wanted the ultimate contradiction in appearance. Chaplin felt that by dressing in baggy pants, a derby hat, a tight coat, topped off with a tiny mustache, he could exaggerate the movements and characterization on screen. He had studied pantomime when he was much younger, and brought a great deal of this art form to his films. He communicated everything onscreen through his actions, because he truly felt that they spoke louder than words.

Over time, Charlie Chaplin eventually succumbed to the trend of using sound in his films. Many of his fans felt that he was a hypocrite because of his public scorn for sound in pictures. But, he more than made up for this by incorporating subtle statements of his political views into his films. The new medium allowed him the opportunity to “include a critique of industrial working conditions in the United States during the Depression, and a strong critique of the Fascist regime of Adolph Hitler” (Durham, et. Al 1999). After doing this, Chaplin’s popularity remained quite strong during the 1930s, yet he worried that this brashness was not quite the image he wanted to portray. Despite avoiding full-length dialogue in most of his ‘talkies’, he decided to break down and insert speaking interactions for the characters of his 1940 film, The Great Dictator. Eventually, because of the extended length of films, and because dialogue was such an integral part, “an actor needed to move beyond constant slapstick” (Charlie Chaplin 2007). Chaplin’s films had to take on a more serious tone that was not as over-the-top as people had been used to seeing him.

Because sound in film allowed Chaplin’s messages to be heard the world over, this caused quite a backlash, particularly from the United States government. Though born in England, Charlie Chaplin lived in the United States for an extensive period of time, producing nearly all of his works here. During the McCarthy era, Chaplin’s activities were closely monitored, as the FBI noticed several communist messages in his works being transmitted on screen. In 1952, J. Edgar Hoover, the Director of the FBI during this time, saw to it that Chaplin was not to be allowed to return to the U.S. after making a long trip back to London.

Charlie Chaplin was truly a genius that will go down as one of the most influential people in the history of cinema. He truly loved the art form, and stayed true to his craft throughout most of his career. Though he had to adapt eventually to the usage of sound in film, he was still able to allow his statements to be heard, while remaining a powerful force in Hollywood.

References

“Charlie Chaplin.” (2007). American Masters, PBS Online. Retrieved December 1,
2007 from http://www.pbs.org/wnet/americanmasters/database/chaplin_c.html.
Durham, M., Handler, J., Racusin, A., & Simonian, N. (1999). Charlie Chaplin and silent
films. Transcriptions Project, University of California. Retrieved November 30,
2007, from http://transcriptions.english.ucsb.edu/archive/topics/infoart/chaplin/

Analysis of Le Corbusier’s Architectural Style

simplycharly — Thu, 06 Dec 2007 18:14:06 CST

Architect Le Corbusier was born Charles-Edouard Jeanneret-Gris in 1887, in La Chaux de Fonds, a relatively small town in northwestern Switzerland. He had a fulfilling childhood overall, and was sent to a school where he was catered to from a young age. His early years were full of skill and creativity, as his father was a watch enameler and his mother was a music teacher and pianist. As a teenager, it was expected that Le Corbusier would follow in his father’s footsteps, and thus enrolled in trade school to learn about watch-case engraving. While here, he found a mentor in his teacher Charles L’Eplattenier, who saw much promise for Le Corbusier in the area of fine arts. The teacher thought that he would be best suited as an architect, but Le Corbusier was somewhat resistant to the idea, as he enjoyed painting.

Throughout his twenties, he began traveling around several parts of Europe, eventually settling in Paris. Having been influenced by some of the great philosophers in history, he put this essence of beauty and harmony into his work. He was also influenced by nature, and created many open-air styles in his early years of architecture. While traveling, he became fascinated with the Parthenon in Greece, and used that as inspiration for some of his work, as well as his writings later on.

