Telling Stories Sequencing for ESL Students

Telling stories is common in any language. Think of all the situations in which you might  tell a story in everyday life: Talking about last weekend to a friend.Giving details about something that happened during a job interview.Relating information about your family to your children.Telling colleagues about what happened on a business trip. In each of these situations—and many others—you provide information about something that happened in the past. To help your audience understand your stories, you need to link this information from the past together. One of the most important ways to link ideas is to sequence them. The passages below are good examples of sequenced ideas. Read the examples and then measure your understanding with a quiz. The answers are at the bottom. EXAMPLE PASSAGE: A Conference in Chicago Last week, I visited Chicago to attend a business conference. While I was there, I decided to visit the Art Institute of Chicago. To start off, my flight was delayed. Next, the airline lost my luggage, so I had to wait for two hours at the airport while they tracked it down. Unexpectedly, the luggage had been set aside and forgotten. As soon as they found my luggage, I found a taxi and rode into town. During the ride into town, the driver told me about his last visit to the Art Institute. After I had arrived safely, everything began to go smoothly. The business conference was very interesting, and I thoroughly enjoyed my visit to the institute. Finally, I caught my flight back to Seattle. Luckily, everything went smoothly. I arrived home just in time to kiss my daughter goodnight. Sequencing Steps Sequencing refers to the order in which events happened. Sequencing is often made easier by the use of transition words. Following are some of the most common words and expressions used to sequence when writing or speaking. Beginning your story Create the beginning of your story with these expressions. Use a comma after the introductory phrase. First of all,To start off with,Initially,To begin with, Examples of these beginning phrases in use include: To begin with, I began my education in London.First of all, I opened the cupboard.To start off with, we decided our destination was New York.Initially, I thought it was a bad idea. Continuing the story You can continue the story with the following expressions, or use a time clause beginning with as soon as or after. When using a time clause, use the  past simple  after the time expression, such as: Then,After that,Next,As soon as / When full clause,...but thenImmediately, Examples of using these continuing phrases in a story include: Then, I started to get worried.After that, we knew that there would be no problem!Next, we decided on our strategy.As soon as we arrived, we unpacked our bags.We were sure everything was ready, but then we discovered some unexpected problems.Immediately, I telephoned my friend Tom. Interruptions and Adding New Elements to the Story You can use the following expressions to add suspense to your story: Suddenly,Unexpectedly, Examples of using these interrupting phrases or turning to a new element include: Suddenly, a child burst into the room with a note for Ms. Smith.Unexpectedly, the people in the room didnt agree with the mayor. Ending the Story Mark the end of your story with these introductory phrases: Finally,In the end,Eventually, Examples of using these ending words in a story include: Finally, I flew to London for my meeting with Jack.In the end, he decided to postpone the project.Eventually, we became tired and returned home. When you tell stories, you will also need to give reasons for actions. Review tips on  linking your ideas  and providing reasons for your actions  to help you understand how to do so. Events Occurring at the Same Time The use of while and as introduce a  dependent clause  and  require an  independent clause  to complete your sentence. During is used with a noun, noun phrase, or noun clause and does not require a subject and object. The construction for this kind of sentence is: While / As subject verb dependent clause or independent clause while / as subject verb An example of using while in a sentence is: While I was giving the presentation, a member of the audience asked an interesting question.Jennifer told her story as I prepared dinner. The construction for using during in a sentence is: During noun (noun clause) Examples of using during in a sentence include: During the meeting, Jack came over and asked me a few questions.We explored a number of approaches during the presentation.   Test Your Knowledge! Provide an appropriate sequencing word to fill in the blanks. The answers follow the quiz. My friend and I visited Rome last summer. (1) ________, we flew from New York to Rome in first class. It was fantastic! (2) _________ we arrived in Rome, we (3) ______ went to the hotel and took a long nap. (4) ________, we went out to find a great restaurant for dinner. (5) ________, a scooter appeared out of nowhere and almost hit me! The rest of the trip had no surprises. (6) __________, we began to explore Rome. (7) ________ the afternoons, we visited ruins and museums. At night, we hit the clubs and wandered the streets. One night, (8) ________ I was getting some ice cream, I saw an old friend from high school. Imagine that! (9) _________, we caught our flight back to New York. We were happy and ready to begin work again. Multiple answers are possible for some  of the blanks: First of all / To start off with / Initially / To begin withAs soon as / WhenimmediatelyThen / After that / Next  Suddenly / Unexpectedly  Then / After that / Next  DuringWhile / As  Finally / In the end / Eventually

A Comparative Analysis Of Official Crime Statistics And...

