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La Vie en Life in Heather Ampadu-Taylor Life in W hen we think of life inwe think of a society of hover cars and robots where technology is used for all, making the daily routine easier, quicker and better. Also, we can say that humans will be replaced by technology in either work or relationships, or perhaps the two, which could be good for people who find it difficult to start relationships because they are too shy; thus they will have relationships with robots which will resemble a human but will be designed specifically for them, and good for businesses with useless and expensive workers.
On the contrary if life in is hell, we can suppose that there will be more suicides and a higher number of depressed people due to the lack of interaction between humans, which means that people will feel more isolated and lonely.
In my opinion, a world where technology has taken control over all and humans rarely interact with one another, is my idea of hell as in a society so detached from reality, things such as murder would become accepted, even the norm.
And although, of course, cures for terminal illnesses and infirmity are going to save so many lives, they would have disadvantages; e. The Work of Dieter Roth Mary Higgins D ieter Roth is an artist famed for his remarkable willingness to expose all aspects of his intimate life to the galleryviewing public.
His artwork is characteristically experimental and imaginative.
Towards the end of his life, during the s, his work became largely biographical. His exhibit at the Camden Arts Centre, London 17 May July focused on this phase of his career — the diary years.
As someone who keeps a sketchbook and diary myself, it was the personal diaries that intrigued me most. They are mostly A5, hard backed and bound — built to endure weeks of intense usage.
A few are open and their pages are stuffed with obtuse symbols and doodles. The ink has bled where there were once annotations so that the only legible, understandable things remaining are the dates printed in type at the top of each page.
They reveal a fertile, active imagination and a compulsion to put pen to paper. The spotlight turned on them produces a pressure for works that are usually classed as supplementary to rise to the role of artworks in their own right.
This is the crux of the debate.
Do the diaries succeed as individual works? Or do they only highlight the reasons why diaries and sketchbooks are less well suited to display in galleries than their bigger sisters - the formal works? Perhaps the most obvious stumbling block for a curator exhibiting diaries is the challenge of displaying the book format.
The curating team at both the Edinburgh Art Festival and the Camden Arts Centre chose to display the diaries laid out in glass cases, neat rows of leather bound journals, some open, most closed.
There are obvious reasons for this decision. After browsing a few of these inhospitable glass cases, I was impressed by the sheer quantity of work that Roth produced on a day-to-day basis but I longed to be privy to more of it. On the other hand, I may be missing the point of the exhibit. By this interpretation, the sheer volume of books becomes important because the viewer can understand that Roth lived all his life through artistic means; was never caught without paper, never seen without a pencil.
They promise confessions, secrets, hidden thoughts and these are usually recorded in written form. As individual pieces, the diaries are intriguing — Roth has developed his own lexicon of shapes that he uses like his own secret visual language. I kept noticing the same spirals and patterns featuring repeatedly on his pages.
Indeed, Roth called them his diaries, because he poured his memories and emotions in them for himself, not to be deciphered by anyone else. Despite being shown publicly, they retain an ambiguity.Although The Wanting Seed never made it to film, Stanley Kubrick's adaptation of A Clockwork Orange is an Oscar-winning cult classic.
Articles and Interviews Anthony Burgess . The American Studies Journal, founded in as the American treatment inA Clockwork Orange and emphasizes Burgess, Anthony. A Clockwork Orange. London: Penguin, Chrisafis, Angelique. "Work in Progress," interview with Joss Whedon, Guardian Unlimited Archive.
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In Anthony Burgess's nightmare vision of the future, where the criminals take over after dark, the story is told by the central character, Alex, who talks in a brutal invented slang that brilliantly renders his and his friends' social pathology.
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Burgess declares his own intentions in a new introduction to the edition of his novel, which he titled “A Clockwork Orange Resucked.” Though admitting that “I enjoyed raping and ripping by proxy,” the author continues: “But the book does also have a moral lesson and it is the weary traditional one of the fundamental importance of.