Artists and their Paintings

Ostentatiously Definition: Doing something in a way that shows off or tries to impress others. Example: She ostentatiously wore her expensive jewelry to the party. 2. Laden Definition: Carrying or loaded with something heavy. Example: The truck was laden with boxes of food. 3. Easel Definition: A wooden stand used to hold a canvas for painting. Example: The artist placed her painting on the easel to work on it. 4. Palette Definition: A flat board that painters use to mix their colors. Example: He mixed blue and yellow on his palette to create green. 5. Diffidently Definition: Acting in a shy or unsure way because of a lack of confidence. Example: She diffidently raised her hand to answer the question. 6. Quizzical Definition: Looking or acting confused or curious. Example: He gave a quizzical look when he didn’t understand the joke. 7. Acoustics Definition: The way sound behaves in a room or space. Example: The acoustics in the concert hall made the music sound amazing. 8. Plausible Definition: Something that seems believable or possible. Example: Her excuse for being late sounded plausible, so the teacher didn’t get upset.

artists and their work

Famous European artists and their work

The Pleiades, also known as the Seven Sisters, is a famous star cluster located in the constellation of Taurus. It is made up of a group of seven bright stars that are visible to the naked eye in the night sky. The stars in the Pleiades cluster are relatively young, being only about 100 million years old, which is young in astronomical terms. The Pleiades cluster has been observed and admired by cultures all around the world for thousands of years. In Greek mythology, the Pleiades were seven sisters who were pursued by the hunter Orion. To protect them, Zeus transformed them into stars, forming the star cluster we see today. Different cultures have their own stories and legends associated with the Pleiades, making it a fascinating object of study for astronomers and a source of inspiration for artists and storytellers. The Pleiades cluster is often used as a test of eyesight, as people are challenged to count how many stars they can see with the naked eye. Most people can see six or seven stars, but those with particularly sharp vision may be able to see more. The Pleiades is also a popular target for amateur astronomers with telescopes, as the cluster reveals even more stars and details when viewed through a telescope. In addition to being a beautiful sight in the night sky, the Pleiades cluster also serves a practical purpose for astronomers. By studying the stars in the Pleiades, scientists can learn more about how stars form and evolve, as well as gain insights into the structure and composition of the Milky Way galaxy. The Pleiades cluster continues to be an important object of study for astronomers, both amateur and professional, and its beauty and significance will continue to capture the imaginations of people for generations to come. Matariki is the Maori name for the Pleiades star cluster. The Pleiades is a group of stars that can be seen in the night sky, and Matariki is a special time of year when the star cluster is visible in the sky. In Maori culture, Matariki is seen as the beginning of the Maori New Year, and it is a time to celebrate and give thanks for the past year and look forward to the year ahead. So basically, Matariki is related to the Pleiades because it is a special time of year when those stars are visible in the sky and it has cultural significance for the Maori people. The Pleiades star cluster is known by different names in various cultures around the world. Here are some of the names by which the Pleiades are referred to in different countries: 1. Maori culture in New Zealand and Polynesia: Matariki 2. Greek mythology: The Seven Sisters 3. Japan: Subaru 4. Native American tribes: The Dancers or The Little Eyes 5. Inca civilization: Collca 6. Ancient Persia: Parvin 7. India: Krittika 8. Aboriginal Australians: The Seven Sisters or Djulpan These different names reflect the diverse cultural significance and interpretations of the Pleiades cluster in various societies throughout history.

