The Great Gatsby By F. Scott Fitzgerald - 1635 Words

The Great Gatsby The Great Gatsby was written by F. Scott Fitzgerald in 1925. Fitzgerald was an American author of novels. His book, The Great Gatsby, is being told on how there is a difference between people having old money and new money, and cheating themselves through that to have a lifestyle they cannot maintain, and in the end will throw them down. Wealth, material possessions, and power are the main goals of the American Dream in this book. Reaching the American Dream is not always reaching true happiness; but its the desire of money and life’s possibilities, together they combine dreams and life into a useless lifestyle based on lies. To live out the American Dream, one had rruption and greed. In The Great Gatsby, the American Dream was presented slowly as a corrupted version of what used to be an honest way to live. People trying to elude themselves from rags and go on to riches, and whatever they can do to live an image up to the people in the high society. In F. Fitzgerald s novel The Great Gatsby, Jay Gatsby spends his whole life trying to achieve a persona that is based on a lie; he wants to be a person who represents themselves by their old money, which is something he does not obtain nor is he from. Gatsby’s parents were farmers, who made little to nothing for a living, and throughout his young years he portrayed himself as a son of god, never to accept that his parents were actually his parents, he always reached for higher dreams to be like the rest ofShow MoreRelatedThe Great Gatsby by F. Scott Fitzgerald1393 Words   |  6 PagesF. Scott Fitzgerald was the model of the American image in the nineteen twenties. He had wealth, fame, a beautiful wife, and an adorable daughter; all seemed perfect. Beneath the gilded faà §ade, however, was an author who struggled with domestic and physical difficulties that plagued his personal life and career throughout its short span. This author helped to launch the theme that is so preva lent in his work; the human instinct to yearn for more, into the forefront of American literature, where itRead MoreThe Great Gatsby By F. Scott Fitzgerald1343 Words   |  6 PagesHonors English 10 Shugart 18 Decemeber 2014 The Great Gatsby F. Scott Fitzgerald s 1925 novel The Great Gatsby is a tragic love story, a mystery, and a social commentary on American life. The Great Gatsby is about the lives of four wealthy characters observed by the narrator, Nick Carroway. Throughout the novel a mysterious man named Jay Gatsby throws immaculate parties every Saturday night in hope to impress his lost lover, Daisy Buchanan. Gatsby lives in a mansion on West Egg across from DaisyRead MoreThe Great Gatsby By F. Scott Fitzgerald1155 Words   |  5 PagesThe Great Gatsby The Jazz Age was an era where everything and anything seemed possible. It started with the beginning of a new age with America coming out of World War I as the most powerful nation in the world (Novel reflections on, 2007). As a result, the nation soon faced a culture-shock of material prosperity during the 1920’s. Also known as the â€Å"roaring twenties†, it was a time where life consisted of prodigality and extravagant parties. Writing based on his personal experiences, author F. ScottRead MoreThe Great Gatsby By F. Scott Fitzgerald1166 Words   |  5 Pagesin the Haze F. Scott Fitzgerald lived in a time that was characterized by an unbelievable lack of substance. After the tragedy and horrors of WWI, people were focused on anything that they could that would distract from the emptiness that had swallowed them. Tangible greed tied with extreme materialism left many, by the end of this time period, disenchanted. The usage of the literary theories of both Biographical and Historical lenses provide a unique interpretation of the Great Gatsby centered aroundRead MoreThe Great Gatsby by F. Scott Fitzgerald845 Words   |  3 PagesIn F. Scott Fitzgerald’s novel, The Great Gatsby, colors represent a variety of symbols that relate back to the American Dream. The dream of being pure, innocent and perfect is frequently associated with the reality of corruption, violence, and affairs. Gatsby’s desire for achieving the American Dream