Comparison of Joint Family and Nuclear Family

Comparison of Joint Family and Nuclear Family A classic definition of family, according to anthropologist George Murdock, is a social group characterized by common residence, economic cooperation, and reproduction. It includes adults of both sexes, at least two of whom maintain a socially approved relationship, and one or more children, own or adopted, of the sexually cohabiting adults. The U.S. Bureau of the Census has defined a family as two or more persons related by birth, marriage, or adoption, who reside together. Thus a family can be two or more adult siblings living together, a parent and child or children, two adults who are related by marriage but have no children, or adults who adopt a child.† A family is a set of human being related to each other in a non- professional manner, giving rise to a concrete cohesion within the family. Love, care, and affection are the most prominent human values, which are responsible for maintaining these bonds of relationships within a family. (Agarwal, V, 2005), not only these bu t a family also gives strength to an individual and because of its strength an individual can overcome from different kinds of problems too. A family gives strength to an individual; it is not only the strongest point but also the weakest point of an individual. A person learns different things from his/her family, but learning different things also varies from family to family. There are two basic kinds of family in our society Joint Family and Nuclear Family. A Joint Family (or extended family) is also known as a complex family, parents and their childrens families often live under a single roof, which means that Joint family consist of two or multiple generations. In some cases Joint family can be said as a family where a collection of more then one nuclear families are interconnected either by blood relation or marital relation reside under the same roof. All the members, regardless of which particular nuclear family (within that joint family) they belong to, live together and share happiness, grief, and virtually every kind of problem and joy together. The joint family in itself simulates a typical view of our multi-cultural, multi-lingual society in India and as well as in Bangladesh. (Agarwal, V.2005) Joint Families are mostly found in Asia. The term nuclear family developed in the western world to distinguish the family group and is considered as the simplest type of a family which consist of a married man and a woman with their offspring ‘.Nuclear Family can also be referred to as a conjugal family because of the accent is of the husband wife relationship and the nuclear family is the basic unit of all more complex forms’. (Nimkoff, F.M. Middleton, R. 1960) Family in the Western country like the United States have become more diverse with no particular household arrangement representing half of the United States population. The different types of families occur in a wide variety of settings, and their specific functions and meanings depend largely on their relationship to other social institutions. Non-scholars, especially in the United States and Europe, use the term nuclear family to refer to conjugal families. Non-scholars, especially in the United States and Europe, also use the term . Extended Family’ this term has two distinct meanings. First, it serves as a synonym of consanguine family .Second, in societies dominated by the conjugal family, it refers to kindred’ (Retrieved April 7, 2007) The behavior, lifestyle, thinking everything varies from family to family .i.e. a person from a joint family behaves, thinks in a different way then that of a nuclear family. People from joint family comes a cross many different things and by facing those different things they mostly learn how to meet the social challenges of the real world. Living in a joint family in itself is a beautiful experience and among the two basic kinds of family, joint family is the one where a person gets different kinds of advantages such as a person learns to love and earn respect which is the key to have harmonious and never ending relationship. Mutual respect and love are biggest values a joint family can offer. Not only a person to learns love and earn respect but also an individual can share his/her joys and grieves; in joint family there are many people to enjoy about a particular delightful occasion and as well as provide support at the time of family problems. (i.e., incase if some one is ill).When a person lives in a joint family he/she can share many secrets with someone of his/her age (cousins), which he/ she cannot share with his/her elders or younger but cannot do the same when in a nuclear family. Another advantage of living in a joint family is of safety and development of children, in joint families a child can be nurtured p roperly and perfectly. The chances of a child to get spoilt are lesser than that of a nuclear family. For example, in many cases we have seen that the working women leave their child at home along with their servant or baby sitter and their company spoil the child, whereas in joint family the cases are reverse; there are enough people (such as grandmother, aunts etc) to look after the child. Despite of all these advantages the