Answer:
Between his first recording session in 1944 and his death in 1991, Miles Davis changed the course of music many times. The first of these came with the short-lived lineups he assembled for a New York residency and three studio sessions between January 1949 and March 1950. The nine-piece lineup was unusual – few jazz bands used a French horn – and the gigs attracted little attention. The sessions produced a handful of singles for Capitol Records, later collected as an album called Birth of the Cool – these ensured the band’s shadow would prove longer than all but a handful of its contemporaries.
The recordings were the result of hanging out after hours at arranger Gil Evans’s basement flat. The punchy, brightly coloured Venus de Milo was one of three tracks the group recorded that was composed by saxophonist Gerry Mulligan. The epithet “cool” isn’t entirely helpful, suggesting a prizing of style over substance: this music is never aloof or detached. Rather, this is what you got when you tuned down the frenzy of Charlie Parker and Dizzy Gillespie and allied it to the kind of sophisticated big-band arrangements Duke Ellington pioneered. Davis was a fan – and a part – of both traditions: not for the first time, what he crafted was a fusion of preceding forms that changed what would follow.
Explanation:
This painting is significant for art history because it challenged the conventions of landscape painting. It is a representation of a natural scene, but nature itself isn't the real background for the painting. The background is the painter's personality and inner psychological struggle. The wheatfield is strikingly yellow, against the deep blue color of the sky, leaving an impression of uneasiness and agitation, rather than serenity. The scene is an epitome of deep, unresolved mental anxiety, from which there is no way out. The middle road, central to the painting's composition, leads nowhere.
Griffin says that photographers “tap into something” when connecting to the viewer. This something is the viewer’s imagination. I think I have learned this because photography is being able to express what you want to express by capturing images that require you to use the techniques you know and the imagination of the viewers. In photography, you are creating an artifact that involves the viewer.
It would actually depend on how the story would actually be depicted in this case. The verbs would then be how this man was describing this other man, and due to this, this would then be the way that this could have been the way that this would then be "intended".
