Nutritional Knowledge And Athletes Nutrition - 1661 Words

Tyler Inch Nutrition Paper Nutritional Knowledge and Athletes How well do you know nutrition? Do you know the recommended daily intakes of the three macronutrients – carbohydrates, proteins, and fats? All people have varying levels of nutritional knowledge and there are a number of ways that a person can go about enhancing their nutritional knowledge including Internet research and speaking with a nutritionist or dietitian. However, no matter how much any person knows about nutrition, one would most likely assume that a person with more knowledge of nutrition would make healthier or better decisions regarding nutrition. Nutrition can be difficult enough for anyone but being an athlete changes a person’s dietary needs, which makes the necessary nutritional knowledge of an athlete different from that of others. In recent years, there have been a number of studies done regarding the nutritional knowledge of athletes and their nutritional habits. There was one study that examined male collegiate athletes and their knowledge about pro tein needs while another looked for a correlation between nutritional knowledge and nutritional habits in professional rugby players. A third study looked at the effect of a sports dietitian and gender differences on nutritional habits for collegiate athletes. In the following paragraphs, these three studies will be discussed in further detail. Protein is one of the three macronutrients required by the body and athletes generally require moreShow MoreRelatedSports Nutrition : The Primary Goal Of Sports1137 Words   |  5 PagesChapter II Sports Nutrition Literature The primary goal of sports nutrition is to achieve energy balance by ensuring an adequate caloric intake in the correct proportion of macronutrients (American Dietetic Association, 2000). 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The most common food establishments chosen by the athletes were: SubwayRead MoreDevelopment Of Nutritional Information For The Uc Merced Varsity Athlete4896 Words   |  20 PagesDEVELOPMENT OF NUTRITIONAL INFORMATION FOR THE UC MERCED VARSITY ATHLETE BY Allen McCreary Concordia University Irvine MCAA 550 Research Methods Analysis June, 15th 2015 Prof. Dr. Kent Schlichtemeier Chapter 1 Introduction Having spent the past Fifteen years coaching women’s volleyball, I have witnessed many performance issues that come with a lack of nutrition from female athletes as well as my daughters. I am a Head coach for a small college in Merced California. It isRead MoreNutrition : The Primary Goal Of Sports Nutrition1260 Words   |  6 PagesOverview of Sports Nutrition The primary goal of sports nutrition is to achieve energy balance by ensuring an adequate caloric intake in the correct proportion of macronutrients (American Dietetic Association, 2000). These recommendations coupled with the need for quality training and adequate rest are the cornerstones for optimal athletic performance (Earnest, 2002). Achieving energy balance is crucial for the athlete’s ability to consistently train at the intense levels needed for athletic successRead MoreGeneral Knowledge Nutrition On Male Fitness And Muscle Model2868 Words   |  12 Pagesabout the general nutrition knowledge of male fitness and muscle World beauty fashion and fitness models, and the sources they use to augment that knowledge base. Understanding the level of nutrition knowledge in this group of athletes will better inform the dietetic community of this group of individuals. Purpose: To evaluate the general nutrition knowledge Methods: Results: The athletes scored section A: 79%, section B: 87%, section C: 77%, section D: 66%. A total knowledge score of 82% was achievedRead MoreNutrition After Joining The Powerlifting Team989 Words   |  4 PagesI first fell in love with nutrition after joining the powerlifting team in high school. Our team, including myself, would wait until the last minute to lose weight for competitions by running outside wearing garbage bags, starving ourselves the day of weigh-ins, and spitting in water bottles to lose water weight. These extreme dieting strategies took a toll on our overall success at competitions and my personal growth as an athlete. I knew I needed to make a change, starting with my diet. AfterRead MoreHigh School Of The Arts1140 Words   |  5 PagesBachelor of Arts in dance, a Cultures and Communities Certificate, and a Nutrition Certificate. My athletic involvement in dance led me to develop an interest in healthy eating. This widened my eyes to learn about the rising obesity epidemic, its relationship to chronic diseases, and how to minimize the risk of their development with diet and exercise. I returned to UWM in 2012 to earn my