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sublime and water, Mythology, sirens and Atlantis

Atlantis– is a fictional island, mentioned throughout Platos work. It is representative from the antagonist naval power of the ancient Athens. It is an underwater hidden nation supposedly which sunk, submerging into the Atlantic ocean. Despite its minor importance in Plato’s work, the Atlantis story has had a considerable impact on literature. The idea of Atlantis itself is the concept of ‘lost’ it is the island subcontinent often idealised as an advanced utopian society, which holds wisdom and the capabilities to bring world peace. Atlantis is said to have captive dreamers and a new era of generations. Thousands of literary texts and media forms have been created and devoted to Atlantis and still to this day it remains a popular topic. Many people have attempted to venture into this world, along the way loosing many fortunes, even their lives. However, Although Atlantis is conceived as a peaceful utopia, Plato the philosopher spoken about previously believed it was very different. He propposed “Atlantis is not a place to be honoured or emulated at all. Atlantis is not the perfect society … Quite the contrary, Atlantis is the embodiment of a materially wealthy, technologically advanced, and militarily powerful nation that has become corrupted by its wealth, sophistication, and might.”Soon Platos morality became a legend about a city’s heroic rival of Athens, and its sunken civilisation. If Atlantis really existed today and was found intact and perhaps inhabited, its residents would be seen as aggressive and not welcoming to outsiders. Despite the clear indication and form of logic off the origin of fiction, many people over the centuries still claim that there must be some truth behind the myths,Speculation has gone on for many years and countless experiments have occurred looking through lost located continents all around the world. Every-time ‘experts’ venture into these locations they each form a set of evidence and arguments for its existence, however, many still have divided opinions if it is based around the Atlantic Ocean, Antarctica, Bolivia, Turkey, Germany, Malta and the Caribbean. There is still no explanantional evidence of Atlantis being real, it is still a myth no trace of it has ever been found, However despite that there are evidences that in oceanography and mapping the floor for the past decades. The ocean is capable of such vast depth, we do not have access to, we have still not searched around 90% of the ocean, the vast depths might somehow hide a sunken city or continent. Though there remains much mystery at the bottom of the world’s oceans, it is inconceivable that the world’s oceanographers, submariners, and deep-sea probes have some how missed a landmass “larger than Libya and Asia together.” Additionally tectonic plates demonstrate Atlantis as impossible, as the continents have drifted, the seafloor has spread overtime, and has not contracted to enable to perfect areas for a city to be able to rest. There would simply be no place for Atlantis to sink into.  “The geology is clear; there could have been no large land surface that then sank in the area where Plato places Atlantis. Together, modern archaeology and geology provide an unambiguous verdict: There was no Atlantic continent; there was no great civilisation called Atlantis.” I do find it interesting however How Plato was such a influential philosopher, and through my work I have been influenced by many philosophers too. I might look further into his work and see if I could too include what he has spoken about into my work. I believe as I am already discussing the PAIN and PLaEASURE which water and the sea has, and how it connects into elements of the sublime, and romanticism. It also links to such a strong history of legends such as Atlantis, photographers  who have studied and looked at work from the following myths, they capture some old structure, however non of which have been proof of Atlantis.

sirens:  Traditionally sirens are half-bird, half beautiful maidens, they were singing enchantresses capable of luring passing sailors to their islands, and sequently, to their doom.  they were also seen as daughters of the river god, they were fated to die if anyone should happen to survive their singing at the time. When Odysseus passed them by unharmed, they hurled themselves into the sea and were drowned. Traditionally, the Sirens were daughters of the river god Achelous and a Muse. Many claim that the sirens are actually daughters of powerful gods for instance, the daughter of Zeus and Demeter. It is said the sirens were originally given wings yet these were  taken away as a punishment. The sirens had a seductive song, this has appeared similarly to Atlantis in many ancient greek myths. The sirens can be found living in small islands. It is said in order for men to not be seduced by the sirens singing, they had to block their ears with wax. The hero wanted to hear their song,Some of which bound themselves to the mast so they would not be killed when they go into the water. Sirens have been seen in many forms, this being as a bird, mermaid or naked women living amount the water. I think For my inspiration for this shoot i could focus on the deep threatening and also power that a women can hold when surrounded by water. I believe I could focus on both the mermaid and human aspect and show a femininity within her being submerged within the water itself. Stories to do with the mythology of sirens and Atlantis: I want to look into past stories, as this might cause an inspiration for a further shoo which I could produce. Plato would certainly have heard of this disaster and realising the theatrical possibilities might have, with a dash of dramatic license and a little imagination, used the chain of events as a template for his own ends. Sir Desmond Lee a renowned classical historian certainly thought so when he stated “We must remember Plato’s purposeto describe a rich, powerful and technologically advanced society to serve as an opponent of his ideal Athens. He had a fertile imagination and in Atlantis produced the first work of science fiction.”