To claim that crime is increasing or decreasing in New Zealand is a statement with various inbuilt assumptions. Crime is not a simple notion to define, nor is it easy to measure. This essay will perform a comparative analysis between ‘Official Crime Statistics’ and unofficial measures, highlighting that both methods are limited in reflecting the true nature and scope of crime, as the notion of crime is contested. Official crime statistics follow a positivist approach, assuming that crime is a static fact to observe and measure. Looking at the statistics in isolation, there is a gradual decrease in the overall crime rate (Police National Headquarters, 2014). Trends for specific offences fluctuate, as violent crimes such as sexual assaults are increasing, while property offences are decreasing. However, this data has various limits. Official statistics only account for crime that is detected and recorded. Crimes incorrectly filtered out of the system or miscoded fall into the grey figure (Bradley Walters, 2011), distorting specific crime trends. Crucially, because these statistics only reflect when a person is captured, the dark figure – all crime experienced by victims, but hidden from police (MacDonald, 2002) - is unaccounted for. Secondly, the data is measured using a legal definition of crime. Yet the law is constantly changing, as it is contingent on the society it is found in. The introduction of the Sentencing Act 2002 saw an increase in charging violent offendersShow MoreRelatedThe Social Impact of Drug Abuse24406 Words   |  98 Pages. . . . . . . . . . . Health . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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Company Performance Balanced Scorecard

Question: Discuss about theCompany Performance forBalanced Scorecard. Answer: Introduction: A company operating in any industry has certain goals to achieve if it wants to successfully compete with its peers while remaining relevant to its customers. In order to sustain its performance it has to closely monitor itself with respect to various industry benchmarks and peers. One such tool which can effectively perform this task is balanced scorecard. The company of concern in this report is IQTech and it elaborates about its performance with the help of balanced score card. Balanced Scorecard: Balanced scorecard is a holistic approach to measure the performance of a company which is IQTech in the present context. It classifies the performance measure parameters into different clusters namely financial performance, market performance, marketing effectiveness, investment in future, wealth, human resource management, asset management, manufacturing productivity and financial risk. At last all these attributes are summed up in a single parameter which represents the total performance of IQTech (Varia, 2005). The total performance indicator is a means to reflect upon the holistic performance of IQTech wherein all the individual parameters are integrated to have a single performance measure. It is a quantitative measure to understand the performance of the management of the company in terms of utilization of resources. It takes into account the past performance as well as the ability of the company to excel in the future. In terms of total performance the company has fared quite well with 5.339 points which is quite above the industry average of 1.068 in which IQTech works. Financial Performance Financial performance is the most important measure in any companys balanced scorecard and IQTech is no exception. It reflects the performance of the management of the company towards increasing the wealth of the shareholders in terms of profits. It can be deemed to have done well if it is a positive number and bigger it is the better. Several mathematical calculations are computed with the help of information available from the annual reports like operating profit, etc. which give the performance of the company with respect to revenue it generated through sales activities. Financial performance of IQTech seemed to be quite outstanding with a high positive figure of 8.558 which has outperformed the industry average which is in negative. Market Performance This parameter is a measure of managements ability to create demand for its products in the primary and secondary market. The demand is projected and then it is expected that the company will be able to meet the demand. If there are stock outs then it is considered as a negative for the company. The market share of IQTech seems to be average in both primary and secondary market with a score of 0.271 which is moderately high over the mean figure. Wealth It is expected that the performance of the company will add value to the investors upon their initial investment. The type of wealth that is created depends on the stage at which the company is. IQTech has done quite good in this respect with an above average score of 0.661. Human Resource Management It talks about the efficiency of the organization with respect to acquiring, training and retaining a talented pool of employees. IQTech has achieved average performance in this aspect with a score of 0.685. Asset Management IQTech has performed quite well in this respect with a high score of 0.912 which reflects an efficient use of resources by the company. Manufacturing productivity Manufacturing productivity is highest for IQTech with a score of 1.00 which tells that the manufacturing process of IQTech is best in class. Financial Risk A perfect score of 1.00 indicates that IQTech has properly hedged its financial risk and is safe as far as financial fluctuations are concerned. Investment in future This parameter identifies the performance of the companys leadership team in terms of new opportunity identification and investment in those opportunities so that it can create new revenue streams for the company. IQTech has performed poorly in this segment with a low score of 8.058 (Pfaff, Badura, and Ltticke, 2004). There are other parameters as well like marketing effectiveness, wealth, human resource management, financial risk, etc. Reference Pfaff, H., Badura, B. and Ltticke, J. (2004) Balanced scorecard,Public Health Forum, 12(3). Doi: 10.1515/pubhef-2004-2105. Varia, K. (2005) A balanced approach [balanced scorecard],Manufacturing Engineer, 84(2), pp. 4043. Doi: 10.1049/me:20050207.

