Karen x 7: Name Changes And Why People Need To Chill

I always had a huge fascination with how people named their children. Why, out of all the sounds you can throw onto a child, did you choose this? So, naturally, I would ask my mom why they chose Karen for me.
She told me, "Te pusimos el nombre Karen, porque cuando tu papá estaba joven, se enamoró de su maestra. Pero no puedian estar juntos porque ella era mas mayor de edad. Me dijo cuando estabamos juntos que si tenia una hija, le iba poner Karen."
Basically, my father picked it for me in memory of his old crush on his teacher, according to my mother. My mom would always pick on him, calling her his ex-girlfriend.  I loved it. I never asked my dad for his side of the story because it was so entertaining to me, I didn't want any of the humor or "magic" to be broken. I had such a strong connection with my first name. Everything about it made me happy. The way I had to write the letter "K", three giant sticks heading in different directions. Meaning "torture" or "pure" depending on which era you're looking at. Shortened form of Katherine, becoming 2 syllables, easy to pronounce. Short, sweet, to the point. Simple. It was just right for me.

Too bad everyone's parents seemed to think the same thing because we had around 5 different Karens in each fucking class.

Karen Ramirez, Karen Hernandez, Karen Fombona, and Karen Ruiz. None of them carrying a convenient nickname in their pockets except for Karen Peña in my yearbook class, who's nickname was "Little Karen", because she was two years younger than me. (Firebaugh students flourish with creativity.) There had to be at least 2 Karens per class and I remember being caught by surprise when there was only one Karen in my senior world history class, can you say #blessed? By the end of senior year, whenever I heard the name Karen, I stopped turning around so I wouldn't waste my time finding out they were calling out some other Karen. Caused a lot of trouble when people were actually calling me, haha.

Going into my first semester of college, I had taken a Intro to Japanese class. Soothing, calm, and no clamoring noise of three girls trying to claim the name Karen at once. No awkward turning of heads trying to figure out which Karen they meant, so they wouldn't get an accidental absence on their record. So far so good. Until I hit my first art classes. Two art classes, two Karens in each one. Ruiz in one and Long in the other. Now, I wouldn't mind being in a lecture class and having a thousand Karens because it doesn't matter because none of us will be talking and all we have to do is sign our names on a sheet. But in these very interactive courses with smaller class sizes, getting confused happens. Especially when second semester hits and the three Karen artists got caught in the same 2D foundation class.

But enough about Karen, let's talk about Ramirez. Ramirez is just not a name I identify with. I was never called by it and the only times I used it were for papers. It felt like a student number, just there to sort me away from different Karens. And while I respect my ancestors and my parents for passing it down to me. But it's just that. It was passed onto me and I never fully accepted it.

And now, finally, onto Page. Page is a name I very much identify with. I started an art blog under the name Page for my art commissions, and it just became a norm for others to contact me as Page. In this world I was no longer Karen Ramirez. I was just Page. And what makes me happy is that I chose it for myself because it feels like myself. My closest friends gradually started calling me Page and slowly I'm trying to introduce myself as such. I accept it and would prefer to be called Page rather than Karen or Ramirez. It just became a part of who I am.

The biggest problem with this name change for me is bringing it up to people who only call me Karen. Which, I think is why I even wrote this piece. Whenever I bring it up to not so close friends, they don't understand why I even want to do it in the first place. That's fine. I don't mind if people don't understand but still go along with it. Hell, I don't even care if you slip and call me Karen by accident because it's bound to happen. But I've had people outright refuse to call me Page altogether because it would be an inconvenience for them to have to remember a new name. They won't even try. Being unable to be slightly uncomfortable for .02 seconds to comfort a friend who's trying to go through a process, just doesn't sit right with me. It's big but not everyone feels so attached to their names. Changing your name is a slight change of worlds and, to me, it's a new step in the direction I want to go in my life.

Tl;dr: I'm named after my dad's ex. Life as Karen. I changed my last name. Prefer to be called by it. People change their names. Don't be a dick about it.

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Thoughts That Arise in The Last Minutes of August 1st 2k14

   

   With only roughly less than  ninety minutes left of August 1st, and "Good For Great" by Matt and Kim playing softly in the background, I can't help but feel emotionally overwhelmed by the situation that I have found my self in. Life is happening too fast.

   I guess it's more than that. To be honest I'm really pissed off.  I'm mad at myself for not being able to finish my first blog post, even though I've been working on it for two weeks. I'm mad because I'm too scared to write about my goals. I'm mad for ignoring my friends advice on attending  college work shops. I'm mad because I ignored Dr.Busick's email, for postponing my historiography research. I'm mad because I spent thirty minutes staring at a screen before I actually started writing this. I'm mad because I'm not ready to see the "places I'll go". I'm mad because I stared at the  Common App for one fucking  hour  and deciding that I'll start it tomorrow. I am mad because I  haven't been able to come to terms with the fact that, in less than a year I will no longer attend school with my younger brother. For starting 95% of these sentences with "I'm mad..." That I'm graduating.

