artful dublin Essay -- essays research papers

Someone has crafted a dense, human-size spider web in a 17th-century baroque chapel. At the center of the swarming thread, a longhaired woman lies in a hospital bed, sheet to her chin. Silence, light filtering from stained glass, and her stillness trapped in the maze reminds the viewer of some old dada wisdom -- any work of art that can be completely understood is the product of a journalist. Down the hall, in a large room, a young German is rushing around in a white jumpsuit. He alternately plays with toy airplanes and bakes cakes in a microwave, which every hour on the hour he blows up. These exhilarating works of art from Chiharu Shiotta and Frank Werner were at the Irish Museum of Modern Art in Dublin recently, part of a show called "Marking the Territory." The images were compelling enough, but the real strangeness was that they were happening in Dublin at all. For centuries, the visual arts in Ireland ran a distant second due to the superiority of the Word. But no longer. "This is an ideal place for an artist to be," Paolo Canevari said. The young Roman was represented at IMMA by "Differences," seven people on a bench on whose foreheads he methodically rubber-stamped religious denominations. "The Irish aren't jaded. There's no boredom with art." Even Dublin's stinging humor, a style that is distinguished by an urchin's allergy to the sentimental and a duty to bring everything down to street level, has softened toward the public art of the city. The statue of the River Liffey, personified as a woman in a fountain, is still known as "The Floozy in the Jacuzzi," and a realistic sculpture of two middle-age women taking a rest from shopping will forever be "The Hags With the Bags." And what else could a giant metal spike proposed for the north side be called but "The Stiletto in the Ghetto?" These days, however, all street titles are said with affection and pride. Every nation prizes creativity. But countries such as Ireland, which for so long had little but creativity, revere it. It is now museums, galleries and artistic work that are embraced, and not just the theater, pub wit and the writer. One of the engines of Dublin's artistic boom is IMMA, only 10 years old yet housed in one of the most magnificent 17th-century buildings in the world, the Royal Hospital, Kilmainham. Formerl... ...ight to $1,725 for the penthouse suite. Full service, excellent restaurant and a great bar for people watching. The Pembroke Townhouse (90 Pembroke Rd., telephone 011-353-1-660-0277,www.pembroketownhouse.ie) is a marvelous, immaculate Georgian house in Ballsbridge, close to everything on the south side, with a cheerful and efficient staff. Rates run from about $90 to $120 per night. WHERE TO EAT: Restaurant Patrick Guilbaud (21 Upper Merrion St.) has spectacular art on display along with the best French cuisine in Dublin. Appetizers run from $14 to $30, entrees from $35. Trocadero (3 St. Andrew's St.) -- "the Troc," near Temple Bar -- is a great old-time theater restaurant, with late suppers and superior bar food until midnight. It's recently been refurbished and crisped up, but they left the sense of fun intact. Two can have a memorable Italian meal and a bottle of red for about $60. INFORMATION: For more information, contact the Irish Tourist Board, 800-223-6470, www.ireland.travel.ie; or, in Dublin, the Bord Failte (Gaelic for "board of welcome"), Baggot Street Bridge, telephone 011-353-1-602-4000. -- Ambrose Clancy  © 2002 The Washington Post Company

Higher Education and Vocational Degree

Murray’s Essay On Education: What’s Wrong With Vocational School â€Å"What’s Wrong With Vocational School,† by Charles Murray is an Article that states Vocational schooling would be better off than a four year College degree. In Murray’s opinion, college should only be with those with a high IQ rate of 115 or higher and able to handle rigorous and challenging courses. If you are at an IQ below 110 it becomes an issue and you would be more successful in a Vocational program.This article calmly and rationally presents the notion that the population would be better served by the reintroduction of more training for careers in trade occupations becoming more prominent, therefore creating more job opportunities for people graduating with a vocational degree. Many students that graduate from a four year University do not learn what is needed to go into the working field. Murray states â€Å"For a few occupations, a college degree still certifies a qualif ication. This brings up the question, why do we pressure everyone to get a four year degree?In our society the college you go to means more than your actual qualification or talent you might have. Employers tend to pick a student that graduated from a university over that of a vocational school student just because of the name of the school not the talent the individual has. The degree itself also does not automatically qualify the student for the job and there are much faster and better ways such as a vocational degree for young people to provide credentials to employers.These credentials are needed in the job market for students with vocational degrees. As Murray says, â€Å"Finding a good lawyer or physician is easy but finding a good carpenter, painter, or electrician is becoming difficult. † The jobs needed such as an electrician or painters are those with vocational degrees. We often overlook some of the great jobs that don’t require a degree and are still very r ewarding. A vocational degree can bring just as much income sometimes even more than a four year college degree in half the time.We have a mindset that a four year degree is much more valuable than a vocational degree. As Murray conveys this is not true he used an example of a craftsman bringing intrinsic rewards with high income. Vocational degrees are becoming more susceptible in our community. A college degree is no more important than any other high tech occupation such as an NBA player or a cabinet maker. Many of our most high income people do not have a college degree and do not care because they are living happily without it.Murray states the social cachet of a college degree still remains but will erode over time when large numbers of high income people do not have college degrees. † Many employers are looking more at the evidence you are good at something without the benefit of a college degree and will increase more overtime. If this does continue our false outlook o f a college degree will diminish. As a society we look at the only way of becoming successful is going to a four university and look over vocational degree programs. Through Murray’s argument we learned tha

Film The Prestige - 2340 Words

The Prestige – Perception and Identity Introduction The Prestige is a 2006 film directed by Christopher Nolan. The background is set in London in the late 19th century. Rupert Angier (played by Hugh Jackman) and Alfred Borden (played by Christian Bale) originally are the shills of a magician. Angier’s wife is drowned in a show and he blames Borden for that. Since then they are rivals and start their own careers as magicians. Angier becomes ‘The Great Danton’ while Borden becomes ‘The Professor’. They try to sabotage each other’s show. Borden loses two fingers in a bullet catch trick while Angier loses some reputation in bird cage trick. Later Borden starts to perform a new trick called ‘The Transported Man’. Angier is impressed and†¦show more content†¦It is our intellect but not senses to judge that he is a man. It may be the same in the magic tricks. What a magician does is not deceiving our senses, but our ability to judge and reason. What we see or what we hear in the magic trick are no doubt the truth, just like a piece of solid wax and a piece of melted wax, we can sense them correctly but we cannot judge that they are the same. What we really feel wonderful about is that we cannot find out the reason or relationship between the two pieces of wax or to explain the magic trick. That is why the prestige is the most important part of a trick, as mentioned in the movie. Taking Borden’s ‘The Transported Man’ as an example. In his trick, when he steps inside the door at one side of the stage, he can immediately come out from another door at the other side of the stage. In th is case, what the audiences see is Borden stepping in a door and he stepping out from another door, as compared to a piece of solid wax and a piece of melted wax, they are both the truth. He accomplishes this by using a double, who is his look-alike twin brother. It is a very simple idea. But still, why people think that he is really transported? It is because people are deceived in the process and they cannot judge by their intellect that he is using a double. In this movie, the appearance of the cloning machine presents the most extreme case to explain how ‘The TransportedShow MoreRelatedInception And The Prestige Film Analysis1835 Words   |  8 PagesChristopher Nolan is credited as being an illusionist in the way that he directs his films. Inception and The Prestige are two of his films that will keep you pausing and rewinding for the duration while you try to keep up with the complex story lines and mind bending conclusions. 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