Language is a human communication tool for discerning all things and connecting all things. Yet, while language certainly allows us to quickly understand the meaning of others and help us achieve effective communication, it does not instantaneously instill profound emotional exchanges.
Unlike language in human relationships, animals rely on the sense of dependence accumulated through interaction, observation and companionship; and naturally, such a meeting of soul is beyond the reach of the language so conceitedly acclaimed by humans. As such, the “non-word communication” with animals serves as a different sensory and neurological trigger for the human. Therefore, his past experience and understanding from keeping a large number of the Formosan Dog has convinced Poren Huang that dogs are particularly significant examples, and he hopes to use the imagery of dogs to evoke innate human instinct and genuine emotions. In short, in his “The Dog’s Notes”, Poren Huang intends to urge humankind to reflect on human comedy by using a most solemn but gentle approach. An article about why thesis writing should be ordered. Click here to find out – http://customessayorder.com/thesis-writing-service. Check free topics here – http://essaytopicgenerator.com/argumentative-essay-topics. 100% free online tool for students.
Miracle – An impossible happiness index
Indeed, everyone hopes to live a life of success, happiness, freedom and hope. Yet, such pure bliss does not come naturally, for fate inevitably lies in http://essaykitchen.com/term-paper/ wait, and hence humans could but hope, desire and imagine a dream come true. In his book “Negative Dialectics”, 20th century German philosopher Theodor Ludwig Wiesengrund Adorno points out that an abstract utopia is an adaptation to the sinister tendencies of reality. Likewise in the creative works of Poren Huang, happiness embodies positive forces and ideas, but does not embroil the moral and political realities of life. In “The Fawner” (2005), while the bent hands before the chest and slightly bent knees express “not wishing to become a fawner”, the posture also represents the act of “buttering up someone”. In the same way, in “Snobbery” (2005), the arms crossed over the chest and chin titled slight upwards arrogantly show the contemptuous side of people. Using canine metaphors as creative expressions, Poren Huang demonstrates Adorno’s admonition that “for the sake of happiness, art should not abandon happiness, and desires should survive through art.” In his reverse psychology, Poren Huang’s personification of dogs is suggestive of admonishment, and is consistent with the aesthetic motto of 19th century French writer, Stendhal Dahl: “The promise of happiness” promesse du bonheur. However, it should first tell people today that this promise is constantly being broken, such that a real http://essaybasics.com utopia must be achieved from the purely negative.
In “Politics”, ancient Greek philosopher Aristotle divides life into a number of two parts, such as useful and necessary actions versus aesthetic actions. Hence, aesthetic creation is a purely inner state unrelated to reality, and people can derive happiness from arts regardless of life’s realities. In other words, alienation, lack of freedom and sadness in real life can be disregarded in arts-the only mandate of art is to render the hope of a perfect life in abstract form. Poren Huang feels the futility of life’s reality, but upon entering the world of sculpture and wholehearted self-dialogue, the object of creation becomes utterly independent of a vaguely orderly context, and the energy of negative thinking is transformed into delightful forms. This is brought about by Poren Huang’s sculpturing talent for simplifying the complex, which is indeed his creative intent, and by his careful attention to material selection.
Works of art is a form of instructional gesture. On one hand, it is a way for audience to re-understand the world, and on the other hand, it is a way for artists to re-understand their personal media. Regardless, a work of art inevitably points to a certain direction, and whether for the audience or creator, it is a directive aesthetic object. For Poren Huang, “A dog sculpture is an artistic philosophy. From birth, humans are taught to adapt to society and get along with others; this is like keeping a dog where it is taught to obey rules and adapt to the habits of its master. My art is an inspiration and guide for life. At the very least, it is a means for people to believe in the possibility that good might prevail. The distinctive simplification of the complex attempts to demonstrates that the process of polishing a molded sculpture is like the process of domesticating a dog: through repeated strokes and adjustments, it acquires the content of socialization.” The dog sculpture of the artist happens to validate Frankfurt School philosopher Herbert Marcuse, who in the “Art as Form of Reality”, wrote, “Art is ultimate happiness only within itself; despair is sublimated, and pain becomes beauty.” On one hand, through idealization and spiritualization, happiness and pleasure are permitted, and on the other hand, they are vanquished from reality.
The Dog as Manifestation of the Artist’s Soul
A review of his creative process shows that in the early days, Poren Huang’s family did not support his artistic desire. After suffering countless oppression and indifference, he finally received affirmation for his dog-themed creations. Initially, he primarily chiseled vivid behavioral images of dogs on all fours. For example, in “Home” (2005), the bowl is used to associate the relationship between master and pet, and hints at the desire for family warmth; in “You Cannot Pass! “(2006), the stern overtone differentiates the ultimatum of each individual. Gradually, the artist internalizes and endows his images with “non-dog” elements while maintaining recognizable canine forms. For example, in “Happy Time” (2006), the wings mounted on the dog’s body expresses the wish to fly unfettered, and in “Sticking to My Post” (2007), the radar embedded in the enlarged ears of the dog not only highlights the acute hearing of the dog, but also emphasizes the connection between dog and human. In other words, Poren Huang’s dogs are no longer general portrayal of dogs, but are endowed with human duties and expectations. Thus it seems inevitable that the artist progresses into anthropomorphic creations.