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|Is torture a form of art? many countries are famous for some kinds of art IE; France and Italy are known....?|
for their architect, Iran for Persian carpet, etc?
seriously which country is best in the art of torture?
CIA has been training many foreign agents the art of torture for a long time now?
isn't it about time USA be recognized by the world for our contributions to this type of art work?!
which American university would be the most appropriate to teach such an art form?
what do you think?
|If it is an Art then the USA is now entering a new Renaissance.|
|Historically speaking, why are Asian cultures so fond of -- and practiced in -- the "art" of torture?|
Asian cultures, even the generally civilized Japanese make the Nazis look like unimaginative amateurs. But, oh, their fascination with new ways to put a hurt on you!
|Why is American culture so fond of shooting people to death? If I wanted to punish someone, I would torture them to death with the paitence of Buddha. It seems more painful to live thru torture than to die quickly. Perhaps their 6,000 years of civilization has made the death penalty obsolete. lol|
|What is the name of a movie whre the girl mentally tortures a guy thats in love with her for a art project?|
i remember a movie about this girl that mentally tortured this guy that was hopelessly in love with her, but all for the sake of her art project, witch was in fact-something like the pain and suffering of love...at the end the guy finds out he was just a project for the girl...i cant remember anything else...but if someone knows witch movie this is, or who stars in it, please help!
|The Shape of Things(2003)|
with Paul Rudd and Rachel Weisz
|What are some reasons why shouldnt torture be allowed to get someone to admit to a crime?|
its for my language arts debate.
What are some reasons why people shouldn't torture suspects to get them to admit to a crime.
-some people are beaten until they confess to a crime. Some just confess to stop the beating,even if they did not to the crime
|Torture is evil. If the person really did do it, you should have a strong enough case with forensics and evidence that you won't need a confession to get a conviction. Then if what they did was bad enough..give 'em death penalty.|
|How much you want to bet that with the V.P. fire that important documents regarding torture have been lost?|
I would think that the offices would have a state of the art fire prevention system. Is this going to be comparable to Nixon erasing tapes?
|Let's ask Sandy Berger.|
|Tortured Fruit art project?|
I have to do an art project for school titled "Tortured Fruit." It can be any medium, it just has to have a meaning behind it. The problem is, I have absolutely no idea what to do.
So far I've come up with an apple being peeled, grapes under a lamp turning into raisins, and apple being cored...but I can't think of deep meanings for any of them!
Any ideas are appreciated! Please help, I'll love you forever!
|You could turn it into a psychological proposition - the fruit is not "good enough" until it is modified somehow. How many people feel the same way? I remember a hair color company that ran a commercial a few years ago "it's you, only better", that this project brings to mind. |
You could do photography, painting, or literally put the apple with the corer sticking out of it on the plate!
|Do you think many artists are tortured souls? That is how they are able to create their art whatever it may be?|
I was watching something on television ...and this actor in the show made the comment about artists what do you think?
|Yes, the majority of artists who are highly praised for their legacy suffers from depression, emotional and physical abuses, and injustice, either in early guyhood or in the later years of their life. I can give you some examples: Ludwig van Beethoven, Franz Liszt, Van Gogh, Edvard Munch.|
Ludwig van Beethoven - The Heiligenstadt Testament:
Ludwig van Beethoven - Symphony No.7, 2nd movement
Franz Liszt - Nuages Gris S.199
Van Gogh - On the Threshold of Eternity
Edvard Munch's early life:
"After their mother's death, the Munch siblings were raised by their father, who instilled in his guyren a deep-rooted fear by repeatedly telling them that if they sinned in any way, they would be doomed to Hell without chance of pardon. One of Munch's younger sisters was diagnosed with mental illness at an early age. Munch himself was also often ill. Of the five siblings only Andreas married, but he died a few months after the wedding. Munch would later write, 'I inherited two of mankind's most frightful enemies—the heritage of consumption and insanity—illness and madness and death were the black angels that stood at my cradle.' "
|I need help with an art question.?|
In my art class we have this question.
"could depictions of torture be considered art?"
If depictions is the meaning conveyed through picture, would that not make the question "could a picture of torture be considered art?"