Louise Nevelson Sky Cathedral Essay Example

Louise Nevelson Sky Cathedral Paper Louise Nevelson— Sky Cathedral Presence Survey of World Art The sculptress Louise Nevelson was a towering figure of American modernism. Born in 1899, she came to prominence in the late ‘50s, gaining renown for monochromatic structures built out of discarded wood. Critic Arthur C. Danto wrote, â€Å"There could be no better word for how Nevelson composed her work than bricolage—a French term that means making do with what is at hand. (Danto 2007) Her pieces evolved and expanded in size across the latter 20th century, moving from smaller pieces to wall-sized ones, and the plays of volume therein, between light and mass, generated comparisons to numerous different movements. The following paper will examine these links by discussing Nevelson’s work, Sky Cathedral (1982), in conversation with seven others: the Stela of Mentuwoser (ca. 1955 B. C. ), the Grave Stele of a Little Girl (c. 450-440 B. C. ), the Imperial Procession from the Ara Pacis Augustae (13-9 B. C. ), the Triumph of Dionysos and the Seasons (ca. A. D. 260-270), Duchamp’s Bicycle Wheel, 1913/1951, MoMA, Mondrian’s Composition (1921), and Pollock’s One (Number 31, 1950). To set up these conversations, it is necessary to locate Nevelson’s significance. Picasso’s pioneering, early 20th century sculpture of accumulation was the foundation of Junk art—an impulse utilizing found objects. Nevelson had started assembling discarded wood in the mid ‘50s (she was then in her early 60s), and doing so linked her to many younger peers. However, Nevelson was not ideologically linked to either. Similarly, Nevelson’s monochrome reliefs invoked sacred and public tableau from centuries earlier. What is centrally different, though, is the lack of single, true perspective—her larger installations invite consideration from a variety of perspectives. To place her in a particular mode or tradition always seems to run up against these tensions. Starting with the Stela of Mentuwoser (Fig. 2), one has a good example. Like Nevelson’s mature works, it is a rontally-oriented relief, and one might go further, taking the Stela’s funerary function as a link to the commanding monochromes—most obviously the blacks. However, Nevelson herself did not use monochromes to connote anything, stating that the association of black and death was basically a Western cultural association and that for her, â€Å"it may mean finish, completeness, maybe eternity. † Moreover, it would betray cultural projectio n to assume that the Egyptians were attempting abstraction, per se. We will write a custom essay sample on Louise Nevelson Sky Cathedral specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Louise Nevelson Sky Cathedral specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Louise Nevelson Sky Cathedral specifically for you FOR ONLY $16.38 $13.9/page Hire Writer According to Panofsky The ancient Egyptians, who tried to reproduce things in their rigorously objective appearance, surely thought they were proceeding as naturalistically as possible. The Greek artist, in turn, would have thought of his own works as naturalistic only in comparison to those of the Egyptians. {Panofsky 2000) Krauss, in her essay â€Å"The /Cloud/†, reminds us that, â€Å"The Egyptian relief†¦both enforces a shadowless linearity and is projected as if seen from no vantage at all. (Kraus 1992) By contrast, Nevelson’s Sky Cathedral (Fig. ), even in a 2-D rendering, is replete with nooks and shadows—this invites the changing of position which itself multiples its vantages. The Stela is relatively thin; its funerary purpose makes one recall Alois Riegl’s analysis The Egyptian method of employing a theory of proportions clearly reflects their Kunstwollen [artistic intention or â€Å"the will to form†], directed not toward the variab le, but toward the constant, not toward the symbolization of the vital present, but toward the realization of a timeless eternity (Riegl 1957) By inviting the viewer to re-engage Sky Cathedral from multiple approaches, Nevelson is clearly trying to achieve something else. Looking next at the Grave Stele of a Little Girl (Fig. 3), one can see not only the formal advancements to which Panofsky gestured in the quote above but also the metaphysical shift from the perspective Riegl described. Although this Stele, too, is connected to death, it is not concerned with the timelessness of the afterlife—it quite strikingly grasps towards a felt instant of its young subject’s life. The poignancy of this girl’s