Le Corbusier liked to focus on the objects with which he came into contact. He began studying how something took up space, and saw that he could design “geometric, stylized shapes and figures” (Kennedy 1998). When he went back to Paris, he began studying the fundamentals of architecture under building engineer Auguste Perret, which helped him gain a better understanding of structure. He later worked with his cousin, and the two began a lasting partnership designing structures with columns, concrete slabs, and winding staircases. He then changed his name from Charles-Edouard Jeanneret-Gris to, simply, Le Corbusier, a variation of his grandfather’s name. He set out to design a series of villas, and began a specific design known as the Maison Dom-ino. His main priority was to create a new style of housing to replace much of what was lost during World War I. His concept was unique for the times, in that there were few “structural constraints,” and “perfectly straight posts without capitals” (Le Corbusier 2006). He continued his work on models of single-family homes, with some of his ideas being quite extraordinary for the times. He called for a three-floor structure where the living room, bedrooms and kitchen would each be on a separate floor, and a sun terrace would be on the roof.

Throughout the 1920s, Le Corbusier would develop a contemporary city plan, as he made his way from designing homes to larger apartment structures. As cities grew, he was called in to address the housing crisis, making cutting-edge places to live for the masses. He was seen as somewhat eccentric in his style, and had a vision for how Paris should look throughout the twentieth century. He hoped that the big cities throughout Europe would have towers that were created in a semi-circle, comparable to both downtown and suburban styles that we know today.

One of the things for which Le Corbusier is most famous is his five points of architecture. The main purpose was to create the antithesis of the decrepit cities that he found along his journeys. He wanted a modern look that was unique and had a great deal of open space. He was quoted as saying that ‘a house is a machine for living in’, and believed that many people viewed their homes as more of a cell rather than a pleasant living space. Le Corbusier liked everything to be in proportion which he felt helped keep humans in balance. He even delved into the world of furniture design to help people to be as comfortable as possible.

The style of Le Corbusier was at the forefront of modern architecture. He developed the Purist design, and despite many critics, his designs are still mimicked long after his death in 1965. He is truly an icon in the field because of his vision to improve living conditions in major metropolitan areas.

References

Kennedy, R. (1998). LeCorbusier and the radiant city contra true urbanity and the earth.
Advanced Seminar in Policy Studies: Sustainable Urban Design, University of
Kentucky. Retrieved December 2, 2007 from
http://www.uky.edu/Classes/PS/776/Projects/Lecorbusier/lecorbusier.html.
“Le Corbusier.” (2006). Le Corbusier: Architect Biography. Retrieved December 2,
2007 from http://architect.architecture.sk.

On Le Corbusier

simplycharly — Thu, 06 Dec 2007 18:10:45 CST

The father of Modern Architecture, Le Corbusier embraced many of the notions of such early 20th century artistic movements as Futurism and Modernism, and applied them to a strongly practical mindset. A supporter of industry and technology, a lover of automobiles and ocean liners, Le Corbusier not only designed buildings, he designed the cities they were meant to inhabit: his buildings weren't meant to be artistic curiosities, standing out like ornamentation in the urban landscape -- but rather, pieces of the new modern city itself. So come inside and explore the world of Le Corbusier: his life, his art, and his character.

Albert Einstein’s Mass-Equivalence Equation: E=mc^2

simplycharly — Thu, 06 Dec 2007 18:08:51 CST

Albert Einstein was a physicist, born in Wurttemberg, Germany in 1879. Though the Einstein family was Jewish, Albert was educated in Catholic schools. Early on, he struggled with his speech, and being able to put sentences together in the correct way. What did not help was that the family moved around quite frequently, moving across Germany, and then abroad to Italy and Switzerland. Despite his struggles, he became an excellent student and showed an early interest in the areas of science and mathematics.

Einstein’s drive came from trying to find the problems that arose in modern physics of the time, and building on the theories of his contemporaries in order to develop new theories of his own. He was particularly troubled by Newtonian mechanics, and began developing the theory of relativity, among others, and delved into the world of quantum mechanics and physics.

In 1905, Albert Einstein arrived at his famous equation of E=mc^2 while he was doing extensive work on relativity. The most basic interpretation of this equation is defined simply as “energy equals mass times the speed of light squared,” also known as the mass-energy equivalence equation (Tyson 2005). His main goal was to prove that mass can be defined by the energy that it produces, and everything that has mass subsequently has a level of energy.