If that is the case the depictions of torture would be just as much art as say a picture of a dog. It would all depend on the eye of the viewer.
Or am I just totally looking at this the wrong way?
If I am pls. explain so that I can understand it.
Thanks for the help.
|I can't imagine a Art Class w/that kind of questions. I guess if I wanted to open a house of ill repute (bordello/whore house) I might consider decorating the walls and rooms w/such ART! But as a Normal Person who wants to keep their life free of such "art" projects - I wouldn't even deign to answer such nonsense. Somebody's playing with your head.|
|Bullfighting—Art or Outrage?|
LUCIO was just 19 when it happened. It was springtime in Seville, and the famous Maestranza bullring was full. But Lucio was a shade too close when the bull thundered by. A savage horn gouged out his right eye.
When he left the hospital, he practiced his cape work unrelentingly for three months. Despite the loss of an eye, he was unwilling to renounce his lifelong dream. At the end of the summer, he returned to fight in the bullring of Seville and was carried in triumph from the arena. “It was a gamble,” he admitted, “but that’s the way it is in bullfighting.”
The dramatic figure of the bullfighter has inspired composers, writers, and filmmakers. Perhaps because of this, millions of tourists feel that a visit to Spain or Mexico would be incomplete if it did not include attending a bullfight.
But the tourists are by no means the only ones who fill the bullrings. Famous matadors attract thousands of knowledgeable local fans to the monumental bullrings of Madrid, Seville, and Mexico City. To the aficionado a great matador is an artist, comparable to Goya or Picasso, an artist who scorns death in order to create beauty in motion.
But not all Spaniards have bullfighting in their blood. In a recent poll, 60 percent indicated that they have little or no interest in it. Several groups in Spain have begun to campaign against this “national fiesta,” claiming that “torture is neither art nor culture.”
Fascinating to some, repulsive to others, the pitting of a man against a bull is an ancient tradition. Mediterranean peoples have long respected the indomitable spirit of the wild bull. Pharaohs of Egypt hunted them on foot, while princes and princesses of Crete defied a charging bull by somersaulting over its horns.
During the first millennium of our Common Era, Roman and Muslim domination left their mark on what was to become a traditional Spanish spectacle. Decaying Roman amphitheaters were converted into bullrings, which still bear some resemblance to the Roman circus. Bull-lancing from horseback was introduced by the Moors and is now incorporated in the ceremony.
But it wasn’t until the 18th century that the bullfight began to resemble the present-day spectacle. It was then that the actual bullfighting passed from the aristocracy to professional subordinates. Around this time Goya designed a distinctive professional uniform, known today as a traje de luces, “suit of lights,” because of its rich gold and silver embroidery. Attention was also focused on obtaining suitable bulls.
A Different Kind of Bull
The truly wild bull disappeared from its last stronghold in the woods of Central Europe in the 17th century. But for the last three hundred years, the Spanish wild bull has survived because of the selective breeding of fighting bulls. The main difference between a wild bull and a domesticated bull is the way it reacts when threatened. The savage Iberian bull will continually attack whatever or whoever moves in front of him.
The bullfight hinges on this characteristic, one that the Spanish stock raisers constantly try to improve. For four years the bulls are pampered until that fateful moment when they find themselves rudely propelled into the arena. Before entering the arena, the bull has never seen a matador or a cape—if he had, he would remember the techniques and he would be too dangerous. But he instinctively charges that moving cloth, be it red or any other color (bulls are color-blind). In about 20 minutes, it is all over; a lifeless, thousand-pound [450 kg] carcass is dragged out of the ring.
The Stages of a Bullfight
In the colorful opening ceremony, all the participants, including the three matadors, their assistants, and the picadors, parade around the arena. Each matador has been assigned two bulls and fights them individually in the course of his two fights. Throughout the fights a band accompanies the action with stirring traditional music, while bugle calls announce the commencement of each of the three tercios, or acts, of the drama.
The first stage begins after the matador has made several preliminary passes with a large cape, provoking the bull. The picador enters the ring on horseback, carrying a steel-tipped lance. The bull is provoked into charging the horse, whose flanks are protected by padded armor. The picador fends off the attack with his lance, cutting into the bull’s neck and shoulder muscles. This weakens the neck muscles, forcing the bull to lower his head when charging, which is especially important for the final kill. (See picture above.) After two more attacks, the mounted picador leaves the ring, and the second tercio of the fight begins.