Bachelor of Sciences in Nutritional Sciences. I will graduate this May. Then I will continue at UW-Green BayRead MoreWhat Your Career Plans Is Your Academic Interests Or Plans For Future Study963 Words   |  4 Pagesacademic interests or plans for future study. My goal is to become a Registered Dietitian and provide healthy eating resources in various community settings. My two special interests in nutrition is nutrition for adolescent athletes to support their growth and development as well as their performance, and nutrition for disease prevention and management for adults. My first degree from the University of Wisconsin-Milwaukee is a Bachlor of Arts in dance. I am also a health screener for Interactive HealthRead MoreDescribe The Structure And Function Of The Digestive System970 Words   |  4 PagesP1 Describe nutrition, including nutritional requirements using recommended guidelines from public health sources associated with nutrition Nutrition macronutrients †¢ carbohydrates, †¢ proteins, †¢ fats Nutrition micronutrients †¢ vitamins, †¢ fibre Research and define nutritional requirements †¢ Recommended Daily Allowance, RDA †¢ Optimum Level, OL †¢ Safe Intake, SI †¢ Estimated Average Requirements, EAR To achieve P1: Write a report or essay that describes nutrition. Part 1 Structure

Things You Should Know About Example of Concluding Sentence

Things You Should Know About Example of Concluding Sentence The duration of a conclusion is usually proportional to the amount of the entire text. A concluding sentence is the last sentence in every paragraph. Actually, on the true AP exam, you might not get to the conclusion in any way. Your conclusion should incorporate a crystal clear response to that question. If you would like to have a powerful and strong paragraph, avoid all this at all price tag. In spite of the fact that it's easy for some to believe that homelessness is brought on by mental difficulties or basic laziness, there are different elements to look at. The range of body paragraph varies on the option of the subject you're handling. You might also want to understand how to compose short sentences. Within the next lesson, you are going to see what a concluding sentence appears like in a paragraph. Writing a concluding sentence can be harder than you understand. A concluding sentence plays a critical part in every paragraph. A concluding sentence ought to be an overview of the preceding discussion, not incorporate any new info. You might also be interested in Writing Examples in PDF. Teaching writing though, isn't always simply. There's no boundary of selecting descriptive essay topics, but nevertheless, it should be something which you understand about and wish to describe it in words. True, it is a tiny bit about summary, but nevertheless, it should take your essay one step further. Don't forget the brainstorming session you want to undergo before opting for a descriptive essay topic. The next lesson will explain the most typical kinds of paragraphs. The typical academic paragraph typically is composed of 8-10 sentences. When writing this kind of article, you are going to want to state your whole opinion and come up with supporting evidence. Hence, using quotes constitutes a significant part of your oral history report. New Questions About Example of Concluding Sentence So whenever you're requested to compose a descriptive essay, take it like a challenge since there is a considerable artistic freedom you may enjoy. If you describe emotions and feeling linked to the topic, you will have the ability to get in touch with readers on a deeper level. In case you have, then you are aware that the chaos and enmity that arrive with this. Process paragraphs should supply the rationale for each step and offer warnings when necessary. Understanding how to end a speech is equally as crucial as knowing how to start. You'll locate information on writing the body, opening and conclusion in addition to those all essential transitions. Stop by this page to learn about structuring a speech. This actuality means women's rights are based on freedom that could be seen as a virtue, but much less a burden. Once you have produced the introduction and body part, it's time to consider the conclusion. Conclusion Thus, it is crucial to conclude that women have always played a crucial role in the growth of history. In such a circumstance, acquiring an attractive conclusion is entirely required. That is to say, you wrap up the key points in 1 sentence. Such descriptive' words force you to make a vivid picture in your thoughts. These examples will function as a guide when they're creating their own text. Utilizing figurative language embellishes the standard of description and the content gets more live and vivid.