concept of joint family is disappearing day by day from our society; and the reason behind it is the mentality of people are changing, they don’t want to be dependent on anyone and don’t want anyone to object them as in some cases it has been seen that the elders are objecting the younger for not doing any specific thing. One of the disadvantages of living in a joint family is the unequal distribution of shares in home- economy. For example many families we have seen that there is a single point of income, such as a common shop, a single earning hand, or some revenue periodically generated from fixed assets like rents and royalties. In such cases, the eldest member (or the earner) is usually the one, who takes after the economic power and responsibility to manage home funds, divide the share of each nuclear family (within the joint family) rationally. Most of the times, his inability in doing so, becomes the reason for family-partitions. This is inability however arise due to various factor including dishonesty of himself (or his own nuclear family) or some other family member inappropriate distribution of responsibilities and rights for each nuclear family, for expenditure. Share of each nuclear family within the joint family must be decided setting up the balance among the needs (education, clothing , and special preferences), number of dependents, contribution to funds, and the special eventual expenditures. This balance is really pivoted on a very sensitive fulcrum, which should be the result of a healthy exchange of honest thoughts of each responsible person in the joint family. Each individual’s equal recognition is very important and also very important for not allowing any inferiority or superiority complex to creep into anyone’s mind. This particularly must be avoided at the level where, parents start expecting their child to be as bright as children of other couple in the same joint family, for instance. This sometimes, gives rise to silent bitter feelings and these feelings may end up causing differences. Differences in opinion create a barrier among the family members and this is one of the important things which should be taken care of, by all the responsible members of the joint family in a matured fashion. The healthy brainstorming over the issue in question may give rise to an even healthier environment of living. The other way to conquering this problem is having a heated altercation, which makes conditions bad to worse, ultimately resulting in separations. â€Å"(Agarwal, V. 2005) So these are the most common problems which are the reasons behind partition or separation or for avoiding for living in a joint family, but on the other hand, by doing so a person is getting away from his/her loved ones and accepting different kind of risk by living in a nuclear family and are also forgetting their responsibilities towards their loved ones and towards their whole family. Living in a joint family can lesser pressure financially or can be advantageous for an individual as the members contribute according to their income but it can also create problems among the family members for not contributing equally or due to less amount of money. People prefer to live in joint families but because of their misunderstanding (i.e. differences in opinion,) among the family members an individual might avoid to live in it. But by taking its advantages into consideration, people do like living in joint families too. Living in a joint family is financially advantageous for all the members of the family. As by living together the members contribute according to their capability and in this way they lesser pressure from each other. People in our society face a lot of problems; financial ones, social ones, family ones. One of the biggest problems is the decline of the family. In advantageous thoughts of nuclear family, two parents mean double the chances of a good income, over a single parent. It means twice the chance that a parent is home to teach the kids, be a good role model. It means less stress for both the adult and the kids. It means more diverse influences. A child needs a mothers perspective and a fathers perspective, not just once, its not as balanced. Through most of our history and most civilizations, we have had extended families. Mom and dad lived with, or near, grandmother and grandfather, aunts and uncles, cousins; it was like having a gigantic family instead of a nuclear one. No strangers raising the kids, no worry of bankruptcy if someone loses a job, always someone there when you need them. The nuclear, isolated or restricted family is not a recent phenomenon, but has existed in many cultures throughout human history. Indeed, the extended family of several generations is found mostly in relatively advanced, stable, and affluent, but not yet industrialized societies. Very primitive and very sophisticated societies seem to prefer the nuclear family model. However, nuclear families can vary in the degree of their isolation and restrictedness. For example, before the Industrial Revolution the Western nuclear family was often embedded in a larger social unit, such as a farm or estate, an aristocratic court, or a village populated by relatives. Many older city neighborhoods also kept kinship ties strong, and