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ishiireviewer · 7 years

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RATING: 5 Stars.

REVIEW:

God, what a beautiful book! I absolutely loved it. So so so much. It drove me close to tears at one point.

I want everyone to read this book. It’s not like other LGBT books out there because this one focuses on the person instead of the couple.

It had such a flowy quality. So easy to read through in just one sitting.

And I just loved this book so much and I don’t have any words for it.

ANNOTATIONS:-

1. I really love them. I send a steady, visible stream of it—love—from me to them. From my chest to their chests. From my brain to their brains. It’s a game I play. It’s a good game because I can’t lose

2. But it feels good to love a thing and not expect anything back. It feels good to not get an argument or any pushiness or any rumors or any bullshit. It’s love without strings. It’s ideal

3. Ms. Steck reminds me of the arrow—one of Zeno’s arguments. The idea is that an arrow shot at a target has to move through time, but since time is made of tiny moments, the arrow, in each tiny moment, is at rest and not moving. “That’s like saying that if I take a picture of Clay”—I point to Clay, who is wearing his Kurt Vonnegut asterisk T-shirt today—“while he’s running hurdles and I freeze that moment in time… that he never really moved during the race.” Ms. Steck says, “Yes. That’s a little like what Zeno was trying to say

4. Hippocrates. Father of Western medicine. He said this: “There are in fact two things, science and opinion; the former begets knowledge, the latter ignorance

5. She said, “This will be a time of asking questions and not rushing to answer them. A time of poking holes in your own theories. A time of thinking and not knowing

6. Like—moving. He said it was impossible to move because time stands still inside each little split second

7. She sighs and rolls onto her back. “So what’s the big deal about some philosopher who said motion was impossible? Philosophers said all sorts of crazy shit. Wasn’t that their job?” “Their job was to find truth.” “And did they?” I look at Dee and I think that Zeno was totally right, even though that’s not what he meant: For people, motion is sometimes impossible. For Dee. For my mom and Ellis. For nearly everyone. (I wanna understand this)

8. think if we kept a calendar of who gets called gay in high school, there would be a new person on every single day of the 180-day school year. Gay, dyke, fag, lesbo, homo, whatever. Every single one of us has heard it somewhere along the ride. It’s more common than the flu. More contagious, too. Nobody gossips about whether you have the flu or not

9. (Her mum is hating on ignorant people and she believes that she herself isn’t one. We think we know, but we don’t. Not really. What is knowing, though? It’s all thinking anyway, isn’t it? Idk)

10. She leans in to kiss me good-bye, and when she does, I wish I lived on the right planet where kissing Dee Roberts wasn’t a big freaking deal. Where it didn’t mean I have to affix a label to my forehead so people can take turns trying to figure out what caused it or what’s wrong with me. And I wish I didn’t have to lie so much (Yeesss)

11. When Dee kisses me, the taste of her is enough to make me die right here on the spot. I don’t care if some mountain biker zooms through on the path. I don’t care about anything. Not Zeno or Socrates. Not motion or truth. When Dee kisses me, I am alive. I am moving. I am the truth

12. I’ll go,” I say, seemingly out of control of my own mouth. Why did I just say that? I think I can do Thursday,” Ellis says. “Great,” Mom answers. “We’ll go Thursday.” She doesn’t look at me when she says this. Her hand is still on Ellis’s arm. This was like a private conversation they had. My offer to go along stayed in another dimension (Awwwww. Poor baby I love Astrid)

13. We start our unit on the Allegory of the Cave. It’s a part in Plato’s Republic where he wrote a dialogue between his brother Glaucon and his teacher, Socrates. The short version: People chained in a cave are only able to see a wall. The wall has shadows cast from a fire they can’t see. They guess at what the shadows are. Their entire reality becomes these shadows. Clay has read it before. Of course. Knows all about the Allegory of the Cave. “The only life these prisoners know is the sounds and shadows of the cave. Imagine living like that!” he says. “Or maybe we are living like that, right?” Ms. Steck stops him before he can spoil the rest. Apparently there is more excitement to come for the prisoners in the cave. For now, all we have to worry about is a three-hundred-word essay from the point of view of one of these prisoners exploring the realm of belief versus the realm of knowledge (Man) (I wanna read philosophy!!!)

