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Metamorphosis

Change is constant and definite. To be is to change. Everything in the physical universe is changing from life to death. It is a cycle. The first half of all life grows, and the second half deteriorates that growth. From positive to negative we fall. Unlike the outside world, however, the inner human man/woman can change from negative to positive. This positive metamorphosis is what I would like to express by experimenting and exploring the changing of an object or person’s condition from a negative state to a positive one. I’m interested in an object or person’s transition from evil-to-good, naked-to-clothed, empty-to-full, asleep-to-awake, and death-to-life. All of these do not touch on the depth of the theme, but they do compliment the idea of positive change in general. While observing Metamorphosis, I want the viewer to sense improvement.

I believe that the environment around something changes what that something is. This underlying theme shadows the main idea, which is positive metamorphosis. Making the background change along with the subject would express this.

Evil-to-good might be completely of someone’s face. through their expression and the lighting I would reveal the theme. Also, someone could start out about to commit an immoral act that turns into an act of live. For example, a flying fist could be subdued to a hand shake or friendly pat on the back.

Naked-to-clothed I have already photographed. This shows the process of a guy getting ready for prom. He starts out half naked in the bathroom and ends fully clothed in a suite with his keys in hand. Mostly natural light was used to give a more raw real life effect.

Empty-to-full would be accomplished with sets of smaller pictures that parallel each other. Throughout the sets one picture in each would be a glass being filled with water to clarify the theme. The glass pictures may be paralleled with someone eating, reading, or playing music.

Asleep-to-awake is pretty self-explanatory. However, adding a little comedy, something or someone will suddenly crash onto the scene as the sleeper frantically rises to challenge the intrusion.

Death-to-life would start with someone in an obviously dead position. Manipulating the dodging effect, a light would grow from the middle of their chest until it covers them. Revitalized the person is completely alive. As the light grows the background changes as if to show the influence of the environment on the individual. This may include some obvious spiritual undertones.

[While in a college photography class I wrote a paper called “Metamorphosis” about the dynamics of positive change in the universe. This paper led to a photo project of a guy being resurrected by a beam of light. This is an edited version of that paper.]

Iago el Diablo

– college paper on Othello

Legendary battles between heroes and villains rumble through the pages of all forms of literature. For centuries, authors have scribbled down their depictions of the feud between light and dark. The most common notion forms a brave handsome warrior that defends all good, and lets evil take the face of an ugly hunched over monster. In Shakespeare’s Othello, however, the outward appearance of the characters did not reveal their roles with such ease. Only at the end of the play did everyone understand who his or her friends and enemies were. The devilish Iago fooled an elite group of rich men, rulers, and soldiers with mere words. He accomplished this great two-faced deception by brilliant manipulation fueled by anger.

Feeling spurned by Othello with Cassio’s advancement, Iago swells with jealousy admitting to Roderigo that he does “…hate the Moor.” Iago is insulted by a “mere prattle without practice” being placed in the position he desired. However, instead of exploding outwardly and spoiling his revenge, Iago suppresses the anger to feed his destructive desires. Against Roderigo’s advice to leave Othello’s service, Iago opts to stay close to Othello in a range where more severe damage is possible.

Through asides and monologues, Shakespeare illuminates the thought processes Iago works through to ensnare his victims’ “…body and soul”. The evil genius breaks down each person’s basic psyche, designs a multifaceted schematic, and watches as men destroy themselves. The flawless timing alone reveals a powerful mind at work. Specific words placed at the most particular moment form Iago’s fatal weapon. For example, after applying a substantial amount of “abuse” to Othello’s ear, Iago questions Cassio about Bianca, the prostitute. Thinking that Desdemona is the subject of the flippant sexual discussion that takes place, Othello’s deception is complete. Not only does Iago’s plan include multiple victims, but multiple outcomes, also. Whether Cassio kills Roderigo, Roderigo kills Cassio, or they both kill each other, all endings benefit Iago one way or another. Such strategic prowess compliments the brain of this twisted seducer.

“I am not what I am,” Iago accurately states to Roderigo as he sets up the outline for his schemes. Being everything to everybody becomes Iago’s perpetual task. Othello’s source of truth, Roderigo’s hired delivery service, and Cassio’s elbow-nudging drinking buddy are all masks that Iago wears. As the truth-bearer, he acts as though he speaks to Othello with honest opinions based on solid fact. The mortally trusting Othello refers to his Ancient as “Honest Iago” and ironically assumes that Iago loves him. When making his “fool” his “purse”, Iago presents himself as a loving friend to Roderigo, but holds back the truth about Desdemona’s gifts. After many of words of seemingly unbiased advice, Iago coaxes Cassio into indulging in wine, for which he has “very poor and unhappy brains.” After getting drunk, fighting, and in turn earning demotion, Cassio is convinced to go to Desdemona in petition for his former rank. “With a little a web as…” flirtatious behavior common to Cassio’s personality, Iago claims he will “…ensnare as great a fly as Cassio.” All three characters saw the sheep’s clothing, but did not recognize the wolf underneath until it was too late.

