This abstract painting by Jackson Pollock seems to be complete chaos at first. However, I was able to find a few interesting elements like some splotches in the upper right corner which appear to be hand prints. The rest was composed of lines and swirls of paint of varying thicknesses, but relatively few splotches. Since most of the color consists of black, white, and grey, the small bits of red and yellow really drew my attention. Also, unlike most painted works of art, Pollock leaves noticeable blank spaces at the edges of this work instead of filling all spaces with some sort of color. I believe artists refer to this as “negative space”. I was not particularly impressed by this painting, so I have a hard time understanding why it is so famous since it does not look like i took a talented painter to create it. However, experiencing it full sized would be completely different since I would be able to see even the finest details which undoubtedly contribute to overall effect of this painting.
Sullivan’s reaction to Pollock’s artwork described a clear admiration but vague understanding of his work. She asserts that he is exploring some deeper idea but admits that it is difficult to realize “his question, let alone his answer”. She concludes that his artwork is a simple way to represent complex ideas when she compares his maze of paint to monopoly without a banker. She makes her point through a series of comparisons between the painting and dreams, a maze, etc. I found this ironic since the painting was “pure” and didn’t have any similes, but her poem was full of metaphors.
In today’s newspaper, the Mutts comics had an animal place kicking a football and she said “that was for you, Charlie Brown” (McDonnell). This is an allusion because you need to be familiar with the Peanuts comic on Thanksgiving to get the joke. Without this knowledge, a reader would be unable to derive any meaning from the comic and would have wasted their time reading it since it wouldn’t be funny.
“We need to work in Google’s ‘world of numbers,’ but we also need to be able to retreat to Sleepy Hollow.” (Carr 168)
“Why yet I live to say ‘This thing’s to do’, Sith I have cause, and will, and strength, and means, to do’t.” (Shakespeare 95). This shows Hamlet’s fatal flaw because he is talking to himself about how he always has things to do and never does them. In other words, his inaction leads to his eventual demise since Claudius gets Hamlet killed before Hamlet brings himself to kill Claudius.
“After this, [Samson] loved a woman in the valley of Sorek, whose name was Delilah” (Judges, 191)
Carr, Nicholas G. The Shallows: What the Internet Is Doing to Our Brains. New York: W.W. Norton, 2010. Print.
Judges. Revised Standard Version. Second Catholic Ed. San Francisco: Ignatius, 2001. Print.
McDonnell, Patrick. “Mutts.” The Eagle [College Station] 7 Feb. 2016: n. pag. Print.
Shakespeare, William. Hamlet and Related Readings. New York: Glencoe/McGraw- Hill. 2000. Print.
The first thing I noticed when viewing these tow versions of Shakespeare’s tragic masterpiece was the spelling of tragedy. In Quarto 1 (the earlier version) tragedy was spelled exactly how it is today. However, the First Folio had it spelled “Tragedie” which at first just seemed archaic but then reminded me that tragedies usually involve the death of several characters. This made me wonder if that is where the word came from since it contains the word “die” in its archaic spelling.
I also noticed that the quarto 1 version did not appear to have any division between the scenes. It did contain stage directions, but there was no “scene two” marker like in other versions of Othello. The words at the bottom of the page seemed silly at first, but I now believe that they are there to help actors who are memorizing their lines. This way, there is no need for even the shortest pause while they turn the page, so the words can come out more eloquently. Putting in this extra word in the bottom right hand corner would be a nice addition to any play which people will be acting out.
Claudius- “How is it that the clouds still hang on you?”
Hamlet- “Not so, my lord. I am too much in the sun” (Shakespeare, 10)
“They seemed to think the opportunity lost, if they failed to point the conversation to me, every now and then, and stick the point into me” (Dickens, 7)
“I made the genius choice of selling my car right before I decided to move” (Sarcasm)
“Was there a lack of graves in Egypt, that you took us away to die in the wilderness?” (Exodus 14:11)
Dickens, Charles. Great Expectations. New York: Dodd, Mead, 1942. Print.
Exodus. New American Bible. N.p.: Salsberry, 1970. Print.
“Sarcasm.” Literary Terms. N.p., 28 Aug. 2015. Web. 24 Jan. 2016.
Shakespeare, William. “Act I Scene II.” Hamlet and Related Readings. New York: Glencoe/McGraw-Hill, 2000. N. pag. Print.