thus even very small families remained open to the community. Family visits might be frequent and extended; children might freely circulate and feel at home in several households. On the other hand, we have seen that, beginning in the late 17th century; a trend toward closeness reduced the size of many larger households and changed the relationships between the remaining family members. They became more concerned about each other. They needed each other more. The idyllic home of the bourgeois became an island of serenity in the gathering storm of modernization, a haven secure from the world out there, from aggressiveness, competition, and class warfare. We have also seen how this home sheltered women and protected the children from sexual and other temptations. Other nasty social realities were also kept safely at bay. The family income was no longer earned inside, but rather outside the house. The division of labor between the sexes became more pronounced as men spent more and more time away from their families as wage earners in factories, shops, and offices. Their wives became almost the only companions of their small children whose care and education was n ow their main responsibility. (Formerly, these tasks had been divided between mothers, grandmothers, nurses, and servants.) Virtually the only middle-class men who still worked at home were doctors and lawyers in private practice. As a rule, however, the bourgeois family saw its head and breadwinner only when he returned from his work at night. This work itself remained an abstraction to both his wife and his children. In a typical nuclear family, there are two parents, and either one or both have jobs. So if someone loses their job, either the family has no income, or only half of what it had. But imagine a family with three or more parents, some of whom work. A lost job is less of a disaster to the family then. One of the biggest problems families face today is that nobody can stay home to care for the kids. It is a statistical fact that the second parent usually has to go out and work just to bring home about the same amount of money that the first parent is paying in taxes. This hurts the children, who end up being raised by random babysitters and day-care centers. But in an extended family, its much easier to be sure that someones always around to care for the kids, provide a good role model. Perhaps two adults work and one stays home, or each works at different times. In a nuclear family there will be less scope for children to get advice and encouragement from the experienced elders. There will be problems in bringing up the children and absence of care and affection of the elders to the children. It is another question whether the nuclear family itself, even when complete, is still the best available option. Many people today are convinced that small, single households are uneconomical and wasteful, that they are still emotionally unhealthy, that they perpetuate outmoded stereotypical sex roles, and that they produce competitive, egotistical children in an age when universal cooperation seems the only hope of mankind. It is also argued that the modern family no longer has any other function than to provide love and intimacy, and that this is by no means enough to justify its existence. Indeed, since families have been largely relieved of their economic, educational, and protective functions by the state, sexual attachment has become the nearly e xclusive basis of marriage, and this basis is notoriously weak. Frequent divorce and remarriage, however, while perhaps practical for the adults, hardly seem in the best interest of the children. Under the circumstances, it is only fitting that a number of thoughtful men and women should continue to search for more stable, new and improved family models. Living in a joint family not only is advantageous but also has disadvantages as well, but in order to achieve something one has to lose something too. The same is the case for joint families, by thinking about the advantages that a joint family provides one might to give up the idea of living in a nuclear family and unite with their loved ones. Living in a joint family is advantageous. In order to live happily and peacefully in a joint family an individual should not lose his temper and should overlook each others mistakes and also should understand each other. The family members should have good communication among themselves in order to ensure free flow of money around the family.

Girl Number 20