is sought for through corruption (Schneider). The American Dream in the 1920s was perceived as a desire of w ealth and social standings. Social class is represented through the East Egg, the WestRead MoreThe Great Gatsby By F. Scott Fitzgerald Essay970 Words   |  4 Pagesrespecting and valuing Fitzgerald work in the twenty-first century? Fitzgerald had a hard time to profiting from his writing, but he was not successful after his first novel. There are three major point of this essay are: the background history of Fitzgerald life, the comparisons between Fitzgerald and the Gatsby from his number one book in America The Great Gatsby, and the Fitzgerald got influences of behind the writing and being a writer. From childhood to adulthood, Fitzgerald faced many good andRead MoreThe Great Gatsby By F. Scott Fitzgerald2099 Words   |  9 Pagesauthor to mirror his life in his book. In his previous novels F. Scott Fitzgerald drew from his life experiences. He said that his next novel, The Great Gatsby, would be different. He said, â€Å"In my new novel I’m thrown directly on purely creative work† (F. Scott Fitzgerald). He did not realize or did not want it to appear that he was taking his own story and intertwining it within his new novel. In The Great Gatsby, by F. Scott Fitzgerald, he imitates his lifestyle through the Buchanan family to demonstrateRead MoreThe Great Gatsby By F. Scott Fitzgerald1607 Words   |  7 Pages The Great Gatsby is an American novel written in 1925 by F. Scott Fitzgerald. One of the themes of the book is the American Dream. The American Dream is an idea in which Americans believe through hard work they can achieve success and prosperity in the free world. In F. Scott Fitzgerald s novel, The Great Gatsby, the American Dream leads to popularity, extreme jealousy and false happiness. Jay Gatsby’s recent fortune and wealthiness helped him earn a high social position and become one of the mostRead MoreThe Great Gatsby By F. Scott Fitzgerald1592 Words   |  7 PagesMcGowan English 11A, Period 4 9 January 2014 The Great Gatsby Individuals who approach life with an optimistic mindset generally have their goals established as their main priority. Driven by ambition, they are determined to fulfill their desires; without reluctance. These strong-minded individuals refuse to be influenced by negative reinforcements, and rely on hope in order to achieve their dreams. As a man of persistence, the wealthy Jay Gatsby continuously strives to reclaim the love of hisRead MoreThe Great Gatsby By F. Scott Fitzgerald1646 Words   |  7 PagesThe 1920s witnessed the death of the American Dream, a message immortalized in F. Scott Fitzgerald’s The Great Gatsby. Initially, the American Dream represented the outcome of American ideals, that everyone has the freedom and opportunity to achieve their dreams provided they perform honest hard work. During the 1920s, the United States experienced massive economic prosperity making the American Dream seem alive and strong. However, in Fitzgerald’s eyes, the new Am erican culture build around that

Poes gothic tale The Black Cat Essay Example For Students

Poes gothic tale The Black Cat Essay Poes gothic tale The Black Cat was written trying to achieve an effect of shocking insanity. In this first person narrative the narrator tells of his decline from sanity to madness, all because of an obsession with twoor possibly one black cats. These ebony creatures finally drive him to take the life his wife, whose death he unsuccessfully tries to conceal. This short story easily achieved the effect that Poe was looking for through the use of description of setting, symbolism, plot development, diverse word choice, and detailed character development. In most cases, the setting is usually indelible to a story, but The Black Cat relies little on this element. This tale could have occurred anywhere and can be placed in any era. This makes the setting the weakest element of The Black Cat. Next, symbolism is always an integral part of any Poe story. The most obvious of symbolic references in this story is the cats name, Pluto. Many know this to be the name of Mickey Mouses dog, but this is also the Roman god of the underworld. Pluto