“Sanders, the Vermont Senator and self-described democratic socialist was giving former secretary of state and first lady Hillary Clinton a strong challenge…” (One-Time)
“Have we, as ’twere with a defeated joy” (Shakespeare 39)
“A penny saved is a penny earned” (McCormick)
“The child, father of the man” (Wilson)
McCormick, Blaine, and Burton Folsom. “A Penny Saved Was Never A Penny
Earned.” Forbes. Forbes, 18 Aug. 2014. Web. 17 Jan. 2016.
“One-Time Presidential Favorites Engage Longshot Rivals.” The Eagle [College
Station] 17 Jan. 2016. The Eagle. The Eagle, 17 Jan. 2016. Web. 17 Jan. 2016.
Shakespeare, William. Hamlet and Related Readings. New York: Glencoe/McGraw-
Hill, 2000. N. pag. Print.
Wilson, Brian. “Child Is Father of the Man Lyrics.” Metrolyrics. CBS, 2016.
Web. 17 Jan. 2016.
With My Brother
Untying ropes from flagpoles.
Motionless, reluctant, unchanged
even by the stillness of flags
in a century of ordinary flags. How
I love to ride with my brother
even if below our joy persists
a collective hush and something
like Lake Michigan in which we know
the day is long and the once true things
still are: What will I throw my weight
into today? Where are the sour
among the sweet cherries? The salt
from sweat makes our skin stick
but my brother is full of privilege
and things that comfort, of family
anger, that old-house feeling.
This poem, sent out through the Poem-A-Day service, seemed very obscure to me at first. The first few lines start our all referring to flags, but the majority of the poem I found unrelated and almost random. After more careful consideration, I noticed that the poet’s brother was the main constant throughout the work. In all the discussion from flags to the lake to sweating skin, both the author and his brother experience their mood and emotions together. Even as the imagery becomes more somber and they begin looking for the “sour cherries,” both siblings stick together through their familial bond.
The last five lines of Ostrom’s poem were very interesting to me. It contrasts the sweaty skin of the author (which seemed to characterize them as part of a working class) with his brother’s feelings of privilege. He also writes about “things of comfort” and “that old house feeling”, but these do not seem to fit very well with “family anger.” Although I would consider an old, familiar house to be comforting, anger in one’s family (even if it might be typical for that family) is far from a thing of privilege or comfort. It is unclear why the brother feels exactly this way, but it is the one point of contingency between him and the author throughout the entire text of the poem since he normally loves “to ride with [his] brother even if below [their] joy persists a collective hush…”
First, make sure that you have all the necessary materials and safety equipment (listed below).
- Oxygen and Acetylene or Propane bottles
- Pressure Regulators (2)
- Cutting Torch and hoses
- Cutting tip
- Cart to hold bottles upright
- Flint Striker
- High cuffed welding gloves
- Shade 5 face shield
- Fire Extinguisher
- cotton or leather shirt and pants
- leather shoes or boots
- Various open ended wrenches
Part 1: Setting up your Oxy-Fuel rig
- Screw the regulators onto your bottles. (Red goes with the fuel gas and green with oxygen)
- Attach hoses to connect the regulator and cutting torch using the same color code.
- Choose an appropriate torch tip using a chart of recommendations like the one shown below.
- This chart can also be used to adjust the gas pressures once you have installed the tip.
- To adjust the gas pressures, open the torch and bottle valves. Then, use the adjusting screw on your regulator to change the pressure.
- Check your entire setup by referring to the diagram below.
Part 2: Lighting the torch and adjusting your flame
- Open the fuel gas torch valve about half way.
- Light the torch by squeezing the striker about an inch away from the tip. Be sure to wear gloves!
- Turn up the fuel gas valve until the flame jumps slightly off the tip. It should look similar to the picture below.
- Add oxygen to the flame until it becomes “neutral.” This type of flame is achieved when the flame looks the same after depressing the torch lever and there is not an excessive hissing of gas.
- Now, you are ready to cut!
Part 3: Making the Cut
- Lower the tip of your torch about 3/8″ above the metal you are cutting in order to preheat. (Start slightly off the edge of the metal)
- Wait until the metal turns cherry-red (like in the image below).
- Depress the oxygen lever all the way
- Angle the torch slightly into the cut
- Proceed to cut by moving the torch at a steady speed (not so fast that the torch stops cutting) while keeping it 3/8″ above the metal
- You can now clean up your torch kit by shutting off the valves at the bottles and making sure to put all hot metal in a safe area for cooling