Translator: Joseph Geni Reviewer: Morton Bast Before March, 2011, I was a photographic retoucher based in New York City. We're pale, gray creatures. We hide in dark, windowless rooms, and generally avoid sunlight. We make skinny models skinnier, perfect skin more perfect, and the impossible possible, and we get criticized in the press all the time, but some of us are actually talented artists with years of experience and a real appreciation for images and photography. On March 11, 2011, I watched from home, as the rest of the world did, as the tragic events unfolded in Japan. Soon after, an organization I volunteer with, All Hands Volunteers, were on the ground, within days, working as part of the response efforts. I, along with hundreds of other volunteers, knew we couldn't just sit at home, so I decided to join them for three weeks. On May the 13th, I made my way to the town of Ōfunato. It's a small fishing town in Iwate Prefecture, about 50,000 people, one of the first that was hit by the wave. The waters here have been recorded at reaching over 24 meters in height, and traveled over two miles inland. As you can imagine, the town had been devastated. We pulled debris from canals and ditches. We cleaned schools. We de-mudded and gutted homes ready for renovation and rehabilitation. We cleared tons and tons of stinking, rotting fish carcasses from the local fish processing plant. We got dirty, and we loved it. For weeks, all the volunteers and locals alike had been finding similar things. They'd been finding photos and photo albums and cameras and SD cards. And everyone was doing the same. They were collecting them up, and handing them in to various places around the different towns for safekeeping. Now, it wasn't until this point that I realized that these photos were such a huge part of the personal loss these people had felt. As they had run from the wave, and for their lives, absolutely everything they had, everything had to be left behind. At the end of my first week there, I found myself helping out in an evacuation center in the town. I was helping clean the onsen, the communal onsen, the huge giant bathtubs. This happened to also be a place in the town where the evacuation center was collecting the photos. This is where people were handing them in, and I was honored that day that they actually trusted me to help them start hand-cleaning them. Now, it was emotional and it was inspiring, and I've always heard about thinking outside the box, but it wasn't until I had actually gotten outside of my box that something happened. As I looked through the photos, there were some were over a hundred years old, some still in the envelope from the processing lab, I couldn't help but think as a retoucher that I could fix that tear and mend that scratch, and I knew hundreds of people who could do the same. So that evening, I just reached out on Facebook and asked a few of them, and by morning the response had been so overwhelming and so positive, I knew we had to give it a go. So we started retouching photos. This was the very first. Not terribly damaged, but where the water had caused that discoloration on the girl's face had to be repaired with such accuracy and delicacy. Otherwise, that little girl isn't going to look like that little girl anymore, and surely that's as tragic as having the photo damaged. (Applause) Over time, more photos came in, thankfully, and more retouchers were needed, and so I reached out again on Facebook and LinkedIn, and within five days, 80 people wanted to help from 12 different countries. Within two weeks, I had 150 people wanting to join in. Within Japan, by July, we'd branched out to the neighboring town of Rikuzentakata, further north to a town called Yamada. Once a week, we would set up our scanning equipment in the temporary photo libraries that had been set up, where people were reclaiming their photos. The older ladies sometimes hadn't seen a scanner before, but within 10 minutes of them finding their lost photo, they could give it to us, have it scanned, uploaded to a cloud server, it would be downloaded by a gaijin, a stranger, somewhere on the other side of the globe, and it'd start being fixed. The time it took, however, to get it back is a completely different story, and it depended obviously on the damage involved. It could take an hour. It could take weeks. It could take months. The kimono in this shot pretty much had to be hand-drawn, or pieced together, picking out the remaining parts of color and detail that the water hadn't damaged. It was very time-consuming. Now, all these photos had been damaged by water, submerged in salt water, covered in bacteria, in sewage, sometimes even in oil, all of which over time is going to continue to damage them, so hand-cleaning them was a huge part of the project. We couldn't retouch the photo unless it was cleaned, dry and reclaimed. Now, we were lucky with our hand-cleaning. We had an amazing local woman who guided us. It's very easy to do more damage to those damaged photos. As my team leader Wynne once said, it's like doing a tattoo on someone. You don't get a chance to mess it up. The lady who brought us these photos was lucky, as far as the photos go. She had started hand-cleaning them herself and stopped when she realized she was doing more damage. She also had duplicates. Areas like her husband and her face, which otherwise would have been completely impossible to fix, we could just put them together in one good photo, and remake the whole photo. When she collected the photos from us, she shared a bit of her story with us. Her photos were found by her husband's colleagues at a local fire department in the debris a long way from where the home had once stood, and they'd recognized him. The day of the tsunami, he'd actually been in charge of making sure the tsunami gates were closed. He had to go towards the water as the sirens sounded. Her two little boys, not so little anymore, but her two boys were both at school, separate schools. One of them got caught up in the water. It took her a week to find them all again and find out that they had all survived. The day I gave her the photos also happened to be her youngest son's 14th birthday. For her, despite all of this, those photos were the perfect gift back to him, something he could look at again, something he remembered from before that wasn't still scarred from that day in March when absolutely everything else in his life had changed or been destroyed. After six months in Japan, 1,100 volunteers had passed through All Hands, hundreds of whom had helped us hand-clean over 135,000 photographs, the large majority — (Applause) — a large majority of which did actually find their home again, importantly. Over five hundred volunteers around the globe helped us get 90 families hundreds of photographs back, fully restored and retouched. During this time, we hadn't really spent more than about a thousand dollars in equipment and materials, most of which was printer inks. We take photos constantly. A photo is a reminder of someone or something, a place, a relationship, a loved one. They're our memory-keepers and our histories, the last thing we would grab and the first thing you'd go back to look for. That's all this project was about, about restoring those little bits of humanity, giving someone that connection back. When a photo like this can be returned to someone like this, it makes a huge difference in the lives of the person receiving it. The project's also made a big difference in the lives of the retouchers. For some of them, it's given them a connection to something bigger, giving something back, using their talents on something other than skinny models and perfect skin. I would like to conclude by reading an email I got from one of them, Cindy, the day I finally got back from Japan after six months. "As I worked, I couldn't help but think about the individuals and the stories represented in the images. One in particular, a photo of women of all ages, from grandmother to little girl, gathered around a baby, struck a chord, because a similar photo from my family, my grandmother and mother, myself, and newborn daughter, hangs on our wall. Across the globe, throughout the ages, our basic needs are just the same, aren't they?" Thank you. (Applause) (Applause)