The 19th century witnessed the beginning of queen Victoria’s reign, the industrial revolution, realism as literary movement and realistic novels among other. When we refer to realistic novels, we are not talking about novels being a â€Å"reality† but instead we refer to the creation of fictional stories and characters that are very much like real life people and situations. In other words, authors wrote their novels to critize social unfairness, poverty, struggles, health issues and so forth, as a way to reflect the â€Å"truth† just as it was, and it all was possible because their stories and characters were believable.Charles Dickens was one of the most influential writers of the time, his novel â€Å"Hard Times†, as the rest of his works, is vivid examples of what realistic novels would be like. He portrays his judgement towards society in a very comprehensible and even entertaining way, providing the reader an idea of the time and era he was living in . Furthermore, he lets readers identify with the situation and characters of the story, reflecting through the narrator his social perspectives of the time.Regarding the novel Hard Times, there are several issues and characters we could point out, such as progress, social limitations, poverty, development, educational patterns of the time, Mr. Bounderby, Mr. Gradgrind, Louisa, Tom, Cecilia Jupe (Sissy), Mr. Harthouse, Stephen Blackpool among others. However, the one we identified the most with, was â€Å"Girl Number 20† or Cecilia Jupe (Sissy). Through out the whole story, Dickens shows her as an innocent, unprotected an abandoned child, but at the same time she becomes one of the most important and influential characters of the story.In addition, the author redefines, in a way, the role women had at the time, by giving Sissy the power to be herself and the power to do whatever she thought was right. In order to present Cecilia Jupe as the heroine of the story, we will have t o consider her background, being it, the cornerstone of the principles she will use for the rest of her life. Having mentioned this, we will begin by referring to the way Dickens gave form to Sissy’s childhood. A motherless child, who was raised by her loving and strange father. Even though her ather was a sad and a depressed man, Sissy discovered how to please him by being more than a daughter, a caring friend; the author showed it in this quote: And you were his comfort through everything? ’She nodded, with the tears rolling down her face. ‘I hope so, and father said I was. It was because he grew so scared and trembling, and because he felt himself to be a poor, weak, ignorant, helpless man (those used to be his words), that he wanted me so much to know a great deal and be different from him. I used to read to him to cheer his courage, and he was very fond of that. p. 51) This is one of the reasons for us to give Sissy the heroical part in the story, though she made simple gestures, she made her father happy no matter what situation he was going through. It is easy to understand Sissy’s fairytale life, due to all the elements that surrounded her during her childhood: Her mother a dancer, her father a clown, her readings, most of them fantastic, but nourishing at the same time for both of them, here is one of the moments where she expressed her testimony: â€Å"Your mother? ’ ‘Father says she was quite a scholar. She died when I was born.She was;’ Sissy made the terrible communication nervously; ‘she was a dancer†¦ †Father’s a;’ Sissy whispered the awful word; ‘a clown. ’ ‘To make the people laugh? ’ said Louisa, with a nod of intelligence. ‘Yes. But they wouldn’t laugh sometimes, and then father cried†Ã¢â‚¬ ¦Ã¢â‚¬  I used to read to him to cheer his courage, and he was very fond of that. They were wrong books- I am never to speak of th em here- but we didn’t know there was any harm in them. ’ ‘And he liked them? ’ said Louisa, with her searching gaze on Sissy all this time. ‘O very much! They kept him, many times, from what did him real harm.And often and often of a night, he used to forget all his troubles in wondering whether the Sultan would let the lady go on with the story, or would have her head cut off before it was finished. † (Pp. 50-51) Nevertheless, all the elements shown above were used by Dickens as tools in order for us to understand even more Sissy’s personality and character, highlighting her creativity and optimism when facing difficult times. Dickens shows us that her creative, optimistic and attentive attitude was not only present when she was around her father but also through out the rest of her life, even so, most people did not see it as a rilliant attitude; instead they labeled her as an uneducated, an abstract and an unintelligent person. Howev er, the author uses this attitude to demonstrate that life is not only made out of facts but also of reality, logic and common sense. This situation is well illustrated in the following quote: ‘Girl number twenty,’ said the gentleman, smiling in the calm strength of knowledge. Sissy blushed, and stood up. ‘So you would carpet your room- or your husband’s room, if you were a grown woman, and had a husband- with representations of flowers, would you,’ said the gentleman. Why would you? ’ ‘If you please, sir, I am very fond of flowers,’ returned the girl. ‘And is that why you would put tables and chairs upon them, and have people walking over them with heavy boots? ’ ‘It wouldn’t hurt them, sir. They wouldn’t crush and wither if you please, sir.They would be the pictures of what was very pretty and pleasant, and I would fancy-’ ‘Ay, ay, ay! But you mustn’t fancy,’ cried the gentleman, quite elated by coming so happily to his point. ‘That’s it! You are never to fancy. ’ ‘You are not, Cecilia Jupe,’ Thomas Gradgrind solemnly repeated, ‘to do anything of that kind. ‘Fact, fact, fact! ’ said the gentleman. And ‘Fact, fact, fact! ’ repeated Thomas Gradgrind. ‘You are to be in all things regulated and governed,’ said the gentleman, ‘by fact. † (p. 10) Through this lines Dickens was