Business Communication Professional Communication in the Global Workp

Question: Discuss about theBusiness Communication forProfessional Communication in the Global Workplace. Answer: Training Brief Introduction The purpose of training session is to meet the industry professional standards by improving/developing the professional skills, extending the knowledge and job competencies of the audience members. The training session will be planned for giving the best teaching by the expert trainers for the business executives of a small business organization to improve their business communication skills at large extent(Dwyer, 2012). It will be at the executive level and learner-oriented to enhance the business communication of the employees. Audiences Current Knowledge, Skills-Base and Abilities The current knowledge, skills-base, and abilities of the participants or audience members are not of the industry professional standards because the lack of skills or weak skills unable to give expected performances. The few audience members are weak in communication skills, interpersonal skills, and writing skills. While some other audience members have weak decision-making skills, problem-solving skills, and negotiation skills. The poor skills level and inadequate job competencies influence their performances and productivity because these hinderto deliver the satisfactory performancesby the audience members (Goodall, Jr., Goodall, and Schiefelbein, 2009). The professional qualifications of some audience members are not of the highly professional standardized and few of them not matching the job profile. Some audience members lack adequate professional knowledge because of lack of experience or little experiences which is from 0 month to 1 year, while some others have relevant professional knowledge to some extent because of having experiences from 1 year to 3 years. Some audience members have poor abilities to communicate the clients and organizational members effectively because of the weakcommunication skills. Some audience members often fails to solve the problems in the contingent situations, while some others find difficulty to take the right decisions at several times because of weak decision-making skills(Hammersley and Reid, 2014). The weak skills-base and lack of adequate job competencies make them often fail to deliver the expected performances. By planning a training session, the weak areas of performances, weak skills, and lack of job competencies will be improved to the great extent. The Audiences Want to Know The participants or audience members want to know that the training provided by the expert trainers will be able to develop their lack skills including communication skills, negotiation skills, writing skills, and personality development skills. The audience members are interested to know that they would be able to communicate the organizational members effectively, to write mails in a professional manner, and to interact the clients effectively at the end of the training session. The audience members also want to know which learning programs, study materials, methodologies, and schedules will be used to train them. They will also be interested to know about the organizational safety policy, internet policy, and corporate culture (Hartley and Chatterton, 2015). They desire to know whether the training session will be able to meet the organizational professional standards by extending their relevant professional knowledge and job competencies. Along with this, the audience members wil l be willing to know that the professional standardized will be maintained by the trainer by utilizing video presentation, graphs, chart, slides, tables, demonstrations, case studies, demonstrations, brainstorming, and group discussions during the training sesssion. C Facilitator Knowledge The facilitator is the person who helps the participants or audience members to learn the topic or issue held during the training session. The facilitator knows how to organize a training session by providing the primary source materials, learning programs, projector, and internet programs to the trainer. The facilitator knows how to create an inclusive learning environment to by meeting the industry professional standards. The facilitator knows that the training session should be facilitated learner-oriented aimed at drawing the learners attention to learn the new skills and knowledge. The facilitator is the person who determines the success of the training session through his ideas, agenda, actions, and decisions. The facilitator knows the way to reach the best learning reflecting the skills and knowledge of the audience members by using video presentation, slides, discussions notes, demonstrations, group discussions, case studies, lectures, and case studies. The facilitator involves the high level of contents of the research topic, leaning styles and approaches, and collaborative problem-solvingin the training session (Shaw, 2014). The facilitator knows how to reach the best training outcomes by planning the training schedules, activities, primary source material, and learning methods. The facilitator establishes the working agreements and rules of the training session to inform the participants to know the group norms and expectations. Goals Statement The goals statement for this training session will be attaining the optimum productivity and good performance outcomes by meeting the industry professional standards of the employees. This training session will include the following goals:- To become a productive workplace by developing the skills, knowledge, and job competenciesof the executive audience members through learning programs To enhance the employees performances and productivity through gaining their commitment and high motivation level by using the personality development methods and learning programs (Krizan, Merrier, Logan, and Williams, 2010) To determine what the audiences want to know at the end of training session To utilize learning programs, online studies, case studies, demonstrations, group discussions, communication books, magazines, and e-journals to assist the trainer in order to improve the communication skills, decision-making skills, interpersonal skills, and personality development abilities E Learning objectives The learning objectives of the executive training session will be associated with enhancing the professional skills, job competencies, and current knowledge of the audience members required to meet the organizational goals and objectives effectively. The following learning objectives will be determined for ensuring the success of the learning session:- To assess the employees performances by examining their strengths and weaknesses To evaluate the success of the training session by attaining the positive results from the session To ensure the professional standardsof the participants by providing them adequate job knowledge through the specific training schedule To minimize the weaknesses or weak points of the employees by working on their weak areas To establish the means of providing them effective job knowledge required for performing the actions, duties, and tasks To hold the training session learner-oriented based on employees learning skills and performance criteria (Newman, 2013) To assist the trainer articulate exactly what the audiences or learners want to know at the end of the training Guide the development of the appropriate learning methods, contents, and materials by the trainer to facilitate learning-oriented training for the development of the employees To determine whether training is in continuing in the right direction by ensuring the desired programs goals and objectives are achieved To ascertain what kinds of skills, knowledge, and job competencies required for the participants to perform effectively toward for the attainment of organizational goals and objectives Conclusion This assessment described the learning objectives and goals statement of the training session, audiences know-how, facilitators knowledge, and current skills level and knowledge of the audiences. By planning the training session, the weak skills, lack knowledge, and job competencies would be expected to be improved to the great extent. References Dwyer (2012)Communication for Business and the Professions: Strategies and Skills. Australia: Pearson Higher Education AU. Goodall, H. L., Jr., Goodall, S., and Schiefelbein, J. (2009)Business and Professional Communication in the Global Workplace. USA: Cengage Learning. Hammersley, R., and Reid, M. (2014)Communicating Successfully in Groups: A Practical Guide for the Workplace. UK: Routledge. Hartley, P. and Chatterton, P. (2015)Business Communication: Rethinking your professional practice for the post-digital age. UK: Routledge. Krizan, B. C. A., Merrier, P., Logan, P. J., and Williams, S. K. (2010) Business Communication. USA: Cengage Learning. Newman, A. (2013)Business Communication: In Person, In Print, Online. USA: Cengage Learning. Shaw, G. (2014)The Art of Business Communication: How to use pictures, charts and graphs to make your business message stick. UK: Pearson Education.