    I'm astonished at how eager my friends and classmates are to leave, how easy they can just throw it away. To throw away childhood. To be excited for senior year. Were we not sophomores not too long ago? I used to want this day to happen, I really did. So badly I wanted to see the world.I remember counting down the years until the day would arrive for me to leave. I was such a pretentious little brat when I started high school.  Now that I'm starting the long expect journey, I don't even have the will to open the door.

   To top it all off  I couldn't even plaster on a smile for my little cousins birthday.


 ..... I really don't know when I'll finally "agarro la onda", but hopefully it happens soon. I really want to finish that post.

   

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Gadflies: Philosophy Versus Ideology

This was my very first paper written in college. Not my very best work, but I think I did an adequate job for my initial attempt at a university-level final paper assignment. I did this at the very last minute and I remember the night before it was due very well. I was extremely stressed and panicking because I had run out of ideas to write about. Nonetheless, I survived and turned it in. I got a decent grade for it, so it wasn't that bad.

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Hume's Argument Against Reason in Conclusions of Cause & Effect

           In the Enquiry Concerning Human Understanding, David Hume sets out to show that all knowledge can be derived from experience. Hume takes a particular look at the experience of cause and effect and our knowledge of the relation between the two. It is in the fourth section of the Enquiry that he presents what one commentator (Peter Millican) describes as Hume's “most celebrated argument” concerning the relation of cause and effects. It is obvious that we experience things of which we call causes and other things which effects, but Hume is interested in how and why one can conclude anything at all from such an experience. Hume answers in part two of the fourth section, that conclusions from an experience of seemingly cause and effect, cannot be founded by reasoning. He therefore takes it as his aim to explain and defend this answer throughout the fourth section and the rest of the text. I will therefore argue in this paper that Hume's argument for his solution functions as a viable defense for his solution.              

          Prior to Hume's discussion of cause and effect he makes an important distinction between two kinds of objects of reason. That is to say a distinction between the kind of things that one can reason about. This distinction will aid us in our understanding of Hume's discussion of cause and effect. One kind of object of reason is what Hume calls relation of ideas. By ideas Hume means the less lively and less forcible perceptions of the mind. Ideas are faint copies of another kind of perception of the mind known as impressions which are lively perceptions (such as hearing, seeing, feeling) and are forced upon our minds. Relation of ideas Hume means, “every affirmation, which is either intuitively or demonstratively certain”(4.1) Things that are intuitively certain are things that are known through a direct intellectual grasp, such as our knowledge that 2+2=4. Things that are demonstratively certain are things which can be proven by a sequence of intuitive steps, such as a proof of Pythagoras’s Theorem (that the square of the hypotenuse of a triangle is equal to the square of its two other sides). Relation of ideas are thus objects of reasons which can be known a priori. By a priori I do not mean to imply that there is any innate knowledge in people (recall that ideas are derive from impressions which are derived from experience), but that only that it can be justified without experience.

       The second kind of objects of reason Hume calls matters of fact. Matters of fact are in contrast, a posteriori, that is they can only be learned through experience. They concern ideas in relation to the actual world. For example, it is a matter of fact that words are appearing on the screen of my computer after I press buttons on my keyboard. And it is not a contradiction to suppose that a matter of fact such as this could be otherwise. For it could be the case that I press the buttons on my keyboard and birds start to fly out my computer screen. For this reason Hume thinks that “every matter of fact is still possible” (4.2) since every outcome which we conceive by the mind would have the same “facility and distinctness” (4.2). Therefore, matters of fact cannot be demonstratively or intuitively certain.

                 Now we have sufficient understanding of Hume's distinction of objects of reason to proceed to unravel his enquiry of cause and effect. Hume decides to investigate a little deeper into the nature of the evidence that gives us an assurance of matters of fact. Matters of fact he states are found on relations of cause and effects. Recall, I found that it is a matter of fact that words appear on my computer screen after I pressed keys on my keyboard. And still as I continue to type this paper I am making an on-going inference that there is a connexion between my pressing the keys and words appearing on the screen. But on grounds is this inference made? Hume answers that the connexion between cause and effect is not intuitive and there is a required medium (grounds) from which to make the inference. As this is as Hume says a “new” (4.17) question we should not trust our own “penetration” (4.17) of the question and instead lay out all the different kinds of reasonings and show that none of them make a viable medium for inferences of cause and effect.