14. “No,” I say, trying to be gutsy, too. “I’m also going to say that if you—if you think you love me, then shouldn’t you treat me like you love me and respect me? And be patient with me?” I realize that I’m saying this not just to Dee but also to my mother. And Kristina. And Ellis. And Jeff. And maybe even myself. (Awwww baby. I wanna hug you)

15. “I don’t know,” I say. “I don’t think so. I mean, I don’t know.” I watch a plane zoom across the sky, and envy the power and control of it. I simultaneously realize that without a pilot, it would crash. “I need to be my own pilot,” I say. “And I don’t understand why my copilot is saying stuff like shit or get off the pot. It just doesn’t seem like a good team

16. I sigh deeply and lie back down to look at the sky. No airplanes. No passengers to ask. So I ask the clouds. Did you guys know there’s a wrong side and a right side? Why didn’t you tell me? The clouds don’t answer. “So when you said shit or get off the pot, you didn’t mean for me to make up my mind,” I say. “You meant for me to just come out, be gay, and be done with it.” “Well, yeah. I don’t see what the holdup is.” “You wouldn’t understand,” I say. “Obviously, this was a piece of cake for you.” “Are you saying you might not be gay? That this is all just some kind of joke or something?” “It’s not a joke.” “So what is it, then?” “It’s a question. And I’m answering it. But I don’t know the answer yet, and I’m sorry

17. Isn’t it enough to be in love with Dee’s amazing eyes and the smell of her hair? Isn’t it enough that she thinks I’m funny? That we have fun when we mess around at work? Why does everything come with a strict definition? Who made all these boxes? (And then the marriage proposal couple. How cool. The boxes being jewish stuff. I love how the questions she asks has a response from up above)

18. “I don’t know. Isn’t that what you learn in humanities?” I think about what Frank S. would say. But I say nothing (Is that because socrates says nothing? Awesome)

19. Maybe it’s okay that people talk you into things. Maybe if they didn’t, you’d never go anywhere (Yus)

20. I feel an intense paranoia that if I use their toilet paper, they will be even more pissed off with me than they already seem to be (I wanna help her. Why is she so insecure? I feel protective towards her)

21. I hear my dad’s voice: You have to let people get to know you before you decide they don’t like you (Yyaaasss)

22. What does the airport look like at four o’clock in the morning? Did they even have coffee brewing? Was there toilet paper in the stalls? And why don’t I feel ashamed right now? Is that a sign? (Because its not your fault. Passenger’s story about her friend and her and two boys who took advantage. She finally feels okay about it. That’s because she finally accepted that what happened wasn’t her fault. Which is the same in case of astrid and cops busting gay bar)

23. All we can see is the wall Mom wants us to see. On it she’s drawn the people we know in shadow. For me, she’s drawn you and Dad and the residents of Unity Valley. For you, she’s drawn me and Dad and the residents of Unity Valley. Based on Mom’s shadows, I see a sister who will always be better than me. A sister who will always win because I am a loser. She has cast this same shadow for Dad. We are the losers in the Jones family illusion, and you and Mom are the winners ME: Now imagine we were set free from this illusion. Our chains removed, our heads able to turn and look at each other. What would I look like to you? And what would you look like to me? And what would Dad look like to us? Would we still rely on the shadows, or would we see the real people? ELLIS: You’re starting to worry me, Astrid. ME: That’s because you’re still chained ME: I guess not, too. ELLIS: But if I change the way I think, Mom will stop loving me. ME: How do you know? ELLIS: I know because that’s what she did to you (Aw)

24. They say: Did you hear? Did you hear? Did you hear? But no one actually talks to us. (Wow. Yes. They hear it from others but never from us. And they believe what others say.)