The Photographic Conditions of Surrealism Essay Example For Students

The Photographic Conditions of Surrealism Essay I open my subject with a comparison. On the one hand, there is Man Ray s Monument to de Sade, a photograph made in 1933 for the magazine Le Surreal isme au sendee de la resolution. On the other, there is a self-portrait by Florence Henri, given wide exposure by its appearance in the 1929 Foto-Auge. a publica tion that catalogued the European avant-gardes position with regard to photogra phy.1 This comparison involves, then, a slight adulteration of my subject surrealism—by introducing an image deeply associated with the Bauhaus. For Florence Henri had been a student of Moholy-Nagy, although at the time of Foto Auge she had returned to Paris. Of course the purity of Foto-Auges statement had already been adulterated by the presence within its covers of certain surrealist associates, like Man Ray, Maurice Tabard, and E. Ð ¢. I. Mesens. But by and large Foto-Auge is dominated by German material and can be conceived of as organiz ing a Bauhaus view of photography, a view that we n ow think of as structured by the Vorkorss obsession with form. Indeed, one way of eavesdropping on a Bauhaus-derived experience of this photograph is to read its analysis from the introduction to a recent reprint xrtfolio of Henris work. Remarking that she is known almost exclusively through this self-portrait, the writer continues. Its concentration and structure are so perfect that its quintessence is at once apparent. The forceful impression it produces derives principally from the subject’s intense gaze at her own reflection. . . . We will write a custom essay on The Photographic Conditions of Surrealism specifically for you for only $16.38 $13.9/page Order now Her gaze passes   dispassionately through the mirror and is returned—parallel to the lines made by the joints in the table. . . . The balls—normally symbols of movement—here strengthen the impression of stillness and undis turbed contemplation. . . . They have been assigned a position at the vertex of the picture. . . their exact position at the same time lends stability to the structure and provides the dominant element of the human reflec tion with the necessary contrast.2 In light of the writers determination to straightjacket this image within the limits of an abstracting, mechanically formalist discourse, the strategy behind a juxtaM)sition of Man Rays photograph with Florence Henri’s becomes apparent. Because the comparison forces attention away from the contents of the Henri whether those contents arc conceived of as psychological (the intense gaze† and its dispassionate stare) or as formal (the establishment of stillness through structural stability, etc.). And being turned from the photograph’s contents, one’s attention is relocated on the container—on what could be called the character of the frame as sign or emblem. For the Henri and the Man Ray share the same recourse to the definition of a photographic subject through the act of framing it, even as they share the same enframing shape. In both cases one is treated to the capture of the photographic subject by the frame, and in both, this capture has a sexual import. In the Man Ray the act of rotation, which transmutes the sign of the cross into the figure of the phallus, juxtaposes an emblem of the Sadean act of sacrilege with an image of the object of its sexual pleasure. And two further aspects of this image bespeak the structural reciprocity between frame and image, container and contained. 1he lighting of the buttocks and thighs of the subject is such that physical density drains off the body as it moves from the center of the image, so that by the time ones gaze approaches the margins, flesh has become so generalized and flattened as to be assimilated to printed page. Given this threat of dissipation of physical substance, the frame is experienced as shoring up the collapsing structure of corporeality and guaranteeing its density by the rather conceptual gesture of drawing limits, lliis sense of the structural intervention of frame inside contents is further deepened by the morphological consonance—what we could call the visual rhyming—between shape of frame and shape of figure: for the linear intersections set up by the clefts and folds in the photographed anatomy mimic the master sha|e of the frame. Never could the object of violation have been depicted as more willing. In Florence Henris self-portrait there is a similar play between flatness and fullness, as there is a parallel sense of the phallic frame as both maker and captor of the sitters image. Within the spell of this comparison, the chromed balls function to project the experience of phallidsm into the center of the image, setting up (as in the Man Ray) a system of reiteration and echo; and this seems far more imperatively their role than that of promoting the formal values of stillness and balance. .u1a562f172ce57590118adae713afbc17 , .u1a562f172ce57590118adae713afbc17 .postImageUrl , .u1a562f172ce57590118adae713afbc17 .centered-text-area { min-height: 80px; position: relative; } .u1a562f172ce57590118adae713afbc17 , .u1a562f172ce57590118adae713afbc17:hover , .u1a562f172ce57590118adae713afbc17:visited , .u1a562f172ce57590118adae713afbc17:active { border:0!important; } .u1a562f172ce57590118adae713afbc17 .clearfix:after { content: ""; display: table; clear: both; } .u1a562f172ce57590118adae713afbc17 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1a562f172ce57590118adae713afbc17:active , .u1a562f172ce57590118adae713afbc17:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1a562f172ce57590118adae713afbc17 .centered-text-area { width: 100%; position: relative ; } .u1a562f172ce57590118adae713afbc17 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1a562f172ce57590118adae713afbc17 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1a562f172ce57590118adae713afbc17 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1a562f172ce57590118adae713afbc17:hover .ctaButton { background-color: #34495E!important; } .u1a562f172ce57590118adae713afbc17 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1a562f172ce57590118adae713afbc17 .u1a562f172ce57590118adae713afbc17-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1a562f172ce57590118adae713afbc17:after { content: ""; display: block; clear: both; } READ: A History of Portraiture EssayIt can. of course, be objected that ibis comparison is tendentious. That it is a false analogy. That it suggests some kind of relationship between these two artists that cannot be there since they operate from across the rift that separates two aesthetic positions: Man Ray being a surrealist and Florence Henri being commit ted to an ideology of formal rigor and abstraction received initially from I.egcr and then from the Bauhaus. It can be argued that if there is a kind of phallicism in Henris portrait, it is there inadvertently; she could not really have intended it. As art history becomes increasingly positivist, it holds more and more to th e view that intention is some internal, prior mental event causally connec ted with outward effects, which remain lire evidence for its having occurred, and thus, to say that works of art are intentional objects is to say that each bit of them is separately intended.5 Bui, sharing neither this positivism nor this view of consciousness. I have no scruples in using the comparative method   wrest this image from the protective hold of Miss Henris intention and to open it, by analogy, to a whole range of production that was taking place at the same time and in the same locale. Yet with these two images I do not mean to introduce an exercise in comparative iconography. As I said, the area of interest is far less in the contents of these photographs than it is in their frame. Which is to say that if there is any question of phallicisin here, it is to Ire found within the whole photographic enterprise of framing and thereby capturing a subject. Its conditions can be generalized way beyond the specifics of sexual imagery to a structural logic that subsumes this particular image and accounts for a wide number of decisions made by photographers of this time, both with regard to subject and to form. The name that an entirely different field of critical theory gives to this structural logic is the economy of the supplement.* And what I intend to reveal in the relatedness of photographic practice in France and Germany in the 1920s and 30s is a shared conception of photography as defined by the supplement. But I am getting ahead of my argument. My reason at the outset for introducing my subject by means of comparison is that I wish to invoke the comparative method as such, the comparative method as it was introduced into art-historical practice in order to focus on a wholly different object than that of intention. The comparative method was fashioned to net the illusive historical beast called style, a prey which, because it was transpersonal, was understood as being quite beyond the claims of either individual authorship or intention. This is why Wolfflin believed the lair of style to be the decorative arts rather than the domain of masterpieces, why he looked for it Morelli-fashion in those areas that would Ire the product of inattention, a lack of specific design† going so far as to claim that the whole development of world views was to be found in the history of the relationship of gables. Now it is precisely style that continues to Ire a vexing problem for anyone dealing with surrealist art. Commenting on the formal heterogeneity of a movement that could encompass the abstract liquifaction of Mir6 on the one hand, and the d ry tealism of Magritte oi Dali on the other. William Rubin addresses this problem of style, declaring that we cannot formulate a definition of Surrealist painting comparable in clarity with the meanings of Impressionism and Cubism. †Yet as a scholar who has to think his way into and around the mass of material that is said to be surrealist. Rubin feels in need of what he calls an intrinsic definition of Surrealist painting. And so he produces what he claims to be the first such definition ever proposed.