This stage involves the matador’s aides, the banderilleros, whose role is to thrust two or three pairs of banderillas, short shafts with steel barbs, into the bull’s shoulders. The banderillero captures the bull’s attention by shouts and gestures from a distance of some 20 or 30 yards [20-30 m]. As the bull charges, the banderillero runs toward it, swerving aside at the very last moment while planting two barbs in the bull’s shoulders.
In the final part of the fight, the matador faces the bull—alone. This crucial point in the fight is called the moment of truth. Now the matador uses a muleta, a scarlet serge or flannel cloth, to deceive the animal. He keeps close to the bull, provoking the animal into desperate charges but controlling it with the muleta as the bull comes ever closer to his body. It has been said that this stage of the fight “is not really a struggle between a man and a bull but rather the struggle of a man with himself: how close will he dare to let the horns come, how far will he go to please the crowd?”
When the matador has demonstrated his mastery over the now frustrated bull, he prepares for the kill. This is the climactic moment of the fight. The matador makes sure that the bull is standing in the ideal position for the kill, with its front feet together. Then he moves toward the bull, reaches over the horns, and plunges his sword between the shoulders while trying to avoid any sudden thrust of the horns. Ideally, the sword severs the aorta and causes almost instant death. This seldom happens. Most bulls require several attempts.
Even in their dying moments, bulls can be lethal. Five years ago a popular 21-year-old matador known as Yiyo turned away after delivering the coup de grace. The bull rallied, however, and one of its horns punctured the heart of the hapless bullfighter.
Shaving and Dying
To many the bullfight is a colorful and exciting spectacle. But it has more than one ugly side to it. One enthusiast remarked that “in this miserable racket the only honorable figure is the bull, and him they mutilate by shaving down the tips of his horns so that he has difficulty in locating his target.”
The management of bullfighting is notoriously corrupt, leading one matador to comment ironically that he didn’t fear the bulls “half as much as . . . [he did] the men who manage the bullrings.” Although top matadors can earn millions of dollars, the competition is fierce, and injury and death are constant dangers. Of the approximately 125 eminent matadors in the last 250 years, more than 40 have died in the arena. Most matadors are gored at least once, to a greater or lesser extent, during each bullfighting season.
The Christian Viewpoint
After considering the foregoing, how should a Christian view bullfighting? The apostle Paul explained that the fundamental principle of showing kindness to animals was still valid for Christians. He quoted the Mosaic Law, which specifically required the Israelite farmer to treat his bull with consideration. (1 Corinthians 9:9, 10) The bullfight can hardly be described as a humane way of treating the bull. True, bullfighting is considered by some to be an art, but does that justify the ritual killing of a noble animal?
Another principle that has to be considered is the sanctity of life. Should a Christian deliberately place his life in danger just to demonstrate his machismo or to excite the crowd? Jesus refused to put God to the test by unnecessarily endangering his life.—Matthew 4:5-7.
Ernest Hemingway wrote in Death in the Afternoon: “I suppose, from a modern moral point of view, that is, a Christian point of view, the whole bullfight is indefensible; there is certainly much cruelty, there is always danger, either sought or unlooked for, and there is always death.”
Of the thousands who go to watch a bullfight, some are delighted, some are disappointed, and others are disgusted. Regardless of how it may be viewed by men, the Creator of the bull cannot look at this spectacle with pleasure. Although regarded by many as an art, it is really an outrage against divine principles.—Deuteronomy 25:4; Proverbs 12:10.
|Outrage. Jehovah gave us the animals to be in subjection to us not for us to torture, hurt and maim them. We are to nurture and care for them and only hunt for food and sustanance not for sport.|
|Is their a website which shows the machines used in the film series saw?|
im doing a project in art on torture and i was hoping to have a look at some of the machines used in saw to kill people.
|If you think torture is cool, fun, and nice, **** off, starve in a well. go to hell, and bring your mother with you. on the other hand, www.youtube.com/results?search_query=saw+traps+behind+the+scenes&search_type=&aq=0&oq=saw+traps+be|