Blinded to all morals by his relentless anger, Iago ingeniously manifested several alternate realities around his helpless subjects. Besides Emily, his wife, exposing his treachery in the end, Iago achieved his revenge exactly as he desired. Shakespeare’s rendition of darkness, appearing as light attacking light, forms a merciless villain with socially catastrophic powers.

Seeing but not Perceiving

-college paper on Oedipus Rex

 

Imagery is the manipulation of language to express the human senses.

Through reoccurring comparisons of sight and blindness, Sophacles integrates meaningful imagery into Oedipus Rex. This produced an undercurrent of foreshadowing, irony, and symbolism.

An example of such foreshadowing appears early in the play. As the priest addresses Oedipus, the words “Your own eyes” stand alone, spaced all the way to the right side of the page on line 25. Already, the reader’s attention is focused on the eyes of Oedipus, which will later be destroyed. Teiresias brings an obvious piece of foreshadowing when he prophesies that the murderer is “a blind man, who has eyes now.” This means that the murder can see now, but will be blind in the future. Teiresias is referring to what Oedipus will do to himself when he finds out who he is.

While Oedipus has his physical sight he is blind to his true origin. When he finally does see the truth he blinds himself physically, stabbing himself in the eyes repeatedly. Irony, such as this, is seen throughout Oedipus Rex. For example, Teiresias, the ‘seer’, was himself a blind man, yet, ironically enough, he ‘sees’ into the future.

Sight and blindness also symbolically represent knowledge and ignorance. When the Sphinx plagued Thebes with her riddle Oedipus brought what was “dark to light.” His knowledge of the riddle’s answer lifted the darkness, or ignorance, from Thebes. Also, Oedipus couldn’t see “the wretchedness” of his life even while he had “both of his eyes”. Teiresias was saying his ignorance made him blind, in spite of his physical vision, and that he would not have sight until he gained full knowledge of who he was.

The phrase “What you can’t see can’t hurt you” may come to the readers mind after reading Oedipus Rex. In the end it was his sight that blinded him. Throughout Oedipus Rex images of sight and blindness sculpt underlying themes of foreshadowing, irony, and symbolism.See

Lean Back

Lean Back

Every breath like rumbling rivers

Repel from conversation.

Its public solitude.

Banal life seems to waste hours…

I could use a few more.

An addict of time,

Stretching each day

Can i trust the night?

Will i live my dreams or

Keep dreaming of life?

Life.

A sum of experience.

How great will my number be?

If you are the book keeper,

How will you score me?

Repel from your circle

And spectate for a change.

Watch the power of words

Break a joyful spirit,

Or renew a smile forgotten.

Be sobered and enlightened.

Maybe they are wrong.

Maybe they minipulate.

What if they can’t be trusted?

Decide for yourself.

It’s your eternal right.

Does the stone enjoy its flight,

Seeing only a blur?

Why do you hurry, scurry?

Who’s waiting for you?

I’ll be the feather.

Riding waves of the air

Take in the landscape.

Release all care.

Drink in lush arrays of flowers fully bloomed.

Relax on the daisy.

Rest under the moon.

The stone is still talking.

Deaf to surrounding beauty;

Beauty of the feather that has

Fallen to its side.

I’ll be the feather, watching your crowd.

Content in the center

Of a book i once read.

I am consistantly at ease…

Even if the crowd is dead.

Credits:
Poem by Paris Vega
Artwork by Paris Vega
Color Scheme by jimmyjames

Grandma

grandma-chillin

Today is my grandmother’s birthday. A great woman you’ve never heard of who made a huge impact on my life. This is a little poem I wrote for her years ago. Dedicated to Winnie Irene Woods, my grandma (1924 – 2012):

You were the first person i saw

You said my eyes were open wide

You told me i was furry like paw

You watched my first moments of life

How could i not love you

You yelled from across the street

You pulled me by the ear

You slapped my rebellious cheek

You instilled in me a Godly fear

How could i not love you

You played catch with me

You made blackberry cobbler

You moved earth and weeds

You are the perfect gardener

How could i not love you

You tickled the ivories

You sometimes sang along

You taught me about diaries

You inspired this song

How could i not love you

You laugh when we dance

You kiss me when we hug

You mend my torn pants

You are cooler than a mug

How could i not love you