I believe I could portray a narrative throughout each individual image I created, through the inspiration of sirens and mermaids alike. However personally I belive that  the overall photoshopping, and clear fake atmosphere of mermaids is not exactly sublime to my mind, as their is no truth. It is not exactly breadth to taking  photos which are not painful and a false sense of reality. Because of this I do not think myself re creating under water creates would exactly help achieve the same atmosphere throughout my own work. I could use the same themes within my work, such as the deceiving beauty the sirens had. I could when doing an underwater shoot capture a direct reality, such as focusing on actually fears found within the sea. Such as the depth of the water, and the real existing creates that would do harm. I think this is what I should talk about of this research, as otherwise I do not think the direct re-createment of mythological would work to my advantage.

Future Shoot Plan

In order to develop my studies on political landscape further I will be planning a few more shoots to do over the next couple of months.  These shoots will intend to add to my existing work as well as looking further into the subjects that I have been exploring, such as personal memories through my family.

  • The first shoot that I plan to do is of my family on Christmas day – this shoot will consist of environmental portraits in both documentary style and tableux style (mostly documentary) and is intended to develop on the past shoot I have done on my family but will differ from the previous shoot as it will represent memories made within the household as Christmas is considered a time for family and memories.
  • The second shoot that I plan to do will be to create a photograph to insert into my photobook that will be slightly different from the rest.  The intention of this is to almost confuse the viewer and break up the book into sections slightly to keep the viewer intrigued.  I plan on taking this ‘odd’ photograph by making a shoot of a bonfire and editing it in an almost abstract fashion to make the photograph Image result for fire abstractmore interesting.  The idea of the shoot of fire comes from the destruction and waste that has come from the development of my house.

Contextual Study – Origins of Street/Documentary photograph

Realism Photography Movement

The first successful form of photography was a Daguerroetype, named after Louis-Jacques-Mandé Daguerre from France, he invented the technique in collaboration with Nicéphore Niépce in 1830s. Daguerre and Niépce found that if a copper plate coated with silver iodide was exposed to light in a camera then fumed with mercury vapour and fixed by a solution of common salt, a permanent image would be formed. A great number of daguerreotypes, especially portraits, were made in the mid-19th century; the technique was supplanted by the wet collodion process. Daguerreotypes soon became popular by the hundreds of thousands. The first photo portrait was made by Samuel F.B. Morse, inventor of the telegraph.

With the invention of photography, the art of portraiture would become almost non-existent. By 1858, photography was an assured fact, and photographers were able to prove at last how living beings really look in motion, to the great discomfiture of artists in the classic tradition with their contrived poses. In other words, photographs capture the essence of the action, the movement as it is, and there is absolutely no doubt in the veracity or accuracy of the photograph. This fits in perfectly with the realists because their sole focus is to portray the world, as it is, and not in a blown-up, romantic manner.

The term realism was coined by the French novelist Champfleury in the 1840s In practice, a realist subject matter was  scenes of peasant and working class life, the life of the city streets, cafes and popular entertainments. The term generally implies a certain grittiness in choice of subject. Such subject matter combined with the new naturalism of treatment caused shock among the predominantly upper and middle class audiences for art. Photorealism evolved from Pop Art, as a counter movement to Abstract Expressionism, Minimalism and Pictorialism in the late 1960s and early 1970s in the United States.

Famous Realism Photographers

Walker Evans, America (1903-75)

Often considered to be the leading American documentary photographer of the 20th century. He rejected Pictorialism and wanted to establish a new photographic art based on a detached and disinterested look. He was particularly interested in the vernacular of American architecture, but his most celebrated work is his pictures of three Sharecropper families in the American South during the 1930s Depression.