trying to show how reasonable Sissy was in comparison to other characters, she knew that flowers were just an image that people could delight in and not just a simple definition. In addition, there is another important aspect of Sissy’s life which we find interesting to note: her social awareness. A good example to prove this is the following quote: â€Å"†¦ But today, for instance, Mr M’Choakumchild was explaining to us about Natural Prosperity. ’ ‘National, I think it must have been,’ observed Louisa. ‘Yes, it was. – But isn’t it the same? ’ she timidly asked. ‘You had better say, National, as he said so,’ returned Louisa, with her dry reserve. ‘National Prosperity. And he said, Now, this schoolroom is a Nation. And in this nation, there are fifty millions of money. Isn’t this a prosperous nation? Girl number twenty, isn’t this a prosperous nation, and a’n’t you in a thriving state? ’ ‘What did you say? ’ asked Louisa. ‘Miss Louisa, I said I didn’t know.I thought I couldn’t know whether it was a prosperous nation or not, and whether I was in a thriving state or not, unless I knew who had got the money, and whether any of it was mine. But that had nothing to do with it. It was not in the figures at all,’ said Sissy, wiping her eyes†¦. † (p. 48) Through this quote, Dickens gave us a fantastic explanat ion of his thoughts on the economy of the time through Sissy’s opinion; in other words, he was emphasizing his ideal economical pattern for society: everyone having an equal amount of richness in order to be a prosperous nation.One of the remarkable things about Sissy is that throughout the whole story, Dickens presents her as a unique girl with many exceptional traits, for instance, her loyalty and perseverance towards her father’s return, her compassion and attentive spirit towards the Gradgrind family, her respect for others’ opinions and the one thing that make her the heroine of the story: her outstanding personality. Nevertheless, there are several times when the author mentions that just like any human being, Sissy doubted herself and at the same time wished to be someone else (Louisa).Dickens expressed it clearly on this extract: ‘It would be a fine thing to be you, Miss Louisa! ’ she said, one night, when Louisa had endeavored to make her p erplexities for next day something clearer to her. ‘Do you think so? ’ ‘I should know so much, Miss Louisa. All that is difficult to me now, would be so easy then’†Ã¢â‚¬ ¦ ‘Have I always hated you so much? ’ ‘I hope not, for I have always loved you, and have always wished that you should know it. But you changed to me a little, shortly before you left home.Not that I wondered at it. You knew so much, and I knew so little, and it was so natural in many ways, going as you were among other friends, that I had nothing to complain of, and was not at all hurt. † (Pp. 48, 182-183) At the same time, letting aside her desires to be like someone else, Cecilia did not let such a thing bring her down, instead she stood up and defended her territory and her â€Å"own†, becoming courageous enough to confront and to send away Louisa’s suitor who stood against everything that was right.The following quote reflects it: ‘Mr Harthouse,’ returned Sissy, with a blending of gentleness and steadiness that quite defeated him, and with a simple confidence in his being bound to do what she required, that held him at a singular disadvantage, ‘the only reparation that remains with you, is to leave here immediately and finally. I am quite sure that you can mitigate in no other way the wrong and harm you have done.I am quite sure that it is the only compensation you have left it in your power to make. I do not say that it is much, or that it is enough; but it is something, and it is necessary. Therefore, though without any other authority than I have given you, and even without the knowledge of any other person than yourself and myself, I ask you to depart from this place tonight, under an obligation never to return to it. † (Pp. 188-189).Nonetheless, this was not the only an unselfish and brave act she performed; the previous action triggered the beginning of Sissy Jupe as the care-taker and th e protector of the Gradgrind family that even the father came to a place where he recognized Cecilia’s help, not only towards him but also towards his wife and son; he finally accepted the fact that without Sissy’s presence they would have succumbed. In the following quote Dickens proves that at last â€Å"Girl Number 20†, the least expected to have the solution to all of the Gradgrind’s problems, became the moral and the grand victor of the story after all. Sissy has effected it, father. ’ He raised his eyes to where she stood, like a good fairy in his house, and said in a tone of softened gratitude and grateful kindness, ‘It is always you, my child! † (p. 222) Lastly, as the story ends our heroine is all we expected her to be, starting by being a great and faithful daughter, a help in time of need for those who surrounded her, and last but not least a good wife, a happy mother and a wonderful friend to her â€Å"humbler fellow-creatu res†.But, happy Sissy’s happy children loving her; all children loving her; she, grown learned in childish lore; thinking no innocent and pretty fancy ever to be despised; trying