untimely death and the instant of life the Grave Stele captures are both magnified by the weight and constancy of the marble. By contrast, Nevelson achieves something like suppleness in Sky Cathedral by her use of multiple layers and multiple â€Å"new† spaces that emerge from different vantage points. From the Attic Greek to the Augustan age brings one to the Imperial Procession, located on the North frieze of the Ara Pacis Augustae (Fig. 4). The first two sculptures put into conversation with Sky Cathedral were mortuary, but the Imperial Procession is celebratory. The first two are both smaller than four feet, but the Procession is life-sized, so its visual force is thus magnified. Finally, the individuals therein are not idealized types, in contrast to earlier Greek modes of statuary—they naturalistic depictions of many actual people in the line of the Caesars. The Ara Pacis took four years to build, due to its desired scale and quality, and that scale points to a salient evolution from the Greeks to the Romans. Riegl claimed this vector went from what he call[ed] the haptic objectivism of the Greeks—the delineation of the clarity of the object through an appeal to and a stimulation of the tactile associations of the viewer—to the optical objectivism of Roman art, in which the need to set the figure up in space as radically freestanding led to the projection of the rear side of the body and hence the use of the drill to excavate the relief plane. (Riegl 2004) This magnification in both size and realism fascinates, certainly evoking an interest in multiple planes of and vantages on the Procession. But what is notably absent here that exists in Sky Cathedral are the recesses and pockets—the shaping inner spaces that create shadows and enigmas and that are themselves changeable things, as exterior light shifts. The transition from Augustan to late Roman sculpture finds this crucial transition. From contemporaneous perspectives, Late Roman art was judged to have declined from earlier Greco-Roman standards. However, Riegl argued that the development of an â€Å"optical† mode of representation in the late Roman period—manifested, for example, in the play of light and shadow in the deeply cut sarcophagus reliefs—actually prepared the ground for highly spiritualized Christian painting and ultimately for the idealizing and subjective art of modern Europe. (Riegl 2004) The representative piece from this period is the Triumph of Dionysos and the Seasons (Fig. 5). This piece returns us to mortuary work, but—distinctly from the preceding three—brings us to the first work that does not concern mundane human beings. Carved in high relief, Dionysos rides a panther and is flanked by four young men personifying the Seasons. Additionally, other mythic figures, such as Mother Earth and a Nereid, finish filling out the sarcophagus. It’s worth noting the concrete links between Riegl’s assertion about the play of light and the rise of the subjective. There is a bridge from mystery as a function of light and shadow (visual play) to mystery as visual and religious idealization; similarly, there is a bridge from mystery as personal reaction to mystery in subjectively experienced art (as opposed to art that necessitates some reaction or stance). The name â€Å"Sky Cathedral† prefaces or prepares someone to experience the piece, and the piece is very evocative, even without any human-type figures. By contrast, the once-maligned techniques evident in the high-relief are not independent of the mythic-narrative elements on it. Of course, the obvious next step is to start putting Sky Cathedral in conversation with sculpture that has risen after the rise of the subjective and that has moved past representation. It’s well worth asking what—aside from Nevelson’s demurring—should make someone separate her from Dada, Surrealism, etc. The first candidate is Duchamp’s altered readymade, Bicycle 1913/1951 (Fig. 6). One might disregard Picasso’s use of found objects, used as often as they were for representational pieces, but why shouldn’t one consider Duchamp and Nevelson kindred spirits? The first answer, in experiential terms, is the brute intellectual force of readymades, compared to Nevelson’s work—the best way to explain that is tor refer to the titular semiological device of Krauss’s â€Å"The /Cloud/. In this essay, Krauss cites Hubert Damisch’s Theorie du /Nuage/, which uses a perspective-viewing machine created by Brunelleschi as a point of departure, first to cite /cloud/ as a marker inserted †¦between those two planes of the