Paul Strand, America (1890-1976)

Paul Strand searched for a higher truth using the camera machine to capture life. Considered a master and one of the initial contributors to the modern art era not only by his “straight” use of the camera but also by what and how he photographed. Paul Strand was inducted into the International Photography Hall of Fame and Museum in 1984.

Alfred Stieglitz, America (1864- 1946)

Emerging first in the era of Pictorial photography, Stieglitz sought to gain recognition for his medium by producing effects that paralleled those found in other fine arts such as painting. Many of his peers resorted to elaborate re-touching to create an impression of the handmade, but Stieglitz relied more on compositional effects and mastery of tone, often concentrating on natural effects such as snow and steam to create qualities similar to those of the Impressionists.

Documentary Photography

Shortly after the invention of photography in 1839, several Scottish photographers began documenting the Fisherfolk of Fife and Edinburgh. These early photographs tell us a lot about their life and work.

For many people, documentary photography is defined as a form of sharp-focus photography that captures images of raw, candid human emotion in ‘real-life’ situations. It is the opportunity for a photographer to show the viewer the complexities and interlaced layers of life. The photographer often follows a topic or story over a period of time, and in this regard can be considered to differ from photojournalism where the objective is usually to cover events in real-time.

Common themes explored by documentary photographers are social and political problems such as injustice, conflict and inequality. For example, photographer and pioneer of the documentary genre, Don McCullin, is best known for his powerful works covering the horrors of war and documenting hardship.

“Seeing, looking at what others cannot bear to see is what my life is all about”

Don McCullin –

Street Photography

Street Photography may at first glance seem an easier style to define being characterised by its urban setting but Documentary photography can also be set in the streets. To most people, the clear distinction is that street photography usually captures an unplanned moment in time, and, unlike documentary photography, it has the absence of a central theme or topic. That said, street photographs can and often do, ‘acquire’ value as documentary images, especially within time, because they can offer a glimpse into a scene from the past and form pieces of social history.

Also, there is more freedom in street photography for the photographer to express themselves artistically. Using precise framing and composition they can capture a desired image at a desired moment. When it comes to locations, documentary photography takes place wherever the central topic or theme dictates, whereas in street photography the setting forms an essential part of the composition.

“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event.”

Henri Cartier-Bresson  – http://www.gupmagazine.com/articles/the-decisive-moment

Resourses Used:

https://www.loc.gov/teachers/classroommaterials/connections/daguerreotype/history.html

http://www.jameshymangallery.com/search?q=walker+evans

http://www.jameshymangallery.com/artists/6636/biography/paul-strand

http://www.jameshymangallery.com/artists/7361/biography/alfred-stieglitz

Bill viola- water based artist- the sublime

Viola is a photographer who’s work is taken all underwater, in order to create sublime imagery.Viola was born  in1951 and is a contemporary video artist whose artistic expression depends upon electronic, sound, and image technology in new media. His works focus on the ideas behind fundamental human experiences such as birth, death and aspects of consciousness, which are experiences deemed as sublime, rather than what i am focusing on as emotions. 

Viola has been referred to as “the Rembrandt of the video age”, his work pays homage not only to the famous Dutch master but to the tradition of creating large-scale works of art that draw the viewer into beautifully painted images and compelling narratives. There is often a spiritual component to his work, with elements of Zen Buddhism, Islamic Sufism, and Christian mysticism underpinning themes considered universal: birth, death, love, sex, grief, and redemption. Viola considers the “phenomena of sense perception” as a path to self-awareness; therefore, his work is a blend of experimental video art and sound, including avant-garde music performance. He was one of the earliest artists to explore the potential of the video camera, which in its most basic form in the 1970s only vaguely resembles the sophisticated devices of today.

Viola uses video to explore the phenomena of sense perception as an avenue to self-knowledge. His works focus on universal human experiences—birth, death, the unfolding of consciousness—and have roots in both Eastern and Western art as well as spiritual traditions, including Zen Buddhism, Islamic Sufism, and Christian mysticism. Using the inner language of subjective thoughts and collective memories, his videos communicate to a wide audience, allowing viewers to experience the work directly, and in their own personal way.His work is also so abstract, he uses water in such a way to loose and distort the way you see and can think what is real, the images being flipped and water used to show the inability to show a surface.