In this equation, the terms are defined accordingly: ‘E’ is the energy equivalent to mass, measured in joules; ‘m’ is the mass, measured in kilograms; the ‘c’ represents the speed of light, but actually stands for the Latin word for speed, which is celeritas, yet actually measured in meters per second. On the surface, this equation may be puzzling, because we are to believe that, under the right conditions, matter is converted into energy, and vice versa. This is because an object has various forms of energy, including potential and kinetic energies.

Mass has to be converted to energy, and this can be done in a variety of ways. An example of this would be a billiard ball that is heated. It will absorb the heat energy, and according to its properties, it will expand. The heat expansion thus becomes mass as a direct result of energy conversion (Flores 2005). Thus, it is not so much a question of the object, but the changing of the object that makes it equivalent to energy. Furthermore, it is important that we not think of mass as a means of substance necessarily. Yes, we are talking about weight, but it is not necessarily about the quantity, and more about the space something is occupying.

All other considerations aside, an object at rest can still have energy, but it is stored, and must be set in motion in order to hold true to the mass-equivalence theory. So energy, while still valid to the object at rest, is null and void without the element of action. But there is still the question of having to square the speed of light in order to complete the equation. This is because “when something is moving four times as fast as something else, it doesn't have four times the energy but rather 16 times the energy” (Tyson 2005). The number has to take into account this movement, but nonetheless, yields a number of epic proportions. Even something miniscule like a pebble can yield a great deal of activity. This equation encompasses every bit of matter, tall and small, and everything in between.

Einstein’s theory is still used to this day, because many advanced technologies call for it. Anything that uses radiation, or radioactive decay of a substance, is a direct result of this theory, and is used to measure how we are able to view the human body. The illumination would be the energy, and something like a PET (positron emission tomography) scan will specifically pinpoint the radiation emission, allowing the doctors to see the progression of a disease. Also, variations of Einstein’s equation have also been used to accommodate momentum, which shows “how light works, and how energy and light can be transferred and transformed from one place to another” (Tyson 2005).

Regardless of its comprehension by the masses, Albert Einstein’s equation, E=mc^2 still even perplexes physicists and mathematicians. However, its basic principle allows them the chance to see just how things work and change.

References
Flores, F. (2005). Interpretations of Einstein’s equation E=mc^2. International Studies
in the Philosophy of Science, 19(3), 245-260. Retrieved November 30, 2007 from
Academic Search Premier.
Tyson, P. (2005). Einstein’s big idea: the legacy of E=mc^2. Nova: Science
Programming On-Air and Online. PBS Online. Retrieved November 30, 2007
from http://www.pbs.org/wgbh/nova/einstein/legacy.html.

On Einstein

simplycharly — Thu, 06 Dec 2007 18:05:51 CST

His very name means "genius" to billions of people. Albert Einstein was one of the most significant scientists in history, reshaping the scientific community's view of the universe and persuading it to abandon its slavish loyalty to Isaac Newton's ideas, which he treasured but not enough to ignore their flaws. He's one of the few scientists instantly recognizable to the world, and so deep was his impact that he made such abstract (and frankly weird) concepts as relativity and mass-energy equivalence into household terms, familiar even to laymen who don't understand the science behind them. So come inside and explore the world of Albert Einstein: his life, his work, and his character.

On Hemingway

simplycharly — Thu, 06 Dec 2007 18:04:51 CST

An American writer who was a central figure in the Lost Generation group of expatriates who lived in Europe during the 1920s, Ernest Hemingway was one of the most important authors of the twentieth century. His combination of masculinity, plainspoken unadorned language, and deep literary interests influenced generations of writers to follow him, from J.D. Salinger to Hunter S. Thompson. So come inside and explore the world of Ernest Hemingway: his life, his work, and his character.

