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Commentary on Kate Horsfield -  Busting the Tube A decade of profound social change propelled by political conflict, inventive action, and ideological opposition The argument was not just about creating new forms for new content, but also about altering the nature of the relationships between readers and literary texts, spectators and spectacles. This alteration of these relationships was predicated on new ways of thinking about the relationships between art (or more generally "representation") and reality.  Television was a primary target.  In the 1950s, television had a great deal of influence. While the general public was becoming more and more enthralled by its presence, others, in particular intellectuals and media theorists, saw that television served to maintain the status quo while simplifying or removing representations that did not appeal to consumerist demographics. When he referred to television as "a vast wasteland," FCC Chairman Newton R. Minow voiced

  A Fuller Picture of Artemisia Gentileschi N umerous versions of paintings and depictions of The story of Susanna and The Two Elders  resulted in different impressions and meanings. Highlighting here is Artemisia Gentileschi's masterpiece. As we read further in the article , it gradually unfolds the reason and story behind each of Artemisia's workpieces.  Artemisia Gentileschi , who was born in Rome in 1593 and painted the scene in 1610 when she was seventeen, presents a completely different Susanna. According to her testimony, two men emerge from behind a marble balustrade and violently interfere with Susanna's personal hygiene. Her head and torso pull away from the onlookers as she raises a hand in apparent fruitless self-defense toward them. Her face is startlingly hidden by her other hand. Susanna might not want the men to notice her or see her suffering; she could also not want to see the people who are torturing her. The artwork is exceptionally skilled in terms of c