School is an important part of every student’s life. It is a place where we learn new things, make friends, and grow as individuals. We study different subjects such as math, science, languages, history, and art. These subjects help us discover what we are good at and what we enjoy doing. As students move through school, they begin to think about their future choices. Some students want to go to university, while others prefer to get a job or learn a trade. Our interests, talents, and school experiences help us decide what career we want in the future. Teachers and parents often give advice, but in the end, it is important for each student to choose a path that matches their goals and dreams. School helps us not only with knowledge but also with important life skills like communication, teamwork, and responsibility. In the future, we may become doctors, teachers, engineers, artists, or anything we choose. The most important thing is to work hard at school and believe in ourselves.

USAGE/APPLICATION OF MULTIMEDIA RESOURCES Here’s how multimedia is used across different fields: • Creative industries – Multimedia allows creative professionals to express themselves in innovative ways and reach wider audiences through engaging and immersive content. Examples: graphic design, filmmaking, interactive storytelling, talk shows, podcast • Commercial uses – Multimedia helps business reach their target audience more effectively, build brand awareness, and drive sales. Examples: online advertising, product demonstrations, corporate presentation • Entertainment and fine arts – Multimedia pushes the boundaries of creative expression, allowing artists to explore new forms of art and reach broader audiences. Examples: video games, virtual reality art, musical performances • Educational technology – Multimedia helps educators create dynamic and engaging learning environments, making it easier for students to understand and retain information. Examples: online courses, educational games, virtual field trips • Social work – Multimedia empowers social workers to reach wider audiences, connect with clients more effectively, and advocate for social change. Examples: social media advocacy, client communication, training materials • Language communication – Multimedia makes language learning more engaging and accessible, helping people communicate effectively across language barriers and cultural differences. Examples: language learning apps, interactive language games, multilingual content creation • Journalism – Multimedia journalism allows journalists to present information in a more engaging and informative way, enhancing the storytelling experience and reaching wider audiences. Examples: interactive news article, video journalism, virtual reality journalism In conclusion, multimedia has become an integral part of various industries, enabling, creative expression, effective communication, and engaging experiences for audience worldwide.

Related quizzes

Related quizzes