                 Hume divides all reasoning into two kinds, demonstrative reasoning and moral reasoning. Demonstrative reasoning is the reasoning concerning relation of ideas. Arguments from this kind of reasoning involve intuitive steps such as, if you recall, my earlier example of Pythagoras’s theorem. Moral reasoning concerns matters of fact and involves uncertain inductive steps. I am using moral reasoning to infer at this moment that words will continue to appear on my screen after I press the keys because that has been the case several times in the past. Therefore, if Hume is to show that our conclusions from experience of cause and effect cannot be derived from reason he will have to show that that these kinds of reasoning are not plausible mediums from which to infer the connexion between cause and effect.

                   Hume first refutes the possibility that the grounds for the inference of cause and effect can be founded on demonstrative reasoning. Demonstrative reasoning if you recall are always certain. That is, a denial of it would imply a contradiction. 2+2=4 can be not be conceived to be any other way or else it would be a contradiction. But as Hume points out, “it implies no contradiction that the course of nature may change” (4.18). For there is no contradiction in supposing that birds may fly out of computer screen after I press on the keys. Such conceptions would seem to oppose the nature of demonstrative reasoning. Another much simpler refutation to this kind of reasoning is that demonstrative reasoning requires no experience, but we need experience in order to infer an effects from its cause. For a person that has never seen a gun could not infer without experience that a bullet will be fired after the trigger is pulled.

                 Hume then continues to investigate whether moral reasoning could be a plausible medium for the inference. We have said that matters of fact are founded on the relations of cause and effects, and that we know that relation from experience. In our ending conclusion we want to be able to say that the future will resemble the past. But in moral reasoning this means, the future will resemble the past, because future has always resemble the past. But this doesn't tell us why the future must still resemble the past. The evidence itself supposes the conclusion which generates a circular argument.

It must follow then that our conclusions from experiences of cause and effects (namely that there is a connexion between the two) cannot be founded on reason. This negative argument (one that derives it conclusion through the negation of the other options) is one that is not only plausible but also perfectly viable if we are to accept Hume's empiricist philosophy. For in order to refute Hume, one would either have to show how relation of ideas and matters of fact do not cover the all objects of reasoning, or prove that there is an object-less reasoning which both exists and is viable solution for making inferences of cause and effect. Otherwise we must accept as Hume does in the fifth section of the Enquiry that we only draw conclusions of cause and effect out of a habit of seeing the events constantly conjoined.

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Blast From The Past: Bully Research Paper

This is a paper I wrote in the 10th grade. Looking at this work, retrospectively, makes me realize that my writing has come a long way. I'm by far not a great writer, but I'm glad that I can notice improvement in my ability to compose a prose. 

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Assertion of One’s Own Importance: Comparing and Contrasting

It is very common for people to feel the need to impress their families and their friends through different means. From expensive clothing to boasting about one’s own abilities, society is known to give more importance to certain things than others. But could our own want for validation serve a higher purpose in the bigger picture? If we put aside the obvious notion that some paintings serve a greater importance in history, and look at the artwork of the 18th century, we can see the various degrees the public would take to assert their value in society. Here, we’ll be analyzing the portrayal of two men, one from the beginning of the 18th century and the other from the late 18th century. 

In Pompeo Batoni’s Portrait of John Talbot (1733) we are presented with a man of culture and class. Or so we are meant to believe. 

Hyacinthe Rigaud’s Portrait of Louis XIV (1701), presents Louis XIV honorably and admirably in order to show the power of France. The techniques, use of color, and objects found in the portrait’s of the men reflect not only their countries and interests but also their value in the eyes of the public, but to different degrees.

The unique objects placed in the background and the rich garments wrapped around these two gentlemen portray them to be of high status, but to different measures. While in the Portrait of John Talbot it seems to show the young man to be finely dressed, the king shown in the Portrait of Louis XIV presents the king to be in far more luxurious clothing. The very ornate, rich in color, fur lined robe and the lavish drapes hanging behind the king gives us a peek into the royal’s grandeur and pompous lifestyle. This leads the viewer to the obvious conclusion that Louis XIV has a larger amount of wealth than the young John Talbot, whose clothes are fashionable but not of the same quality or material. Though, during the Enlightenment period, it was far more important to be presented as a cultured, well-traveled, sophisticated man, which was what John Talbot had been aiming for. With Neoclassicism on the rise, the classical antiquity placed in the surroundings of John Talbot is a fine example of being a cultured, sophisticated man. This attention to classical antiquity and enlightenment is a very distinguishable characteristic of Neoclassicism. In comparison, the Portrait of Louis XIV, presents a slight interest in the architecture, with the column placed behind the king, but not of classical antiquity. This interest in architecture refers to the time period’s focus of Classical Baroque, which was the king’s preferred art style.