25. You’re completely wrong, you know. You’re completely full of shit.” “That’s not what we heard.” They say that in unison, like the creepy girls in The Shining. They say: That’s not what we heard. (Because you didn’t. Not really)

26. She asks, “What do you think Plato meant to say when he talked about the freed people returning to the cave? Did he think they couldn’t handle the outside world? Did he feel they needed to be controlled? What does that compare to in our society? Do we have places like the cave?” She glances at me when she asks this, but she doesn’t call on me, and I send love to her for it. Ms. Steck, I know you sat in that faculty room and heard every stupid rumor. I love you because this discussion is exactly what I needed. I will not be like Kristina and go back into the cave

27. I replace the word gays from her sentence with these other words: blacks, Hispanics, immigrants, women, people of mixed race, Jehovah’s Witnesses, Gypsies, Russians, Poles, Yugoslavians, Ukrainians, mentally and physically disabled

28. Frank Socrates, and he says, in my head, Settle for nothing less than the truth. Even if the answer is I don’t know

29. When I see the first plane, I make a deal with its passengers. I say: Look, this is a loan. I don’t know if love is something I will run out of one day. I don’t know if I should be giving it all to you guys or not. Today, I feel like maybe I should have kept some for myself for days when no one else loves me. Not even my best friend (Awww boo)

30. And then I send the love up. It’s as easy as it always is, and it’s hard, too, because I really don’t know the answer to this mystery. Is love something that will always be available? Will it always be confined and untrustworthy like it feels today? Is there enough to go around? Am I wasting mine on strangers? (Awww. No baby. That’s what makes you a wonderful person.)

31. (God this book is so fucking beautiful. Drove me to tears. After the above, a guy in plane feels bad about not feeling loved and then he receives Astrid’s and he feels happy. And astrid thinks it’s a waste which is proved wrong by this dude. How fucking beautiful.)

32. While I’m brushing my teeth, I think about how our sisterhood deteriorated. I blame Mom. Of course. But as I look at myself in the mirror, I see some other stuff. My snubbing her when she decided to be a small-town girl. Me deciding she didn’t need me anymore when she got old enough to stop watching The Wizard of Oz. Me not inviting her when Dad and I would make stuff together. Me deciding that Mom would always like her more… and having it reflect on her instead of just on Mom. So maybe I helped it happen. Maybe we’d be closer. If I told her the truth, she’d probably accept me eventually, and we could just be sisters again

33. As he walks away, I think about what he said about Justin in the locker room, and I think about Ellis and her gross towel thing this morning, and I figure out what confuses people so much about other people being gay. They think it’s all about sex (Yyyeeesss. As if that’s the only element about their personality.)

34. NO wins, twelve votes to ten. Ms. Steck doesn’t say anything. She just leaves the results on the board above the ugly homophobic signs, and all I can think of is what she called us: Unity Valley’s best and brightest. And we’re three votes short of equality. (Best and brightest being a paradox. And 3 votes short which makes her paradox “equality is obvious” ring true)

35. I think about what she said to me last night. How I had nothing to lose and how she had everything to lose. I count eight people at her table. I count zero at mine (Does this mean in a revengey manner?or was she just justifying kris’ statement?)