contributes to a strong sense of hell and may even symbolize the devil himself. Another immensely symbolic part of The Black Cat is the title itself, since onyx cats have long connoted bad luck and misfortune. The most amazing thing about the symbolism in this story or in any other of Poes is that there are probably many symbols that only Poe himself ever knew were in his writings. Furthermore, Poes plot development added much of the effect of shocking insanity to The Black Cat. To dream up such an intricate plot of perverseness, alcoholism, murders, fire, revival, and punishment is quite amazing. This story has almost any plot element you can imagine a horror story containing. Who could have guessed, at the beginning of the story, that narrator had killed his wife? The course of events in The Black Cats plot is shockingly insane by itself! Moreover, the words in The Black Cat were precisely chosen to contribute to Poes effect of shocking insanity. As the narrator pens these he creates a splendidly morbid picture of the plot. Perfectly selected, sometimes rare, and often dark, his words create just the atmosphere that he desired in the story. Expressions such as apparition, vile haunts, and fiendish malevolence are put in all the right places. Another way that Poe used word choice was with synonyms. The cat was not only the black cat, it was theplaymate, the beast, the brute, the apparition, and themonster. Finally, character development was most important to Poes effect of shocking insanity in The Black Cat. Without the perversely insane narrator this story cant exist, let alone put across an effect. It is mentioned many times that he loves animals and that he is an alcoholic. In fact many of his rages  were caused more by alcohol rather than the black cat. The cats was also vividly developed. At one point early in The Black Cat, the narrator spends two paragraphs describing the his then delightful pet. But as the story progresses both characters change dramatically. The cat is dynamic in that it is hung, reappears with a white splotch on its chest, and has a different disposition than before. The narrator spirals out of control into fits of rage and numerous hideous, unthinkable actions, commencing with the walling up of his own wifeand unbeknownst to him the black cat too in the cellar. Obviously, the setting, symbolism, plot, word choice, and character development contributed greatly to the effect of shocking insanity in Edgar Allan Poes masterpiece, The Black Cat. Without these, there would be no story at all. .ud387a5d0e9abc4fc45f89c1103df6f46 , .ud387a5d0e9abc4fc45f89c1103df6f46 .postImageUrl , .ud387a5d0e9abc4fc45f89c1103df6f46 .centered-text-area { min-height: 80px; position: relative; } .ud387a5d0e9abc4fc45f89c1103df6f46 , .ud387a5d0e9abc4fc45f89c1103df6f46:hover , .ud387a5d0e9abc4fc45f89c1103df6f46:visited , .ud387a5d0e9abc4fc45f89c1103df6f46:active { border:0!important; } .ud387a5d0e9abc4fc45f89c1103df6f46 .clearfix:after { content: ""; display: table; clear: both; } .ud387a5d0e9abc4fc45f89c1103df6f46 { 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; } .ud387a5d0e9abc4fc45f89c1103df6f46:active , .ud387a5d0e9abc4fc45f89c1103df6f46:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud387a5d0e9abc4fc45f89c1103df6f46 .centered-text-area { width: 100%; position: relative ; } .ud387a5d0e9abc4fc45f89c1103df6f46 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud387a5d0e9abc4fc45f89c1103df6f46 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud387a5d0e9abc4fc45f89c1103df6f46 .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; } .ud387a5d0e9abc4fc45f89c1103df6f46:hover .ctaButton { background-color: #34495E!important; } .ud387a5d0e9abc4fc45f89c1103df6f46 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud387a5d0e9abc4fc45f89c1103df6f46 .ud387a5d0e9abc4fc45f89c1103df6f46-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud387a5d0e9abc4fc45f89c1103df6f46:after { content: ""; display: block; clear: both; } READ: Assessment Blood Brothers EssayPoes skillful use of all of these elements, the least of these being setting and the greatest of these being character development, creates a shocking tale, which has never been equaled.