Stations comprises five video projections, each displaying a nude figure suspended in water, accompanied by a lulling soundtrack of underwater gurgles and murmurs. Floating heads-down, the figures drift slowly out of the image frames. Their reflections in the polished slabs of granite placed at the foot of each screen give the impression of figures swimming in pools of black liquid. The thirteenth-century Persian poet Jahal al-Din Rumi, a favorite author of the artist, proclaimed: “With every moment a world is born and dies. And know that for you, with every moment comes death and renewal.” Likewise, in Stations there is no ending or beginning—every instant is a meditation on the continual cycles of life, death, and rebirth.

The videos are individually titled Departing Angel, Birth Angel, Fire Angel, Ascending Angel and Creation Angel. Each video features a clothed male figure rising out of and plunging into a pool of water at irregular intervals, as well as hovering over it in between these movements. In all five films the action is presented in slow motion, and in each one the man and the water are shown in a single colour that changes over time in each film between a range of blue and green tones and a dark, blood red. These hues are accentuated by contrasting areas of bright white and pitch black. The five videos play simultaneously, but they are not synchronised and each is repeated on a continuous loop, so that the figures are seen repeatedly moving in and out of the water. Each projection is accompanied by an individual audio track featuring underwater noises that gradually reach a crescendo that culminates in ‘a sudden explosion of light and sound’ as the figure emerges from the waterThe work’s title suggests that the five figures are angels who have a specific relationship to the new millennium, which had just begun when this installation was being filmed and edited. As such, the work may invite reflection on the state of religious or spiritual belief at the dawn of a new era. Viola has often drawn on the history of religious art in his work, and has sought to evoke strong spiritual feelings through his installations’ imagery and sound. He has stated that Five Angels for the Millennium produces ‘an enveloping emotional experience like that of a church’ and that it is about what ‘you cannot see, the things that are not on the surface’  has to do with an acknowledgement or awareness or recognition that there is something above, beyond, below, beneath what’s in front of our eyes, what our daily life is focused on. There’s another dimension that you just know is there, that can be a source of real knowledge, and the quest for connecting with that and identifying that is the whole impetus for me to cultivate these experiences and to make my work. And, on a larger scale, it is also the driving force behind all religious endeavours. There is an unseen world out there and we are living in it.

My favourite elements to his work are the surreal way he captures water as a moving alive elements and also uses colour to enhance the life  of the image itself. I think Viola will definitely be the key one my inspiration for the following of my shoots, his methods and finished works are so creative and highly curated and not only forms successful compositions but also surreal elements combines within the themes of the sublime in order to create a physical story and reinactment of life values, concentrating on pleasure and pain.

planning for next shoot:the sublime snd water

The next shoots I want to focus on are further experimenting within emotions in  surrealism, Because of this my shoots need to have abstract and unique qualities to them. Because my shoots can become complicated and difficult to achieve I decided it would be effective if i did a structural plan of inspiration for my next three shoots, and artists inspiration so I know what I want conceptually my photos to connote. I have a list of ideas for shoots, but I want to further narrow down to five shoots that would successfully link into my book, and a clear collective plan and date for the next three. All these shoots might seem like too many, However as my book is not a linear story narrative but a concept of emotions and surrealist effects, the more different and abstract my images are, create a more interesting effect and I Believe will make the book itself more effective overall

  • One of the sea landscape, next to the reservoir.
  • Night traces of light tomorrow – town on  location
  • Mirrors multiplied and with a fire -outside on location
  • Water shoot in the sea – beach on location
  • Body texture – studio
  • Covered in paint and leggings, body form. -studio, house
  • Collages and dysmorphia of faces, and landscapes
  • A nigh shoot of buildings an the woods, to show a eerie effect Emotional speech things I have which show emotion
  • Landscape beach shoot, in order to show a direct emotion, love or anger.
  • exploding flowers and beautiful things