hard to know her humbler fellow-creatures, and to beautify their lives of machinery and reality with those imaginative graces and delights, without which the heart of infancy will wither up, the sturdiest physical manhood will be morally stark death, and the plainest national prosperity figures can show, will be the Writing on the Wall,- she holding this course as part of no fantastic vow, or bond, or brotherhood, or sisterhood, or pledge, or covenant, or fancy dress, or fancy fair; but simply as a duty to be done,- did Louisa see these things of herself? † (p. 238) As a conclusion, we dare to say that Dickens was the realist novelist far excellence; throughout the whole novel he expressed his criticism in a very audible voice, illustrating his thoughts and opinions on several social conc erns of his time. Additionally, he created a story and characters that were believable due to their resemblance with the real world; he made the reader understand that he was not making the situations up, but he was showing real common life.Nevertheless, it seems as if Dickens broke the pattern with Cecilia Jupe, when giving her the heroic part of the story and at the same time made her as an example of genuineness, boldness and bravery, even when her humble background, her eccentric education and all those things made her the contrary of what a Victorian Lady should be like. All situations she went through were against the idea of her being the heroine of the story, but ironically, Dickens chose her as if taking her from another world and inserting her into Victorian times, in order to make his point clear, which was: the role of the woman in a society like his. References: Dickens, C. (1854). Hard Times. London, England: Editorial Matter.

The Multi-dimensions of Art & Milk

The concept of art has been an ever changing forefront of movements, development, evolution and a pending example of how the human race has delved into different realms of expression and exploration into their surrounding environment.   There are varying theories as to the worth of art, pop art in particular and its legacy to the human race; or, all art in general may be examined through critical eyes and have the same question presented in such scrutiny.   The purpose of this paper will be to examine the worth of The Milkproject and how it aids in examining people and products in their everyday life.There has been much debate as to the purpose of; in Oscar Wilde’s famous quote he says, â€Å"All art is completely useless† and while this may be the case in fact, since art does not serve some rudimentary purpose in propelling the human race forward into any evolutionary or revolutionary states, art must be approached from a different angle.   The theorists Dick Hig gins states that,Pop Art?   How could it play a part in the art of the future?   It is bland.   It is pure.   It uses elements of common life without comment, and so, by accepting the misery of this life and its aridity   so mutely, it condones them.   Pop and op are both dead, however, because they confine themselves, through the media which they employ, to the older functions of art, of decorating and suggesting grandeur, whatever the detailed content of their artist’s suggestions (Higgins 49).Thus, with this definition of the death of art through the lack of evolution it is willing to play in progressing forward into a new age of media a viewer may rightly surmise that the endeavors of the Milkproject are far more revolutionary than any other artistic movement being designed in this century.   It is with the inclusion of technology and the approach of applying the common life with something integral to the world such as milk and how and where it travels that this project will have a lasting impression in the art world.It is through diversity of art and the inclusion of different medias into a conglomeration art project that the Milkproject is able to transcend the usual boundaries of art and to delve into something more important, more human.   The project used photographs, sound recordings and live models and life to portray the transportation of milk from a farm into the houses of the general populace.   The integration involved in this journey is what beckons Higgins to recollect the diversity of Duchamp in his theory and to state that it is only through this mixture and inclusion of media that art is able to evolve, and evolve it does with the Milkproject.The true genius of the Milkproject is that is it interactive; with the audience as well as the participants.   The beauty of the project is that is focuses on something common in everyone’s lives so that everyone has a basis for an interest in the project.   As this paper has previously quoted art seems useless:   from the dowdy baroque pieces to the overly large pop art media pieces, there seems to be no real connection between the lay person and art.With the Milkproject this foreignness is bypassed as milk is the main ingredient in the art, and the reactions of people to milk, its journey and process is all a part of the final project.   In Kaprow’s article â€Å"Happenings† in the New York Scene he describes how ‘Happenings’ is an interactive based art experience, â€Å"You come in as a spectator and maybe you discover you’re caught in it after all as you push things around like so much furniture† (Kaprow 84).   