So these debates are usually over virtue ethics (basically what you value, how you value things etc.). One debate is between the philosophy of utilitarianism and deontology (consequentialism vs means based). Social problems and issues are often times evaluated under particular values. For (a simple) ex. a utilitarian would value implementing a policy to save the most people whereas a deontologist wouldn’t look to save the most people if it meant infringing on the rights of the individual. So a utilitarian would care more about extinction then the most gruesome possible death of one person. Hope this helps!
Answer:
Forget the association of the word "Gothic" to dark, haunted houses, Wuthering Heights, or ghostly pale people wearing black nail polish and ripped fishnets. The original Gothic style was actually developed to bring sunshine into people's lives, and especially into their churches. To get past the accrued definitions of the centuries, it's best to go back to the very start of the word Gothic, and to the style that bears the name.
The Goths were a so-called barbaric tribe who held power in various regions of Europe, between the collapse of the Roman Empire and the establishment of the Holy Roman Empire (so, from roughly the fifth to the eighth century). They were not renowned for great achievements in architecture. As with many art historical terms, “Gothic” came to be applied to a certain architectural style after the fact.
Vanishing point is the point of the landscape painting called
Impress the auidence with technology
The Tower, by Robert Delaunay
The cubist artist Robert Delaunay was fascinated by the Eiffel Tower, and during his life he painted the famous French tower time and again, as you can see below:
Robert Delaunay
The Tower
(1911) (inscribed 1910)
Ink and pencil on paper
21 1/4 x 19 1/4" (53.9 x 48.9 cm)
The Museum of Modern Art, New York. Abby Aldrich Rockefeller Fund
As the world’s tallest monument at the time, the Eiffel Tower was for Delaunay a symbol of both modernity and masculinity, and he depicted it time and again. He was among the first artists to focus on this Parisian landmark as a subject. Rather than represent the Eiffel Tower from one view, Delaunay’s drawing uses rhythmically placed lines and patterns to capture his experience of the tower from multiple perspectives.
The drawing is an example of Delaunay’s engagement with the dynamic architecture of Paris at the turn of the 20th century. The Eiffel Tower was just one of the exciting public projects undertaken during an era that would later be described as the Belle Époque (French for “beautiful era”). In comparison to the horrors of World War I that would follow it, the Belle Époque was a time of peace, invention, and intense art production for France and its neighbors.