perspective apparatus†¦slipped into the construction as though it were measurable†¦but which gave the lie†¦to this†¦possibility of definition†¦Perspective was thus understood from the first to be a matter of architectonics, of a structure built from delimited bodies (Krauss 1992) If, to this grounding of perspective and perception, one can add Breton’s definition of readymades as manufactured objects raised to the dignity of works of art through the choice of the artist, the problem becomes clear. Duchamp’s readymades are goal-oriented works, works that live by the putative volition of the artist; therefore, there is nothing conceptual slipped between the two planes above—everything announces itself. By contrast, at first a physical and then a perceptional level, Nevelson’s work interferes and entices. They do not live â€Å"through the choice of the artist,† but rather through the choices of the investigating viewer. Sky Cathedral operates not as a manifesto or an act of will but as a dynamic, growing system. Furthermore, although Nevelson has had pieces such as White Vertical Water, which recalls Arp’s works, she has never taken on the label, Dadaist. The notions of interference and physicality that were present in Krauss’s essay above move the conversation with Sky Cathedral towards Mondrian’s Composition 1921. The most obvious surface differences are Nevelson’s use of curves and irregular lines and her lack of dogmatism, relative to the proponents of Neoplasticism. However, there are just as obviously very exciting parallels. Mondrian’s grids simultaneously organize and disorient space, and one might make the analogy that his use of color parallels Nevelson’s use of the volumes, the fullnesses of Sky Cathedral. Krauss might assert that this was to be expected, discussing how the influence of phenomenology ushered in early 20th century paintings’ concern with, â€Å"†¦the logical grounds of possibility, for the purely subjective phenomenon of vision itself†¦Ã¢â‚¬  and the subsequent ascendance, conceptually, of the grid. Krauss 1992) She goes on to cite Mondrian as the, â€Å"prime figure† in the â€Å"classical period of the modernist grid† (Krauss 1992), and this is entirely reasonable. Mondrian deals with this tension by creating lines without shadows, by using flatness, and by building images straightforwardly, in the mode of objectivism. But if one does not use this strategy to address the phen omenological issues above, the big /cloud/ that slips into the work and sight planes is tactility. Krauss describes the choice as one between, †¦materializing the grid, as when Ellsworth Kelly constructs†¦Colors for a Large Wall†¦Ã¢â‚¬  or between †¦mak[ing] the optical a function of the tactile†¦field of its viewer, that is to say, the succession of those viewing distances the viewer might assume. † (Krauss 1992) It is at this verge, then, that the relationship between Mondrian and Nevelson becomes most provocative—the pure question of sight. Regarding how to engage Nevelson’s work, Danto recalls a term from Hegel To experience an Aufhebung, one must experience something on three levels of consciousness. One must see something is preserved but at the same time that it is negated and that it is transcended. This is the way the mechanics of wood, black and sculpture operate in the experience of Nevelson’s work—or the way she hoped they would operate. (Danto 2007) If Nevelson and Mondrian are antipodes on the spectrum of the phenomenology of vision, it is not surprising that their works are formally antipodal. Danto’s assertion is striking, though, because the physical engagement of Nevelson’s work operates very similarly to that of her final peer. Although Jackson Pollock did not work with found wood, or monochromes, or large reliefs, his work easily triggers the same multivalent observations and interactions that Nevelson’s does. Like her’s, his work generates heightened, shifting, and fragmented awarenesses even as it restructures an apparent totality. The reasons for this are numerous and well-worth examining, especially after an exploration of the fundamental basis of vision. First, Pollock achieves the quality of depth, thus instigating a viewer’s investigation thereof. Whereas Nevelson achieves this quality through physical volumes, arrays of lines, and seeming barrier of monochromes, Pollock does so with line, color and layering. Furthermore, both artists operate within a mode of subjectivity—that is to say, both are creating arenas in which every spectator is playing with and against their own shifting