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Body organs are not all internal as is the brain or your lungs.

Research Question: Are artists more likely to be left-handed than people found in the general population?

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The Ancestress Hypothesis: Visual Art as Adaptation ..

___(1995). The Samoa Islands: An Outline of a Monograph with a Particular Consideration of German Samoa (T. Verhaaren, trans.). Honolulu: University of Hawai’i Press.

Krämer, A. (1906). Hawaii, Ostmikronesien und Samoa. Stuttgart: Verlag von Strecker & Schräder.

Isn’t mass and gravity involved here? Would a hollow moon produce ocean tides and also be capable of producing gradual changes in the shape of earth’s crust? Let it be known that there is no stronger interaction between our Earth-Moon than that between any other couplet in our system.

Top 5 Youtube Body Artists You Need To Watch

Jackson, M. (1972). “Aspects of Symbolism and Composition in Maori Art.” Bijgragen tot de Taal-, Land-en Volkenkunde 128: 33-80.

It seems reasonable then to suggest that civilisation not only arose out of self-administration of artificial reward, but is maintained in this way among contemporary humans.

However,this conceptual separation is the of the spectators’ privileged sensation and perception of theperforming flesh. If the distinctionwere not there, the audience would not have been slow in stopping the derangedperson (performer). The intimate meeting(and perhaps even unification) with the performer paradoxically happens becauseof the conceptual stage-audience separation. The stage convention keeps the audience in asuspended state, where flesh and action become untouchable right before their eyes. The perceived object becomes an index. Theconnection between index and prototype occurs via abductive inferences. Abramovic's body and flesh, experiencedas indexes, refer to a prototype. Thescenic framing of the performer's body's actions automatically leads to anindex formation, which is nothing more than a vector pointing to a generalizedprototype: a vulnerable, suffering, andself-exposing body. The prototype is theperformer herself. The spectator'ssuspension creates space for a recursive feedback of the index via theprototype to Abramovic's body's singular actions. The prototype and performer's singular bodythus overlap in an intended infinite regress, a kind of indeterminacy wherecommunication points to sensation and vice versa.

Flesh as Communication -- Body Art and Body Theory

It is the medium by which all the other nutrients and other essential elements are distributed to every part of the body.

Ostensibly,the term ‘flesh’ cannot escape a peculiar immediacy: it instantly provokes a sensory and corporealreaction. Horror movies make abundant useof bleeding, cut, deformed, and otherwise opened flesh. When art analysis and theory refer to flesh (., when analyzing performance worksdealing with living body and flesh as artistic materials), it then appears notonly as a sensuous denotation of living material but also as a kind of languagefrontier. Most theoretical approaches employa more indirect notion of body. The termflesh does not convey an art experience but rather the ineffability of artexperience. Flesh becomes a token for abasic sensory incommunicability (.in Amy Sprinkler’s feminist porn shows), where male theory seems to meet femalemateriality and energy. Flesh connotes“the totally direct transmission of energy.” The term flesh appears to exhibit thatwhich cannot be conceptualized by art theory; it indicates a blind spot intheory – and art. It appears as the verykernel of performativity.

By virtue of their profession, tattooists across Polynesia were constantly confronted with tapu. On one level, the act of artistic creation was considered sacred and tapu itself because of the bloodletting that ensued. Furthermore, as tattooists called upon their patron deities during their work, they summoned them from their homes in the world of darkness (po); in turn, they rendered their activities, immediate surroundings, and patients tapu. Moreover, tattooists did not usually tattoo just any man or woman. Tattooing was an expensive undertaking typically reserved for chiefs, warriors, and other nobles who could afford it. And because these individuals possessed the greatest concentration of mana in the community, the tattoo artist was exposed to their tapu whenever he plied his instruments. Of course, if a tattooist or anyone else ignored the ritual restrictions or came into personal contact with a tabooed subject, place, or object without tapu removal, they risked severe injury and even death.

Kjellgren, E. and C. Ivory (2005). Adorning the World: Art of the Marquesas Islands. New York: Metropolitan Museum of Art.
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  • What Are Examples of a Hypothesis? - ThoughtCo

    Nutrition and the immune system are integral parts of holistic stress management, and should be thought of as such.

  • Medical Hypotheses - Journal - Elsevier

    the general or abstract principles of a body of fact, a science, or an art

  • 11.2 Setting the Hypotheses: Examples | STAT 100

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07.01.2018 · 11.2 Setting the Hypotheses: Examples

Before more Western elements began to pervade the artistic cannons of kahuna towards the beginning of the 19th century, highly geometric patterns consisting of various configurations of angled arches, zigzags, checkerboards, stacked chevrons, and triangles were applied to the body. The vast majority of these patterns invoked the backbone or spine which was a visible metaphor for genealogical descent; since, the spine stood for a series of lineage members linked through a common line of descent.

whether the null hypothesis provides a plausible ..

Kahekili’s warriors also attempted to harness their leader’s protective potential through similar forms of tattooing, because these powerful and divine genealogical markers were, as noted, imbued with great mana. However, other writers have argued that such asymmetrical tattooing was necessary because it protected those vulnerable parts of the body that were exposed during battle. For example, warrior chiefs and their soldiers often wore capes of feathers or other materials to shield their backs from the weapons of their enemies. Helmets safeguarded their heads but when a warrior prepared to hurl a spear or brandish his club, one side of his body became susceptible to his adversaries. This assertion seems to make good sense, but Hawaiian warriors did employ shields when they wielded their weapons and several early illustrations also show men with their tattooed sides covered by their cloaks. Other images show warrior tattooing appearing on the same side of the body that was employed to launch weapons. Therefore, perhaps it was the weapon-bearing side of the body that needed the most protection.

Size of a Human: Body Proportions - The Physics Factbook

Kahekili was a direct descendant of the thunder-god Kanehekili. In his image, he was tattooed solid black on the right side of his body, a form called pahupahu, as were his warrior chiefs and household companions. Oral history relates that everyone knew Kahekili was a man who possessed greatmana. “He could speak to the thunder and lightning, and they avenged him instantly upon his enemies; those persons who cursed him and abused him were all killed suddenly by thunder and lighting. His enemies therefore plotted in their hearts to kill him and whispered about it in secret. While they whispered, thunder struck. His enemies ceased to plot and to think evil thoughts.”

Size of a human: Body proportions;

In the late 18th century, however, vestiges of the traditional art of Hawaiian tattooing were still to be seen. These traces were typically observed on islands of the “old order” like Maui where the chiefdom was considered to be one of most ancient. Headed by a powerful and profusely tattooed warrior king Kahekili, Maui was a far cry from Kamehameha’s Hawaii where developed feudalism, not ancestry, was the tool with which he eventually governed the people.

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