This same process of being involved in the Milkproject despite not being the artist of the muse, is what propels the fundamental interest of the viewer.The idea behind the Milkproject as an artistic expression is only defined as such by the intermingled use of photography and voice.   This is why the project is such an important piece; because in most art pieces, the movement is static, the flowers remain the same through time, but with the human voice and the interaction of the product with the audience, the viewer or participant is able to relate on a more humanistic level with the project and thus transform it from a Happening into a thing of real life consequence: from the farm and whatever happens with the farm (financially, weather-wise, etc) to the mouth of the consumer.   Thus, the Milkproject transcends Kaprow’s Happening as he defines it,Happenings are events that, put simply, happen.   Though the best of them have a decided impact—that is, we feel, ‘here is something important’—they appear to go nowhere and do not make any particular literary point.   In contrast to the arts of the past, they have no structured beginning, middle or end.   Their form is open-ended and fluid; nothing obvious is sought and therefo re nothing is won, except the certainty of a number of occurrences to which we are more than normally attentive.   They exist for a single performance, or only a few, and are gone forever as new ones take their place. (Kaprow 85).Thus, the Milkproject is not so clearly defined as art that has no ‘structured beginning, middle or end’ (Kaprow 85) but rather to the extent of the milk’s journey from teet to mouth of the consumer is found these three parts; excepting in the idea that the project itself is a continuation of the milk’s journey transform by the project into art.It is now clear that the Milkproject is a transformable art.   Thus, the art behind the project is not limited to the process of the milk traveling but extends to the reactions of the farmers and the consumer as is proven with the voice recorded tapes.   The audience in turn at the exhibition becomes part of this process as well, which makes the integrated media of the Milkproject evo lutionary in its concept.   This concept of mixed media and the extension of art into the audience is portrayed in Aarseth’s theory on literature,Where this new adaptation might prove to be a radical departure is in the way we shall use it to define textually independent of its traditional associates, the reader/receiver/audience and writer/sender/author.   This move, which might be seen as self-defense†¦A text is not what we may read out of it, nor is it identical with what someone once wrote into it.   It is something more, a potential that can be realized only partially and only through its script (Aarseth 59).One must merely substitute the word literature and text with art and this passage clearly defines the purpose and impact of the Milkproject.Another interesting dynamic to the Milkproject is its use of the narrative.   As was mentioned with Higgins, art does not transcend itself often; that is to say that art does not cross from a painting into a sculptur e, and that is why media is such an important tool for this new era of art.   Most art does not speak for itself, does not lend the viewer with a cemented impression or underlying theory to its own existence as was illustrated in Kabrow’s Happenings.   With the inclusion of a running narrative in the Milkproject, a new dimension of art is being presented and very well incorporated into the integrity of the project.The inclusion of a narrative is not the only aspect of the genius of the Milkproject but the way in which it is included is what makes the narrative a work of art.   The narrative is typically thought of as a story telling device through literature.   In the dynamic of the Milkproject the narrative becomes a palpable part of the exhibition in that it is presented not through written words but electronic devices and thus remaking the project a part of a long lasting tradition of oral story telling, something the native Americans of other cultures pass on stor ies from generation to generation (de Certeau 95).   It is with this oral tradition being included in the project that a sense of human identity and connectedness from the Netherlands to America and further can be appreciated, as Landow expresses of the narrative and technology,Electronic textuality brings with it many changes, but not all concern loss, as so many critics of culture seem to believe.   