experience of some artwork. To the extent that Danto is correct, to the extent that Nevelson’s (and possibly Pollock’s) works are built to engender Aufhebung experiences, they can do so because of the interplay between shifting perceptual, conceptual, and emotional engagements. Moreover, this space seems open partly because of the aleatory or unconscious impulses within these artists’ processes. This is not to negligate intention in either party’s works—for instance, one quality of Pollock’s opticality is the perception of shadows, despite the absence of (significant) volume—which quality Nevelson’s work obviously generates. Finally though, it’s important to recognize the considerable gulfs between Sky Cathedral and Pollock’s One (Number 31, 1951). There are several qualities which distinguish Nevelson from Pollock and other Abstract Expressionists. There is, in a literal, physical sense, nothing abstract about Nevelson’s work; even though there is nothing representational, per se, her great monochrome masses are amalgams of things that are somewhat recognizable and of regular space. Furthermore, even though Nevelson’s work process cannot be said to have been structured, there was no ideology or impulse towards revealing or expressing a subconscious. Although there are numerous intellectual and personal influences to credit for Nevelson as an artist and thinker, these seven conversations have, hopefully, made clear the uniqueness of Louise Nevelson’s body of work. Bibliography Websites â€Å"Picasso—Biography. † Guggenheim Collection, n. d. http://www. guggenheimcollection. org/site/artist_bio_126. html. (accessed May 2, 2010) â€Å"Mondrian—Biography. † Guggenheim Collection, n. d. http://www. guggenheimcollection. org/site/artist_bio_112. html. (accessed May 2, 2010) â€Å"Arp—Biography. † Guggenheim Collection, n. d. http://www. guggenheimcollection. org/site/artist_bio_8. html. (accessed May 2, 2010) Rapaport, Brooke Kamin. â€Å"The Sculpture of Louise Nevelson:Constructing a Legend. † Jewish Museum (May 2007). http://www. thejewishmuseum. org/site/pages/onlinex. php? d=150. (accessed May 2, 2010) Books Adams, Laura Schneider. A History of Western Art. New York, NY: McGraw-Hill, 2008. Barnet, Sylvan. A Short Guide to Writing about Art. New York, NY: Longman, 2005. Danto, Arthur. â€Å"Black, White, Gold: Monochrome and Meaning in the Art of Louise Nevelson. † In The Sculpture of Loui se Nevelson:Constructing a Legend, ed. Brooke Kamin Rapaport, pp 39-48. New Haven, CT: Yale University Press, 2007. Krauss, Rosalind. â€Å"The /Cloud/. † In Agnes Martin, ed. Barbara Haskell, pp 151-165. New York, NY: Whitney Museum of American Art and Harry N. Abrams, 1992. Panofsky, Erwin. Politics and Art Historical Method in the 1930s. New York, NY:Zone Books, 2000. Rapaport, Brooke Kamin. The Sculpture of Louise Nevelson:Constructing a Legend. New Haven, CT: Yale University Press, 2007. Riegl, Alois. Historical Grammar of the Visual Arts. Cambridge, MA: MIT Press, 2004. Riegl, Alois. Meaning in the Visual Arts. New York, NY: Doubleday Anchor Books, 1957. [pic] Fig. 2. Stela of Mentuwoser, ca. 1955 B. C. Limestone, paint, 104. 3 cm x 49. 7 cm x 8. 3 cm. Metropolitan Museum of Art. Reproduced from www. metmuseum. org. (accessed May 1, 2010) [pic] Fig. 3. Grave Stele of a Little Girl, c. 450-440 B. C. Marble, Parian, 80 cm. Metropolitan Museum of Art. Reproduced from www. metmuseum. org (accessed May 1, 2010) [pic] Fig. 6. Marcel Duchamp, Bicycle Wheel 1913/1951, 1951. Metal wheel mounted on painted wood stool, 129. 5cm x 63. 5cm x 41. 9 cm. Museum of Modern Art. Reproduced from www. moma. org. (accessed May 1, 2010) [pic] Fig. 7. Piet Mondrian, Composition, 1921. Oil on canvas. 59. 5cm x 59. 5 cm. Metropolitan Museum of Art. Reproduced from www. abcgallery. com (accessed May 1, 2010) [pic] Fig. 1. Louise Nevelson, Sky Cathedral, 1982. Painted wood. Smithsonian American Art Museum. Reproduced from http://www. rtst. org/ (accessed May 1, 2010). [pic] Fig. 4. Imperial Procession, North wall of the Ara Pacis Augustae (Altar of Augustan Peace), 13-9 B. C. Rome. White Marble. Reproduced from http://en. wikipedia. org/wiki/Ara_Pacis. (accessed May 1, 2010) [pic] Fig. 5. Triumph of Dionysos and the Seasons, ca. 260-270 A. D. Marble, 86. 40cm x 92. 10 x 215. 90cm. Metropolitan Museum o f Art. Reproduced from www. scholarsresource. com (accessed May 1, 2010) [pic] Fig. 8. Jackson Pollock, One (Number 31, 1950), 1950. Oil and enamel paint on canvas, 269. 5 x 530. 8 cm. MoMA. Reproduced from www. moma. org (accessed May 1, 2010)