Effects of domestic violence on children development

Introduction From conception, children are continuously learning; learning does not end with childhood but it is part of human life. Through learning, children develop socially, emotionally, and their personality is shaped by the experiences they face.Advertising We will write a custom coursework sample on Effects of domestic violence on children development specifically for you for only $16.05 $11/page Learn More For an appropriate child development, a child needs love and care from both parents. In case of families experiencing domestic violence, the social and emotional development of children brought put in such families is adversely affected (Emery, 1989). This paper discusses the effects of domestic violence on children; it will concentrate on building a table of dependent and independent variables. Emotional development Children need to grow in environments that reinforce good behaviour and grow their emotional well-being; however, domestic violen ce has been an issue in many societies in the world but considered as a family matter, it is only of late that legal proceedings can be taken on an offender. Since women movements in 1970s, domestic violence has become a legal matter calling for police, courts and judicial process intervention. In cases where children are exposed to such violence, then they become emotionally troubled: In the above, case them the dependent variable is children emotions while the independent variable is domestic violence: Emotions (E) = f (domestic violence (D.V.)) Childhoods and teen violence When one is talking of domestic violence, what comes in mind is wife or husband violence; in most case women are on the receiving end, they are subjected to physical, psychological and emotional violence. However the scope of domestic violence extend far beyond this believe to include child abuse and the effects that such abuse have on a child. The most common types of violence within the family are wife abuse and child abuse.Advertising Looking for coursework on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Violence in this sense may include slaps, pushes, sexual abuse, battering, and use of abusive words. A research conducted by in United States of America, shown that each year over 3.3 children suffer from domestic violence. The recognition of this is affected by lack of data that can be used for the analysis. The effect is mostly psychological, emotional and sometimes physical. The most noted one is physical and thus emotional and psychological remains not recorded (Carretta, 2008). Children are sometimes the subject of war and they suffer from beatings and physical injury; when such a case happens, then the child is more likely to become violent at his later stages in life; this creates another relationship of domestic violence and violence of children and teens: Violence among children and teens (V.C.T.) = f (domestic violence ( D.V.)) Child behaviour development The environment they are brought up in shapes the behaviour of children; in case his families are violent, the behaviour that the child will develop is likely to be inclined to that angle (Fantuzzo, Fusco, Mohr Perry, 2007). A family is a sociological unit, which includes parents and children. The environment that he grows in will shape the kind of behaviour that a child has the relationship is as follows Children behaviour (C.B) = f (domestic violence (D.V.)) Self-esteem The family as the simplest unit of a society moulds children self-esteem; self-esteem means the self-value that human beings hold (Anderson Aviles, A2006). If a child is brought up in a violent family, his/her sense of esteem is lowered. The relationship will be as follows:Advertising We will write a custom coursework sample on Effects of domestic violence on children development specifically for you for only $16.05 $11/page Learn More Child’ s self-esteem (C.E) = f (domestic violence (D.V.)) The above data can be summarised in the following table: Independent variable Dependent Variable domestic violence (D.V.) Emotions (E) domestic violence (D.V.) Children behaviour (C.B) domestic violence (D.V.) Child’s self-esteem (C.E) domestic violence (D.V.) Violence among children and teens (V.C.T.) References Anderson, T., Aviles, A. (2006). Diverse faces of domestic violence. ABNF Journal, 17(4), 129-132. Carretta, C. (2008). Domestic violence: a worldwide exploration. Journal of Psychosocial Nursing Mental Health Services, 46(3), 26-35. Emery, R. (1989). Family violence. American Psychologist, 44(2), 321-328. doi:10.1037/0003-066X.44.2.321. Fantuzzo, J., Fusco, R., Mohr, W., Perry, M. (2007). Domestic Violence and Children’s Presence: A Population-based Study of Law Enforcement Surveillance of Domestic Violence. Journal of Family Violence, 22(6), 331-340. This coursework on Effects of domestic violence on children development was written and submitted by user K1nsey to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Religion in Clays Quilt essays

Religion in Clays Quilt essays Clay Sizemore is an endearing character whose life shows how important the Pentecostal religion is to so many people of the Appalachians. Early in the book, the author calls those who don't attend church on Saturday night "sinners" (House 17), and this lays the groundwork for the rest of the book. It shows how important religion is to the people, and how they use religion as a basis for everything they do in their lives. While the Church plays an important part in everyone's life, it does not dominate their lives. They gamble, smoke, drink, and even carouse a bit, because they know they will be forgiven. House writes, "Gabe loved to drink, and he loved to have a big crowd around all the time" (House 25). The Church is a sanctuary for the people of Fire Creek, and it plays an important part in their lives - but it does not dominate everything they do. Unfortunately, it also makes them entirely too wary of strangers who do not believe what they believe, as Easter's reaction to newcomer Marguerite shows "She vowed never to talk to Marguerite again" (House 69). Marguerite is a Catholic who does not go to church, so she does not fit in the community, and the women will not accept her. This shows how narrow-minded they are, and how their religion sometimes gets in the way of their The Pentecostal religion began in Appalachia, and it is a stern and serious religion that people hold on to because it makes them feel better about themselves and the "sins" they may have. Many of the most severe Pentecostals will not drink, smoke, or listen to music other than church music, but the religion has relaxed a little all the time. However, Clay knows he cannot have it both ways, and he cannot continue to go to church when the ways of the church are so strict. He tells Easter "'I can't make myself believe the way you do. And I won't be no hypocrite'" (House 116). ...