36. First, to define equality. Then to define obvious. I mean, I can even try to define is if I want, because equality isn’t really working in the present tense, is it? Because equality isn’t really obvious to most people. And I don’t mean to say the world is filled with racists or sexists or homophobes. I mean to say: Everybody’s always looking for the person they’re better than. In fourth grade, it’s the second graders. In ninth grade, it’s the eighth graders. Adults look at teenagers like we’re the stupidest creatures on the planet, when really we’re just lining up to take their jobs in T-minus five years. I am equal to a baby and to a hundred-year-old lady. I am equal to an airline pilot and a car mechanic. I am equal to you. You are equal to me. It’s that universal. Except that it’s not

37. I feel myself getting pissed off, so I take a minute to try to figure out how to say what I want to say. Frank S. lights Dad’s pipe. I have no idea how he knew where to find it, but I guess if I made him up in my head, he must know everything I know. I feel relaxed by association

38. Still, it’s none of your business until I’m ready to tell you. Calling it a lie is wrong. And kinda hurtful. I really know what you’re trying to say, but try to think about it from my side. It just sucks that you’d hold my own confusion—which tortured me for months—against me. Seriously.” (I agree)

39. Why? I’m right! All those people who are chained here thinking that their reputations matter and that this little shit matters are so freaking shortsighted. Dude, what matters is if you’re happy. What matters is your future. What matters is that we get out of here in one piece. What matters is finding the truth of our own lives, not caring about what other people think is the truth of us! (Yyyaaasss)

40. I take a second to think about him—Frank Socrates—and I decide he’s my new hero. Not because he shows up in my life and talks to me when I want him to, but because of who he was and what he stood for. I just love how he rejected all the boxes

41. The world is made of so many types of different people, and we have to learn that though they might be scary at first, they are not inherently bad because they are different.” He starts this way and goes on to talk about his days in school as a mixed-race Latino and how hard it was for him growing up. He got beat up a lot. Teased every day. I start to feel resentful. You mean to tell me that it’s 2011 and this guy gets paid to have remedial talks with high school students about how they shouldn’t hate other people? Isn’t this elementary? Shouldn’t it be automatic? What kind of species are we if we have to have people come talk to us about this crap? And how, if we’re that stupid, did we get to the moon and help build a space station? He tells a story about how his mother was from Cuba and how she hated Puerto Ricans. He says, “No matter how many times I tried to explain to her how stupid this was, she never changed. It was just ingrained in her. “Some of you have it ingrained in you. You weren’t born with it. You were taught. No baby has hate for anything.” He produces a baby (a real baby) and bounces the kid on his hip. “We were all babies once, right? This little guy doesn’t care what country you were born in or what religion you might practice or how much you weigh or who you might love

42. I just went to my twenty-fifth class reunion, guys. Let me tell you—people change. The girls who passed around rumors about all the weird kids? Are nice and have their own weird kids. The so-called losers who graduated at the bottom of the class? Are driving luxury cars and running big businesses. The kid who made fun of all the gay kids? Is gay. I’m not saying this will happen to all of you, but what I’m trying to tell you is that high school doesn’t end here. You guys will know each other for a long time, and you will get to see how life changes people. I only hope that for right now, you remember that there is no place for hate in a happy life. I don’t care who you are, where you come from or what God you believe in. I can guarantee you that if you hate, you will never achieve true happiness

43. “I don’t know why this is so important for me to tell you, but I’m a virgin. Seriously weird for me to be telling you that, I know, but this whole thing, it’s not about sex. I just fell in love, and it happened to be with a girl.” “O-kay,” he says. “When I told you I didn’t know if I was gay, I was telling you the truth. I just know I’m in love—with a girl. I had no idea of anything past that. It’s very Socrates, you know? I’m not questioning my sexuality as much as I’m questioning the strict definitions and boxes of all sexualities and why we care so much about other people’s intimate business.

44. And if any of you has a problem with any of it, then it’s your problem. Being gay is hard enough without having to worry about your family being weird about it.”