Lyotard, for instance, claims that the new information technologies produce effects much like the journalist’s rewriting†¦but the evidence of hypertext works thus far created, both instructional and literary, suggests that on the contrary electronic linking graphs idiosyncrasy and personal association in particularly liberating ways.He grounds his charge on the doubtful claim which hypertext linking would seem to contradict, that the â€Å"new technologies †¦submit to exact calculation every inscription on whatever support:   visual and sound images, speech, mus ical lines, and finally writing itself,† and he argues that â€Å"the noteworthy result of this is not, as Baudrillard thinks, the constitution of an immense network of simulacra† but rather the great â€Å"importance assumed by the concept of the bit, the unit of information† (Landow 32).The importance then of the inclusion of the narrative through a technological device then is proven to be a necessary part in the Milkproject not only in a traditional art sense but in a cultural sense as it propels the human story forward by the means of the human ingenuity:   through the bit, through oral tradition by way of a story that is significant to the human race, and its progeny:   a farmer’s milk into the mouths of the consumer, is something that will always be of importance because of its nutrition as well as this project’s ability to show that the world, the economy, cultures, are working in a globalizing fashion to sustain human life in all parts of the earth, thus art imitates nature (Guattari & Deleuze 2).The Milkproject extends the visual world and enters the verbal world so that the audience may better understand the significance of the work.   The emphasis of the verbal, or oral storytelling in this project is what makes the project all that much more human.   The implementation of the digital voice recordings along side the still motion shots taken from video footage is what humanizes the project and for the audience its what makes the project real, and strikes a cord of commonality, thus, not only is the audience member intrigued because of the element of milk, a product used by a large portion of the world’s population but also the voiced concerns of the farmers and consumers are juxtaposed with the audience reactions as de Certeau states ,We could moreover extend this problematic to the relations between the act of writing and the written text, and even transpose it to the relationships between the Ã¢â‚¬Ë œhand’ and the finished painting.   AT first isolated in the area of verbal communication, the speech act turns out to find only one of its applications there, and its linguistic modality is merely the first determination of a much more general distinction between the forms used in a system and the ways of using this system, that is, between two ‘different worlds,’ since the ‘same things’ are considered from two opposite formal viewpoints (de Certeau 98).Thus, the use of the narrative becomes a part of the exhibition in an intrinsic fashion.The focus of this paper has been on the inclusion of several styles of art in one artistic piece, the Milkproject.   Through the use of verbal narrative, mixed media, photographs, technology, and video the ‘artists’ of this project have been able to create a Happening which goes beyond the open-ended suggestion of Kabrow and into a story which develops through the journey of milk from udder to con sumer across continents.The use of GPS in this project was also a major player in extending the static components of art being non-transcendental (i.e. paintings can’t be sculptures and vice versa) and allows the project to be multi-dimensional and thus long lasting.   However, the stroke of genius in the Milkproject is the inclusion of various media in order to engage the audience in the reality of the milk’s journey.It is with this final statement of the project that the purpose of the project becomes apparent:   the audience’s interaction, and reaction to the project is a part of the project if not the main purpose.   Thus, the journey of the milk does not end with the consumer but carries on into the audience and this is what allows the Milkproject to not be a stagnant art form but an interactive exhibition whose genius rests with the reality that the journey’s participation hinges upon the viewer.   Thus, the journey of milk is found in its e nd with the art viewer.Work CitedAarseth, E. â€Å"Nonlinearity and Literary Theory.† Hyper/Text/Theory Landow,  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   George P. (Ed)   Baltimore & London: John Hopkins University Press, 1994  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   excerpts 51-86Burroughs, W. The Cut-Up Method of Brion Gysin. The New Media Reader Nick  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Monfort and Noah Wardrip-Fruin (Eds) Cambridge, Mass.: MIT Press 2003 83 88.De Certeau, M.   Walking in the City.   The Practice of Everyday Life.   Berkley.   UniversityOf California Press.   1988.Deleuze, G. and Guattari, F. Rhizome. in A Thousand Plateaus Minneapolis and  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   London: Minnesota UP, 1987 excerpts 2-25;Higgins, Dick. Intermedia. Leonardo 34:1 49-54Kaprow, Allan. Happenings’ in the New York Scene.The New Media Reader Monfort,  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Nick & Wardrip-Fruin, Noah (Eds) Cambridge, Mass.: MIT Press, 203 83-88Landow, G. P. What ’s A Critic to Do? Hypertext. George P. Landow (Ed) Baltimore:  Ã‚  Ã‚  Ã‚   John Hopkins UP, 1994 32-46Marek, K.   Bizarre New World. (The World May Be) Fantastic, Biennale of Sydney  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Catalogue 2002 217-20.Plant, S. On the Matrix. Cybercultures Reader London & New York: Routledge, 2000   325-336

Chemistry And Application Of Click Chemistry - 1411 Words

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