Dietary and Activity Analysis Assignment Example | Topics and Well Written Essays - 1500 words

Dietary and Activity Analysis - Assignment Example The assignment "Dietary and Activity Analysis" presents the analysis of the author's dietary and activity, his energy intake and output, carbohydrate, alcohol, fat, protein, vitamin/mineral intakes and overall dietary intake based on 3-day average data. The paper contains the analysis of the estimated 3-day average daily expenditure in comparison with the 3-day energy intake. The author talks about the gaining or losing weight recently and if it is consistent with the differences between his energy intake and estimated energy output and his 3-day average daily energy intake. The energy consumed is analyzed during the weekend or weekdays and if it expends more energy on the weekends or weekdays. It is estimated that one should have at least 125 grams of carbohydrates a day and ideally, much more. Therefore the average intake compares with this minimum. The person requires more than 125 grams of carbohydrates per day for the energy supply to the body. The negative consequences of consuming less than this amount on a regular basis because less carbohydrate leads to more weight loss. Also, the percentage of the total calories contributed by carbohydrate based on the 3-day average intake is calculated. It is analyzed if the author's intake in line with the recommendations that 45-65% of the calories in his diet should come from carbohydrate. The grams of fiber consumed based on the 3-day average are also calculated and compared with the recommendation to consume 21-38 grams of dietary fiber/day.

S4 W8 Second WA Assignment Example | Topics and Well Written Essays - 500 words - 1

S4 W8 Second WA - Assignment Example THP has crafted ten principles and is working on them to make sure that its strategies are implemented properly. These principles are displayed in the figure below. THP started its operations in Africa back in 1987; two years after the famine hit the African world. THP started its program named as â€Å"Africa Prize for Leadership for the Sustainable End of Hunger†. The basic idea behind this program was to call up the capable African leaders to help their nation in fighting out against the hunger. The Africa Prize also believes in celebrating and acknowledging the hard work of these devoted individuals from time to time. This program is now a diversified one and out forming other programs by offering vast array of leadership services to the people of Africa. THP’s in 1990s started a decentralized and a more holistic kind of people centered approach known as Strategic Planning in Action. Thousands of villages in Africa have applied to SPIA in order to empower their dwellers to achieve improvement in the sectors of health, nutrition, education and family income. Women are the major producer of food for the household usage in Africa, yet government has not considered them in crafting agricultural policies in order to improve the production of crops. The idea behind initiating such program was to empower the tens of thousands of African farmer women through proper training in the agricultural field. Secondly, the program was a way to drive government’s attention towards the importance of women in this sector and also to the fact that the future of agriculture sector depends on the women food farmers in Africa. This latter task was accomplished by launching a massive advocacy campaign in African countries. AIDS has been progressing in the African countries for years and the main reason is that women have minimal or no power in these countries to protect themselves. â€Å"AIDS and Gender Inequality Workshop† launched by THP in 2003

Reception of Video Art in Galleries

Reception of Video Art in Galleries Critically examine the notion that the reception of video art is strongly affected by being seen in an art gallery situation Introduction Video art began as an avant-garde movement that challenged the very nature of art in the 1960’s and 1970’s with the likes of Nam June Paik, Bruce Nauman and Stuart Marshall. These artists created powerful pieces in response to the mainstream explosion of cinema and television, and as a challenge to the traditional artistic forms of painting and sculpture. The artists helped to bring art closer to the general public and relieved artists of the need to create specific objects. However, as technology has grown and video art has become more popular, it has moved from the fringes of art to the mainstream setting of the art gallery.[1] Before this the art gallery was a place for traditional forms of art such as painting and sculpture. One of the most interesting topics of discussion regarding video art is how this move into art galleries has changed the reception to video art. It is argued that the reception of video art is strongly affected by being seen in an art gallery si tuation. The aim of this essay is to critically examine this claim, and see how the setting of video art affects the perception of such art. This will be done by look at how setting influences artistic reception, looking at the reception of video art in gallery settings and other settings, and also how the medium of video art itself can influence the gallery experience. Influence of setting on art There are a number of studies and theories regarding the influence of setting on art and artistic reception in various mediums. It is clear that within video art the addition of a gallery setting would change the nature of the art itself. The earliest forms of video art were all on single screens outside of the art gallery setting, and the works were very much of a particular moment in time and had a fairly short lifespan as artistic pieces.