45. How can we say nobody’s perfect if there is no perfect to compare to? Perfection implies that there really is a right and wrong way to be.(but that keeps changing, no?) And what type of perfection is the best type? Moral perfection? Aesthetic? Physiological? Mental

46. By the end of the day, I’m exhausted. Frank S. must have been one hearty guy to argue on the streets of Athens all day the way he did. Our humanities class enjoys a bunch of snacks and a Socrates Project party in the humanities room, where we all debate one another’s paradoxes and are reminded by Ms. Steck to question everything and continue to challenge others with our open minds long after we remove our togas

47. I listen to the air. I don’t hear a thing. Not one thing. They say: They say:

48. The nice thing about the passengers is they can’t say anything back. I can’t see any faces full of disappointment. I can’t hear them saying bad things about me. I can’t hear them call me the politically correct term for Indian giver… on Thanksgiving Day. Anyway, it’s not like I want my love back. I’m just slowing down business. They can have a little. I can say, “I love you!” when I see a plane. I probably always will. But they can’t have all my love. I have too many uses for it now

49. Okay. I sent them my love because I didn’t need it here,” I say. “Mom never loved me, and Dad was too busy doing other stuff, and you didn’t love me because Mom had turned you against me, and then when Dee came along, I knew I couldn’t love her even though I love her more than anything. But I knew I wouldn’t be allowed. Not by Mom, not by Unity Valley. Not by you. Not by anyone

50. will notice, you know, when you find some cute guy and marry him and have a bunch of kids, that you might not be gay and sleeping with your lesbian sister. If they believe lies, then that’s their problem, not yours (True)

51. And then I look out the window and down at the green-and-brown landscape, and I toss my love to whoever might be there to keep it safe. Maybe if you catch this love, you can keep it safe? I ask them. Maybe someone down there knows what to do with it while I go and get brainwashed by people who hate me? Dee says, “What?” I try to think of what just happened, but I can’t explain it. All I know is that a huge, overwhelming feeling of love has just landed in my heart, and I have to keep it safe for a while. “Nothing,” I say. “Don’t worry about it I’m left with this feeling, though. A lucky feeling. I squeeze Dee’s hand and kiss her on the cheek. I can do that now. I can do whatever I want. I look at the plane, and I send my love. Don’t worry. I’ll keep it safe. Stay strong

52. (I thought the ending would be her sitting on a plane and receiving the love of someone else but this is way better. And so much better)

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urbanstategies-blog · 7 years

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False Perceptions of Reality: Social Media and the Urban Environment

For this project, we will be exploring the close and often conflicting relationship between the urban environment and its interaction towards modern society, principally the effect upon Millennials. In order to achieve this, our primary point of focus will be on James’ research and understanding within the Design Research III paper, which ultimately aims to create a final piece of work for the Art + Design Exhibition 2017. We will also be taking inspiration from previous papers that we have undertaken within this course. For this paper, James is analysing how social media allows its users to create a believable façade, which allows them to depict their seemingly ‘ideal‘ lifestyles towards an outside audience. It isn’t merely Snapchat, Facebook or Instagram which is guilty of this virtual-reality crime, but also caught in this deceitful web is Advertising. There are a multitude of examples to choose from, with one being how toothpaste commercials will display to you actors with flaunting their perfect, porcelain teeth and their overly-forced expressions. In reality though, brushing your teeth is anything but glamorous, due to the paste running out of your mouth and the strange noises we usually tend to make. (fig. 1, 2) This is because in reality, it would be extremely messy and not appealing to any viewer. Therefore you have to ask the question, ‘Would consumers still want to buy the product after knowing this truth?’

Linking this all back to Semester Two last year, Katie looked at the differences between the cyber-world and the real-world. Whilst reality has become more difficult to define with new approaches and advances in technology and online games that have become more readily available, social media have the ability to disconnect us from reality. Millennials have the habit of being engrossed in their technological devices,, such as their smart phone. This disconnects them from acknowledging or being consciously present in the urban environment that surrounds them. In the reading, ‘The City of Collective Memory’ by Christine Boyer (ref. 1), she states that “Both the theatre and urban spaces are places of representation and assemblage." Also noted is how there is an exchange between both spectators and actors. When they acted out their live performance, they were intertwining the public as the spectators and them as the actors. This became a collective event within the public urban space. The public did not participate actively with the theatre, yet were all intrigued by what was happening in front of them. During this performance, some members of the public seemed to put down their technology devices to watch the performance progress. They looked as if they were questioning the meaning behind the act. Our ambition is to achieve the same result.