† His definition is that there arc two poles of surrealist endeavor—the automatisi/abstract and the aca demic/illusionist—the two poles corresponding to the Freudian twin props of Surrealist theory, namely automatism (or free association) and dreams. Although these two pictorial modes look very unlike indeed. Rubin continues, they can be united around the concept of the irrationally conceived metaphoric image. Now, in 1925 Andre* Breton began to examine the subject surrealism and painting, and from the outset he characterized his material in terms of the very twin poles—automatism and dream—and the subject matter of Rubins later definition.6 If forty years afterward Rubin w as so unhappy with Breton’s attempt at a synthetic statement that he had to claim to have produced the first such definition ever, it is undoubtedly because Rubin, like everyone else, has been unconvinced that Bretons was a definition in the first place. If one wishes to produce a synthesis between A and B. it is not enough simply to say. A plus B.† A synthesis is rather different from a list. And it has long been apparent that a catalogue of subject matter held in common is neither necessary nor sufficient to produce the kind of coherence one is referring to by the notion of style. If Rubin’s nondefinition is a mirror-image of Bretons earlier one, this relationship is important, because it locates Bretons own theory as a source for the problem confronting all subsequent discussions. But Breton, as the most central spokesman for surrealism, is an obstacle one must surmount; one cannot avoid him, if the issue is to deal with the movement comprehensivelyas one must if a synthetic notion like style is involved. The same failure to think the formal heterogeneity of Miro and Magritte into something like stylistic unity plagues every effort of Breton as theoretician of the movement. Attempting to define surrealism, Breton produces instead a series of contradictions which, like the one between the linearity of Magritte and the colorism of Miro, strike one as being irreducible. .ua82c2ac67806e506eee4be38d7a311aa , .ua82c2ac67806e506eee4be38d7a311aa .postImageUrl , .ua82c2ac67806e506eee4be38d7a311aa .centered-text-area { min-height: 80px; position: relative; } .ua82c2ac67806e506eee4be38d7a311aa , .ua82c2ac67806e506eee4be38d7a311aa:hover , .ua82c2ac67806e506eee4be38d7a311aa:visited , .ua82c2ac67806e506eee4be38d7a311aa:active { border:0!important; } .ua82c2ac67806e506eee4be38d7a311aa .clearfix:after { content: ""; display: table; clear: both; } .ua82c2ac67806e506eee4be38d7a311aa { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua82c2ac67806e506eee4be38d7a311aa:active , .ua82c2ac67806e506eee4be38d7a311aa:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua82c2ac67806e506eee4be38d7a311aa .centered-text-area { width: 100%; position: relative ; } .ua82c2ac67806e506eee4be38d7a311aa .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua82c2ac67806e506eee4be38d7a311aa .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua82c2ac67806e506eee4be38d7a311aa .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua82c2ac67806e506eee4be38d7a311aa:hover .ctaButton { background-color: #34495E!important; } .ua82c2ac67806e506eee4be38d7a311aa .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua82c2ac67806e506eee4be38d7a311aa .ua82c2ac67806e506eee4be38d7a311aa-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua82c2ac67806e506eee4be38d7a311aa:after { content: ""; display: block; clear: both; } READ: Alfred Stieglitz Biography EssayThus, Breton introduces Surrealism and Painting† with a declaration of the absolute value of vision among the sensory modes. Rejecting the late nineteenth-century die turn, that all art should aspire to the condition of music, an idea very much alive among twentieth-century abstract artists, Breton insists that visual images attain what music never can, and he bids this great medium farewell with the words, â€Å"so may night continue to descend upon the orchestra.† His hymn of praise to vision had begun, The eye exists in its savage state. Tire marvels of the earth . . . have as their sole witness the wild eye that traces all i ts colors back to the rainbow.† And by this statement he is contrasting the immcdi Ð °Ã' Ã'Æ' of vision—its perceptual automatism, as it were—to the premeditated, reflective gait of thought. The savageness of vision is good. pure, uncontaminatcd by ratiocination; the calculations of reason (which Breton never fails to call bourgeois reason†) are controlling, degenerate, bad. Besides being untainted by reason, visions primacy results from the way its objects are present to it, through an immediacy and transparency that compels belief. Indeed, Breton often presents surreal isin-as-a-whole as defined by visuality. In the First Manifesto he locates the very invention of psychic automatism within the experience of hypnogogic images—that is. of half-waking, half-dreaming,visual experience.