[2] However, as video art moved into a gallery setting it merged with other forms of art to create the video installation. This meant the video art was now based in an environment – embedded in a particular time and space. This gave a physical aspect to vide art that had not previously been seen, and has had a major influence on the genre. Installation art is now one of the most common forms of video art, particularly in a gallery setting as it allows video artists to experiment in more ways than ever before. [3] This has meant that video art has merged into other genres, and become part of a larger multi-media, multi-form type of art rather than being a type of visual art on its own. The nature of galleries means that purely video art is being replaced with installation art as it has a more physical presence than traditional video art that was the antithesis of traditional physical art. [4]Another factor worth considering is the psychological aspect of reception towards art in a certain setting. Art that is viewed within a gallery setting may well be seen as more ‘respectable’ and ‘valuable’ than art seen in other settings, but it may also be seen as more ‘traditional’ and constrained than art outside of a gallery setting. There seems to be little research on this particular point, but the researcher supposes that this sort of difference in reception could be possible. Another factor with video art is that the setting of the art might determine how the art is created in itself. Video artists see their projects almost as their children, and therefore want it shown in a particular way as it was intended. If a video art piece was intended to be spontaneous and viewed in a casual setting, then a gallery viewing of such a piece may limit its effectiveness, or even possibly change its meaning altogether.[5] The reception of video art in a gallery setting Video art in a gallery setting is often received differently to how it might be received in a non-gallery setting. Video art in a gallery and video art in another setting may be the separation between what is known as ‘art’ and what is simply known as ‘media’ or ‘television’. The move of video art into the gallery setting has supported its claim to be a mainstream art form. This validation of video art, merely by being seen in an art gallery setting has moved it away from the medium of television and towards the concept of philosophical aesthetics. This is a major shift in the reception of video art from simply a popular culture medium to a valid and critical artistic medium.[6] Another way to look at it is that perhaps the reception of video art is not changed within a gallery setting, but that the actual form of the video art is in fact changed within the gallery setting. Rather than being video art in the form of tape, video art in a gallery setting is either in the form of a live video performance or as an art installation combined with other physical forms of art such as architecture, sculpture, or other interactive multi-media forms. The only way to really determine this is by viewing art exhibitions in both a gallery and non-gallery setting to see if the reception has indeed changed. However, at this point there is very little research on this area as most art pieces are created for one specific setting rather than multiple settings. Therefore, it seems more likely that in many cases the reception of the art is not influenced by setting, but the creation of the art itself is influenced by the setting it is to be placed in.[7] The biggest change perhaps is that video art has moved from the single-screen, non site-specific form to the site-specific installation form. In the original single screen form, which is close to the medium of television, then the gallery setting is unlikely to alter the reception of the art piece. This is because the piece is setting-neutral and will be interpreted individually by each person regardless of setting. However, the form of video art in galleries today is generally installation art, which is site-specific. The art has been created with a specific setting in mind, surrounded by other art forms. In this case the reception of the art would be changed in different settings, but it is unlikely that a site-specific piece would be viewed outside of a gallery or its specific setting.