We also took inspiration from one of the past assignments during our research for Urban Ecologies during Semester One, 2016. Katie focused upon improving a public green space and turning it into an oasis, in order to make it more involving of the public and bring together different cultural groups in our society. Whereas James focused on people's interactions amongst each other and the role of nature in an urban environment, such as high-rises. We both took various elements from our separate projects in an effort to draw attention towards the true nature of social media and the false perceptions of reality that are depicted towards an audience. Often what is advertised is materialised and made to be more desirable to the viewer than it might actually be. We plan to highlight this issue for our final visual aspect of this project. We will do this by creating a campaign of posters that will show realistic advertisements which make people think about the message in a truthful light when they look at them. We want people to realise once they have seen these posters, that they are constantly being told a false idea of the reality they live in. Looking at Plato's ‘Allegory of The Cave’(ref. 2), the prisoners have no idea that the world they inhabit is counterfeit, that they are in fact imprisoned and they only know the reality that incarcerates them.

We will create a campaign of advertisements that draws elements from both of our pathways within our respective areas of study, Photography/Illustration and Advertising. These advertisements will focus on how the public is deceived in terms of products they believe they need to buy. For example, Kylie Jenner publicly denied for a long period of time that she had lip injections and insisted it was all thanks to her lip-liner and liquid lipsticks that she sells. Later on, she openly revealed that she had in fact, used lip fillers since she explained that a constant insecurity about her appearance was that of her lips. Shortly afterwards, she grabbed the attention of many young people by revealing her new Kylie Jenner Lip Kit product on Snapchat and other platforms of social media, making teenage girls everywhere desire to emulate Kylie Jenner’s appearance. She was able to use the power of social media to advertise her product and constantly entice girls around the world to look more like her. Looking at ‘The Emancipated Spectator’ reading, it is said that “Viewing is the opposite of knowing. The spectator is held before an appearance in a state of ignorance about the process of production of this appearance, about the reality it conceals.” (Rancière, 2009) (ref. 3)

Technical aspects that we will encounter include printing costs, paper stock and quality, camera equipment, studio space and product placement. We will start by going into the photography studio once we have finalised the people and objects we want to photograph for our posters. There have been a multitude of ideas considered for our campaign and what has the best ability to accurately convey our message. A possibility could be creating a satirical view of common toothpaste advertisements and showing what it is really like to clean your teeth. Again, this raises the question, ‘Would you buy the product if it was depicted in this manner?’

Katie will be using her camera to film the two of us putting up posters at night as it is typically not allowed. We were considering the fact that the posters may attract unwanted attention from security, police or members of the general public. To create these posters, we will be utilising Adobe Photoshop and Illustrator in order to design/edit the final product. To edit the video, we will be using Adobe Premiere Pro and After Effects. This will create a more professional and streamlined end product to relay our message. We will need to film the end result and show how the public reacts to the campaign content and us putting these up in the city. This method will be used to create a spectacle that draws the attention of the viewer closer, possibly making them think about the future. “The spectacle is not merely a matter of images, nor even of images plus sounds. It is whatever escapes people's activity, whatever eludes their practical reconsideration and correction.” (Debord, 2005) (ref. 4) The imagery that people are exposed to can alter their personal opinions. It can regenerate their thoughts, reducing what people think they know into a universe of speculation.

The idea of incorporating illustration into the posters is being strongly considered as we could make our message more inventive and attract attention from a wider audience of viewers. It is this concept of playing with a simple, yet effective strategy which will be able to entice the viewer towards the poster. For example, the work of Keith Haring is very effective in directing a message to its target audience due to his use of simple lines with the bold use of colour which creates an impact. (fig. 3) For our posters, we will use 180GSM paper to provide the necessary strength to withstand the stress of being placed in the urban landscape. We plan to have these printed at Warehouse Stationery, since it is more cost-effective for university students and we want to make the most of their student discount system. This will be helpful as we intend to print 6 copies of each final image and there are three final posters in total for our campaign. This will bring the total number of prints created to 18.

