Answer:
Wayne Carson
Explanation:
Born Wayne Carson Head form Denver,Colorado, United States of America(1943-2015) was an American singer,songwriter& record producer,who is fondly remembered for his contribution to the popular 80s
remake hit-"always on my mind".He happened to be present recording songs at 3 Alarms studios run by Chips Moman,also accompanied by his assistant-Mark James.
Despite Carson's insistence to the co-writers to modify/edit the song
to Moman's satisfaction in order to pass it's final recording stage,needed for finishing touches it needed. Eventually,after much insistence,despite their adamancy in not adding the sublime touches,it is edited to Moman's taste and having been passed on to Elvis Presley to try it,the song is never released from the studio.
The Parthenon made use of the most familiar features of Greek architecture: post-and-lintel construction; a sloping, or gabled roof; and a colonnade.
Let's break it down. The first part, Visual, is what you see when you look at something, color, arrangement, font, etc... The rhetoric part deals with the persuasion. In conclusion, it's what we see and how we act or think when we see it. It is one's ability to understand what an image is attempting to communicate.
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