[8] Influence of video art on the gallery experience Video art has been influenced by the gallery setting in its creation more than its specific reception, but video art and other multi-media art has also influenced the gallery experience and changed the way in which art can be perceived. The placement of video art and other multi-media art forms within galleries has challenged the nature of what ‘art’ is and has changed the nature of a gallery. Before this, art in galleries was limited to paintings and sculptures, and therefore the definition of ‘art’ was concerned with things that hung on walls or sat on pedestals. Video art added a completely new element to the gallery space and changed the gallery experience itself. The previous ‘empty space’ in the gallery was now utilized as a part of the artistic framework rather than merely somewhere to display objects. The empty gallery becomes a place for performance and ideas in itself, and space became just as important as the objects within the galler y.[9] Art shifted from the premise of ‘art as object’ to one of ‘art as idea and action’. This not only changed the way in which galleries were seen, but also changed the nature of video art by putting it firmly in the realm of ‘acceptable’ art rather than merely a part of popular culture. It helped to separate video art from the medium of television, drawing a distinct line between the two. It also helped video art to merge into other art forms, and for other forms of art to embrace the influence of video.[10] Furthermore, the acceptance of video art influence the gallery experience by letting other newer formats over the last few years to infiltrate the once sacred gallery space. Computer visuals, Internet exhibits and even live musical and dramatic performance are now part of the gallery experience in many places – something that would have been almost unheard of 30 or 40 years ago.[11] Finally, the acceptance of video art in a gallery setting has influenced the way in which new galleries are designed and laid out. Rather than simply having traditional spaces for paintings and sculptures, new gallery designs incorporate larger areas for performance, installation art and other multi-media art forms. The influence of video art on the gallery experience is perhaps just as strong as the influence of the gallery setting on video art.[12] Conclusion The notion that the reception of video art is strongly influenced by the gallery setting is somewhat misleading. Whilst there is clear evidence that the genre of video art has been massively influenced by the gallery reception, this is more to do with the creation of art rather than its reception. Of course, its reception in terms of its acceptance and standing within the artistic community and amongst the general public has been heightened by its introduction into the gallery setting. However, the major change has been in the move from site-neutral, single screen video art to larger, multi-media installations that incorporate video art and are often site-specific within the gallery setting. Conversely, video art has a significant effect on the gallery experience. It has changed the nature of what constitutes art and what a gallery should look like, as well as pave the way for other newer forms of art to be accepted within the gallery setting. Over the last thirty or forty years, the acceptance of video art into the gallery setting has changed both the way in which video art is commonly created, as well as change the way the gallery setting as a whole is viewed and used. Bibliography Balagopal, R., 2005. Installation Art. (Online). Available at: http://infopedia.nlb.gov.sg/Research/articles/PFInstallationArt.pdf (Accessed 11th August 2008). Bruce, B.C., 2000. The Work of Art in the Age of Digital Reproduction. Journal of Adolescent Adult Literacy, 44(1), p. 66. Carter, C.L., 1979. Aesthetics, Video Art and Television. Leonardo, 12(4), pp. 289-293. Elwes, C., Neshat, S., and University of the Arts London., 2005. Video Art : A Guided Tour. London: I.B. Tauris. Hanhardt, J.G., Villasenor, M.C., 1995. Video/Media Culture of the Late Twentieth Century. Art Journal, 54(4), pp. 20-25. Lisus, N.A., and Ericson, R.V., 1999. Authorizing Art: The Effect of Multimedia Formats on the Museum Experience. The Canadian Review of Sociology and Anthropology, 36(2), p. 199+. London, B., 1996. Video Spaces. Performing Arts Journal, 18(3), pp. 14-19. Lovejoy, M., 2004. Digital Currents: Art in the Electronic Age. New York: Routledge. McCarthy, K.F., and Ondaatje, E.H., 2002. From Celluloid to Cyberspace: The Media Arts and the Changing Arts World. Santa Monica, CA: Rand. Millard, R., 2005. Notebook: Buying Video Art Is Not at All Simple. Artists Sell to Who They like, and Dictate How the Work Is Shown. New Statesman, 134(4730), p. 41. Phelan, A., 1984. The Impact of Technology and Post Modern Art on Studio Art Education. Art Education, 37(2), pp. 30-36. Suderburg, E., 2000. Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press. Footnotes [1] Elwes, C., Neshat, S., and University of the Arts London., 2005, pp. ix-x [2] London, B., 1996, p. 14. [3] Hanhardt, J.G., Villasenor, M.C., 1995, pp. 20-21 [4] Balagopal, R., 2005. [5] Millard, R., 2005. [6] Carter, C.L., 1979, p 289. [7] Carter, C.L., 1979, p. 290 [8] Suderburg, E., 2000, pp. 2-14 [9] Phelan, A., 1984, pp. 30-33 [10] Lovejoy, M., 2004, pp. 101-103 [11] McCarthy, K.F., and Ondaatje, E.H., 2002, pp. 53-54 [12] Lisus, N.A., and Ericson, R.V., 1999, pp. 199-201