Analysis of Ernest Hemingway’s The Sun Also Rises

simplycharly — Thu, 06 Dec 2007 18:04:14 CST

Ernest Hemingway was born in 1899, in the Chicago suburb of Oak Park, Illinois. He grew up in a prominent family, with a doctor father and an opera singer mother. His mother was very strict and ensured that the family would live a pristine Protestant lifestyle. One element of Ernest’s childhood that would have a profound impact on him as an adult is the fact that his mother dressed him up in girl’s clothing. She did this because she was so disappointed over not having twins, and would pair him up with his slightly older sister. Hemingway was a well-rounded student and an active participant in his high school, but English class was where he was really given the opportunity to shine.

Rather than heading off to college, eighteen year old Hemingway instead opted to become a journalist. He did this for awhile, and then decided that he was going to be involved in the military somehow. After failing an examination which disqualified him from active duty, Ernest joined the Red Cross. This did not prevent him from seeing the harsh realities of war, and the images would provide much of the inspiration for some of his most famous novels.

One of these novels about war was The Sun Also Rises, which focuses on the Lost Generation, the nickname given to young people who had been through various aspects of World War I. The characters in the novel are all trying to pick up the pieces after witnessing some of the horrors and the evil side of humanity. Their interactions with one another are plagued by issues of sexuality, racism and strong psychological reactions to their situations. Hemingway liked to explore the depths of human relationships, both abnormal and normal, with a major event serving as the backdrop for the characters to reference. Furthermore, the way in which the characters speak to one another is a technique that Hemingway uses in many of his works. He prefers a more direct tone, rather than offering lengthy sentence structure and reflection. The characters and settings, while symbolic, talk in the way that we would have an every day conversation on the street.

A major theme of this story lies with the main character and narrator of the story, Jake Barnes. The war has left him impotent, and thus unable to pursue a sexual relationship with the main female character, Brett Ashley. Brett, while beautiful, is somewhat masculine in nature, which provides a stark contrast. Hemingway uses a role reversal to play with our thoughts on war. This hero comes back unable to show the ultimate in manhood, which would be making love, while his female counterpart is quite promiscuous and nonchalant about her affairs, as men would stereotypically be.

Another element widely used in The Sun Also Rises is the absence of trust and insecurity. While this is blatant in Brett Ashley’s characterization, there is a more subtle trust issue among the men within their friendships. The character of Robert Cohn is the target of much scorn and resentment from the others. On a superficial level, many of the men distrust him because he is Jewish, and this was a time of anti-Semitism, due to the gradual rise of Hitler during the World Wars. But, there is deep-seeded hatred that Jake feels because he feels somewhat stripped of his masculinity by Cohn. Not only does he get the woman that is the object of his desire, but also he has not fought in the war. His romantic notions of war having not suffered tragedy breed hatred toward him.

Sexuality of course is a recurring theme throughout the novel, but its overall destructiveness and corruption of behavior can also be found. The bullfighting is a great symbol used to portray this downfall, because of the way in which it is described. It shows the duality of sex, in that it is seductive and creates a wonderful feeling throughout the body, as the initial charge of the bull does. But, just as there is an extreme brutality in the sport, so is there in a sexual relationship. When sex is frivolous, it is inevitably on the path toward destruction.

It was not uncommon for Hemingway to insert several personal elements in his writing. Heavy drinking occurs throughout The Sun Also Rises as a catalyst, it seems, for the honesty of the characters. Perhaps this was an early attempt for Hemingway to bleed his demons out onto the page, because he had suffered from alcoholism for a good portion of his life. To what extent this novel is autobiographical is not known, but it is a safe assumption that he did inject a part of his personality into the characters and plot.

Ernest Hemingway’s writings are still discussed today, because of the complexity and symbolism of the characters and events. Combining historical facts with straightforward dialogue, The Sun Also Rises provides insight into the futility of war and the repercussions for a young generation who have seen immense tragedy.

On Picasso

simplycharly — Thu, 06 Dec 2007 18:01:53 CST

One of the founders of Cubism, Pablo Picasso was an extraordinarily prolific painter whose career lasted twice as long as many artists', thanks to his early start and his devotion to his work even into old age. His paintings encompassed the realistic, the cubist, the bizarre, the surreal, the somber, the uplifting, and the expressionistic -- and he escaped being trapped into one movement, continuing to explore his style throughout his life. So come inside and explore the world of Picasso: his life, his art, and his character.