Due to their darkened backgrounds and contrasting colors, the figures are greatly illuminated by the colors in their garments. In Pompeo Batoni’s artwork, the dark, murky blues and greens casted by the trees in the background strongly contrast the warm, bright reds and soft gold used in his clothing. There is also a soft light approaching from the left casting on him to bring all the focus on him, as well as  creating a fairly strong shadow behind him furthering the contrast between lights and darks. This great contrast in both color and in value make John Talbot the center of attention in this piece. In Hyacinthe Rigaud’s artwork, a similar technique is used in order to set the king as the most important part of the piece. The light casting on the king illuminates him and the background only gets darker the further it goes back into space. The warm reds on top and the darkened yellows placed in the background, as well as on the floor, are used to accentuate Louis XIV’s rich blue robe and bright white garments. This technique not only brings the main focus into view but also draws out distinctive characteristics of the men. Mostly, that of the king.

Both men in these portraits try to present their more admirable qualities, but there are also characteristics about themselves that are not presented or are hidden by the artist. While in Pompeo Batoni’s piece, John Talbot’s leisurely and relaxed side is reflected in the work. John Talbot does not face the audience but instead stares off into the distance with a soft smile on his face. The audience would believe that John Talbot is just a relaxed, easy-going man but it’s hard to decipher any outstanding things about this man, such as what he does in his past time. In contrast, the artist presents great characteristics of the king in the Portrait of Louis XIV. He does so by accentuating Louis XIV’s legs with his use of color as well as positioning the piece to show the legs more fully. In his portrait, Louis XIV wanted his legs to be visibly notable to indicate his great skill in dancing that he had done as a young man, which he was strongly proud of. But even with his well-toned legs and extravagant garments, the king had attributes that he did not want to be noticed by the public. Due to the short stature of the king, he specifically instructed the artist to make him appear larger in his portrait. In order to do so, the artist made Louis XIV appear larger than life and positioned the artwork in a way to present the king in a grander manner. As well as feeling insecure about his height, the king had worn a wig to appear more youthful towards the public to keep a certain image of him, and perhaps his country, in tact.

Both men had asked for these portraits in order to display their high status and good qualities, not only to show themselves as respectable men but to represent their country admirably as well. John Talbot was on his travels through Rome and felt it appropriate to show his travels to his friends and family by commissioning a portrait to depict them. This could be seen as an earlier version of a souvenir to bring back to show the world his refined taste and worldly experience. Because the English had won the seven year war, and there was a burst of pride for one’s own country, this type of action wasn’t uncommon. They felt a need to assert themselves as a winning power. In fact, since it was fairly common to do this, the artist had all the props to stage this type of portrait frequently! As an Englishman of class, John Talbot could have been one of the men who felt that he had to show he was part of a grand country. But it wasn’t to the same extent that Louis XIV wanted to show his power. John Talbot’s depiction of his country being powerful was much more subtle, and while it could influence others to see him as a respectable Englishman, the need was not as strong.  Louis XIV had also felt the need to use his own portrait as a status symbol to the public. He felt the need to accentuate his legs, make himself appear larger and younger than he really was, in order to keep his image of a strong ruler in tact. This artwork is considered to serve as propaganda to show the power of the ruler and the country. By depicting the king as a healthy, young man with both riches and experience, he is showing that there is still power in France. That France itself is still stable because the king is as well. In this sense, it could be described to be a more powerful piece than Pompeo Batoni’s portrait of John Talbot since John Talbot did not hold such a strong, influential position in power that could influence the masses as much as a portrait of a king.

Although both portraits serve to emphasize the importance of the two gentlemen being painted, one portrait serves a higher, more influential purpose than the other. Both are similar in various techniques involving both light, shadow, and color in order to emphasis the importance of the men in the portrait. The content is also used to the advantage of the men to depict their significance and great qualities that each possess or would wish to imply to others in order to gain admiration and respect from others. This could be from a small community or to a larger audience. Hyacinthe Rigaud’s Portrait of Louis XIV was a strong piece of propaganda in order to get the audience to entrust the king and marvel at his power, health, and stability. While Pompeo Batoni’s Portrait of John Talbot was a lot more subtle in it’s purpose. The audience was not meant to marvel at his strength in power or his stability in the monarchy but to impress others with his worldly experience. But, in my personal opinion, they both need to chill because they are so fucking full of themselves. Seriously.

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IB Historiagraphy: Jim Morrison and William Blake's Poem

To what extent can Jim Morrison’s ideals be seen as parallel to those presented in William Blake’s “The Marriage of Heaven and Hell” ?

(Word count: 1868)

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