After further discussion about my work having to fit into a more exclusive narrative, I decided to focus on the four following shoots which have a closer connection. I belive water has the power to control our lives. We are dependent upon it to live, however it still has the ability to kill us within minutes. It is beautiful and fluid in shape. To my mind this is a perfect example of an essence of nature showing beauty and pain all at once. Water also has the ability to show a removal of personal identity and to be used as a mask of emotions, this being shown through being under water, or however, a water landscape has the power to evoke memories based off emotions and connect that human body and person to the environment which they are surrounded.  Because of this the following shoots I will be doing are, under water in the sea, being covered in paint and water thrown onto them, a landscape shoot with slow shutter speed to capture the movement of water, and lastly a reservoir  shoot. I have more ideas which I could develop such as a bath shoot, and showing ht human texture miming the movement of water. because of this change the discarded ideas of fire, will still be exclaimed here although this will not be happening anymore:I belive this shoot will definitely be the hardest in order to achieve, it will be difficult to make the appearance of a dangerous fire without the fire itself being out of hand, additionally, I do want to capture images that involve people and in some type of way how to make the fire look as if it is surrounding themselves and part of them, possibly a surrealism reflection of their perusal identity in order to form a sublime emotion. in-between terry and awesome

I am know going to expand on the concept idea for each shoot and where and how I will take the following images. Not too many artists specialise in photoshoot that connote the effect of the sublime, so sometimes it is hard to find direct observations fo what I would want to show within my work.

the concept for this shoot: When researching about the sublime, many concepts that from the emotion are based on the surrounding that the person is confined to. I belive combining the eeriness of the woodlands, with the effect of  water being a huge combining factor of the pain and stress for the sublime. my overall aim for this shoot is to use it to combine .My previous underwater shoot to more of a natural element and combine landscape photography with it.

landscape, beach shoot

I really want to capture a softness to the water yet the rocks being hard, creating that conflicting of pain and beauty into a literally interpretation of the image itself. I think this narrative stature is successful reflected in these images and would create a normality to the surreal images that will be surrounded by in my book. I will need  long exposure , tripod and the time I have taken this. I could further expand this shoot to more woodlands and suburban wood’s and damp scapes of land. I think this would too add more more mystery to the project and throughout the narrative to the book allow the more portraiture elements to be split up.

netting and covered in fabrics, extended tights.

This image Is mostly inspired by the lighting,  but my intention with the shoot itself will be the focus on the way I could direct any change that the persons beauty and emotions by hiding their identity usually texture sheets, and tights. However I do not know how much this shoot could possible have a direct link to that of water. Because of this I feel like I need to find elements that would link more characterisation of this shoot. To do so I could do this shoot on a beach or in the fore front of a water scape.

covered in paint and water thrown at them shoot;I think for the shoot cover in paint it would also be interesting to experiment with throwing the paint on so you can see both the experience and emotion of the paint going on, and then once the person is covered this is a motor for an emotional barrier, and shows the emotion of beautiful and pain with the surprising aspect of the paint itself. I belive instead of paint I will use water, and I will experiment with how weather can be thrown over the top of someone or dropped from someones hand, I will use an array of different techniques in order to describe what the best method of pain and pleasure is conveyed. I think with this shoot i can use water as an object presented in many different circumstances. This shoot will also be very inspired by the artist viola.

  • Body texture – studio texture in order to mimic the movement of water. Also this could be done in such a manner to use a hand holding water and it falling off or covering elements of the human body.

Archival Documentation

In order to provide a further insight to the development of my house I have looked through files to find important documentation of the development.  I have found documents such as the original house deeds, the planning permissions and the plans of the house.  I plan on incorporating some of these photographs into my photobook in order to show the stages of development that the house has to go through over time.  I think these documents are an important element as they give an insight into the legal side of the development as there are lots of laws on what developers can and cannot do to a house due to historical and political reasons.  I will also be looking into the history of the house in order to find out a bit about its origins – if I cannot find sufficient information on this I will be looking at cod houses and their origins as my house is a cod house.

sublime shoot: under water 6

For this underwater shoot I had the thought that this would definitely create the most sublime atmosphere and composition possible. I believe the combination of both tranquility and beauty posed within the inability to breath and threat of death created what would be expected as sublime. For the shoot itself I intend to create a composition of both from a large camera above the water looking down on someone submerged within the pool, but then taking this further and taking images of someone submerged within water. My visual inspiration for this shoot are the following images:

I believe these images not only focused on the embodiment of the sublime. As this shoot is one which is very hard to successfully achieve I decided I wanted to research the best way to take the shoot for it to be the most successful it possibly could be. There are an array of methods I will be experimenting with, the first is using a dslr camera but having my person submerged in the water and me having myself and the camera above the surface. With this effect I will be able to capture images of her face close up and in high definition and also her whole body from a lower down perspective. one of the main issues I am facing with this shoot as I am taking it in a public pool the lighting will be very very strong. Because of this to get the darker tonal colours and contrast will be a-lot more difficult.  I could also use this to experiment with bodily from, having just hands and bodily shapes coming out of the water. I will additionally be using a go pro in order to take the deeper underwater photography and also developing the different effects it can capture compared to a different camera.One of my other aims is to really be able to capture her falling into the water and trying to really connote and depth and a submerged effect to the image itself. If the water is not deep enough I will use photoshop in order to further exaggerate how deep the water is, as this is one of the factors which will actually from the scenario of danger and pain that causes emotions based off the sublime themselves. I think this soot is so unique and I really hope the images come out successfully, and if they come out blurred and less of the detail that I wish to capture, that I could at least further edit them to still show a accommodation of emotions and suffocation of water.

 

SAMSUNG CAMERA PICTURES
SAMSUNG CAMERA PICTURES
SAMSUNG CAMERA PICTURES
SAMSUNG CAMERA PICTURES
SAMSUNG CAMERA PICTURES
SAMSUNG CAMERA PICTURES

Dslr edits: I wanted to edit many of the images in order to make the water feel deeper. I wanted to  take many from the above perceptive as to my mind this has a tendency of themes of surrealism within the image itself. I wanted to really be able to visibly see the detail throughout all the bubbles. I think it is a really interesting perspective to be able to see someone from such detail above the water. Not only is it a unique view but it portrays the effect beauty and a aspect of danger as they have the possibility of drowning.

Essay Plan

Structure

INTRODUCTION: In my introduction, I will explain what the essay is going to do.

  • Explain how I interpret the question – explain how the work of Sophie Calle and Henrik Malmström is unconventional, different, successful and appealing to the audience.
  • Identify issues that I am going to explore – Meaning and origin of ‘conventional documentary photography’, how artistic movements have influenced/developed our understanding/perception. Include – Straight Photography and Realism movement; deprived and started due to the pictorialism; started due to scientific approach to photography.
  • Use at least one quote -“documentary photography typically focuses on an ongoing issue (or story) which it relates through a series of photographs.”link or “Street photography is candid photography of life and human nature. We are filtering what we see, to find the moments that intrigue us, and to then share them with others.”link

Questions to consider:  What is your area of study?  Which artists will you be analysing and why?  How will you be responding to their work and essay question?

ANALYSIS & MAIN BODY: Develop of argument or line of reasoning

  • The first paragraph should covers the first things said in the Introduction.
  • Other sentences should develop the subject of the paragraph.
  • Include relevant examples, details, evidence, quotations, and references showing understanding of relevant theory and reading

 Historical/ theoretical context within art, photography and visual culture relevant to the area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.

Set the scene for the next paragraph.

  • Analyse first artist/photographer in relation to essay question. Present and evaluate my own images and responses.
  • Analyse second artist/photographer in relation to essay question. Present and evaluate my own images and responses.

CONCLUSION: The conclusion contains no new material

  • Summarise argument and the main themes.
  •  Draw parallels, explore differences/ similarities between artists/photographers and that of my own work that I have produced
  • State general conclusions and evaluate findings.
  • Make it clear why those conclusions are important or significant.

In the last sentence, sum up the argument very briefly, linking it to the title.

References/ bibliography/ appendices

  • List all the books, and other materials that have been referred to within the essay using Harvard Referencing system
  • In the bibliography, list relevant literature,  DVD, TV, internet,  including those texts that have been read but did not use in the essay

Essay Question

Possible Options:

  1. How is the theme of stalking presented in the work of Sophie Calle and  Henrik Malmström?
  2. In what way is voyeurism portrayed in the works of Sophie Calle and  Henrik Malmström?
  3. How does the work of Sophie Calle and  Henrik Malmström breach the conventional approach of documentary photography?
  4. How successfully is the nature of observation and intervention presented in the work of Sophie Calle and  Henrik Malmström?
  5. How is the work of Sophie Calle and  Henrik Malmström similar? How is it different?

Upon looking at a collection of past essay questions, I was able to create and put together my own one that ties in with the work that I have been producing up until this point. The one which I have chosen is written in a bold font.

possible-questions-to-investigate-1