The advertising campaign will be displayed by placing the posters onto Adshels, store fronts and also on the ground, so that members of the public are given the opportunity to acknowledge them. People may walk around them or walk over them as they tend to feel uncomfortable when being made to participate. The public's reactions to the advertisements will be filmed and the footage will be used to create a video which will present our findings. The posters will be comedic with the approach we wish to take. This could make people question whether or not it is a real advertisement, as it is not often you see an advertisement representing the product in its true form and function. We feel this will also be another method to provoke different reactions from members of the public. A video called ‘How Girls Use Instagram vs. Reality’, is a good example of the issues presented in today's society when it comes to social media and advertising. In this video, the girls falsely depict their daily activities and only show their friends on social media what they want them to see. We plan to use this video as inspiration as it relays the message we are trying to convey clearly and effectively. (ref. 5, fig. 4)

The overall ambition we have in terms of ethics and values are that we want to present the public with a realistic depiction of what they are typically brainwashed into believing and what is expected of them as individuals within the realm of social media/advertising. It has the unique ability to effortlessly glamourise many aspects of our daily lives that are seemingly ordinary. This way, consumers feel more enticed and confident in buying the products from retailers. However, do you believe that it is morally wrong if we are being deceived into accepting a known false reality? Realistically, people are well aware of the truth behind the product, yet are more than willing to accept living in blissful ignorance and believe the false expectations that the advertisement promises to them.

The current rate at which social media has evolved in the timeframe of only a few short years is quite startling, especially when you consider the fact of how one trend is able to be replaced overnight by something else. You could almost call this constant need to be connected with the latest and greatest piece of technology an obsession. The problem however, is that we can all too often be distracted from reality by what is being projected towards us, which is the audience. As opposed to questioning the message or imagery that is being aimed towards us, many people are able to simply accept this hollow, echoing promise as the whole truth. It comes down to the point that it is much easier to agree with what you are told, rather than to question it. The overall focus of our project aims to narrow in on this ever-evolving aspect of modern culture and how we are able to be deceived into believing this manufactured system of false promises. By exposing members of the general public to our campaign, we are inviting those who are willing, to begin to feel more confident in questioning their perception of the world around them.

Reference list:

Fig 1 & 2: Sansone, C., Strusiewicz, C. J., Cheese, J., Doran, B., & Voets, C. (n.d.). 4 Things That TV Commercials Will Never Show You. Retrieved April 11, 2017, from http://www.cracked.com/blog/4-things-that-tv-commercials-will-never-show-you/

Fig 3: Untitled, 1983. (n.d.). Retrieved April 12, 2017, from http://www.haring.com/!/art-work/741#.WO7eN7SAq0g

Fig 4: Oh My Gags. (n.d.). Retrieved April 12, 2017, from https://www.facebook.com/comedy.central.buzz/videos/742476935856046/

Ref 1: Ferguson, P. P., & Boyer, M. C. (1996). The City of Collective Memory: Its Historical Imagery and Architectural Entertainments. Contemporary Sociology, 25(6), 778. doi:10.2307/2077287

Ref 2: Badiou, A. (2015). Plato's Republic. John Wiley & Sons.

Ref 3: The Emancipated Spectator and Modernism. (n.d.). Understanding Rancière, Understanding Modernism. doi:10.5040/9781501311406.ch-005

Ref 4: Debord, G. (2005). Société du spectacle. Classiques des sciences sociales.doi:10.1522/cla.deg.soc

Ref 5: Oh My Gags. (n.d.). Retrieved April 12, 2017, from https://www.facebook.com/comedy.central.buzz/videos/742476935856046/

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