When I Initially Joined This Class I Was Completely Unaware

When I Initially Joined This Class I Was Completely Unaware Of Mythol

When I initially joined this class, I was completely unaware of mythological theories pertaining to ancient aliens and had trouble grasping what the idea of mystification was trying to convey. I recall flipping through John Berger’s Ways of Seeing book and Von Daniken’s Chariot of the Gods, and wondering how such methods of viewing the world would possibly benefit me as an aspiring fashion designer. However, by completing rigorous writing assignments and reflections, I realized that the enigmas of mythology and the extraterrestrial qualities of art and science help shape our imaginations by introducing artists to different semiotics and cultures. It was through such writing assignments that I was able to connect my life to the materials I acquired in the class in a personal, and thought-provoking way.

One of the most memorable experiences I had in this class was visiting the Hammer and Fowler museum and being able to write about an artwork we were inspired by. As I browsed through the contrasting auras of the two museums, I was amazed by the variety of art displayed and how the notion of creation could create an impact that was not only contemporary, but also global. I remember being inspired by the collections from Black Mountain College: Leap Before You Look because they seemed strikingly new and unconventional. Although I wasn’t able to grasp the connotations behind each of the pieces at first, the pamphlet of the showing taught me that BMC was an experimental college that placed art in the center of Liberal Arts education in order to further the participation of a democratic society through painting, drawing, sculpture, and dance.

As a fellow college student, as well as an aspiring artist and designer, I was inspired by the efforts of BMC in educating young Jewish individuals who were fleeing from persecution. Even in the middle of such a calamity, BMC served as a sentimental meeting place that bridged education to creativity and innovativeness that I would not have fathomed without learning more about the community. By writing about Chamberlain’s sculpture, Shortstop, in the perspective of a young artist in training, I was also able to take a piece that at first seemed visually appealing to me and delve into the inner core of its significance to the world. In the end, it was the artist’s process of running each car part and his need for rationing materials during the harsh economy of war that left an even deeper impression.

Another concept that changed my way of viewing not just a classic mythology book, but any other story as well is the idea of archetypes and the three stages to the rite of passage. At first I viewed such topics as mere stereotypes of the “typical hero” or “typical sage,” but I learned that because these characters were classified in certain ways, it made them even more significant than they actually seemed. In the case of the Final Star Wars paper, I never actually thought about why Obi Wan Kenobi died the way he did, and why he made himself look weaker than he actually was characterized to be. After learning that the sage is not just a mentor, but also someone who sacrifices himself to teach his apprentice a life lesson, I realized that Obi Wan Kenobi was actually a stronger and wiser Jedi than what was depicted.

He died not because he was weak, but because he believed that Luke Skywalker had the potential to succeed and continue his journey without his master. In the case of the rite of passage, I was able to follow Peter’s life-changing adventure through the three stages: separation, liminality, and incorporation, and follow the story in a more structured and understandable way. Through such lessons, I believe that I can read any book and be able to follow the footsteps of the main character in a more sympathetic way. In the end, the one important life lesson I realized is that just as mythologies and conspiracies don’t always come to a consensus, not everyone is going to agree with my values and aesthetics as a future fashion designer.

After reading Von Daniken’s book, I also learned that through his ancient alien theories, he received lots of criticism and skepticism as an author even amidst his popular book. Even so, he managed to fight through the negativity and hold on to his beliefs, which I think all designers should have the courage to do as well. By staying true to myself, I hope that I will be able to embrace the morals I obtained through my days in this class and apply it to my life in the future as well.

Paper For Above instruction

Enrolling in this course marked a transformative journey from absolute unfamiliarity with mythological theories, especially related to ancient aliens and mystification, to a profound understanding of their relevance across diverse fields such as art, science, and fashion design. Initially, I questioned the practical benefits of studying such esoteric topics, but rigorous assignments and reflective writing enabled me to recognize their significance in shaping imagination and cultural understanding. Mythology, with its archetypes and allegories, offers invaluable insights into human nature and societal values, which are essential for aspiring artists and designers seeking authentic inspiration and cultural depth.

A particularly vivid memory from this course was my visit to the Hammer and Fowler museums, where I engaged deeply with the artworks inspired by diverse historical periods and cultural contexts. Observing the collection from Black Mountain College: Leap Before You Look, I appreciated how the unconventional approach to art education emphasized experimental and democratic art forms. Learning about BMC’s mission during a time of persecution for Jewish individuals highlighted the power of art as a medium for resilience, hope, and social change. Writing about Chamberlain’s sculpture, Shortstop, I explored how the artist’s wartime rationing and creative resourcefulness embodied broader themes of survival, adaptation, and innovation amidst adversity.

This experience underscored the notion that art transcends mere aesthetic appeal, functioning as a commentary on historical, social, and personal struggles. It also broadened my perspective on the role of art education in fostering community and cultural identity, crucial aspects for any aspiring artist or designer aiming to develop a unique voice grounded in meaningful narratives. This understanding has motivated me to pursue art practices that are not only visually compelling but also socially and culturally conscious.

A pivotal concept learned during the course was the significance of archetypes and the stages of the rite of passage. Initially perceived as stereotypical archetypes like the hero or sage, I now appreciate their symbolic depth and universal relevance. For example, analyzing Obi Wan Kenobi’s sacrificial death in Star Wars revealed that his apparent weakness was a display of strength—an act of mentorship and selflessness aimed at empowering Luke Skywalker. Similarly, understanding Peter's journey through separation, liminality, and incorporation provided a structured lens to interpret personal growth and transformation, applicable beyond mythology to everyday life and professional development.

These lessons have illuminated the importance of empathy, perspective, and resilience—qualities essential for a designer navigating the unpredictable terrains of the fashion industry. Recognizing that mythologies and narratives are often contested or multifaceted reinforced the idea that diverse viewpoints should be embraced rather than dismissed. As I aspire to create innovative and meaningful designs, I am committed to staying true to my core values and aesthetic sensibilities, much like Von Daniken’s perseverance in advocating unorthodox theories despite criticism.

Overall, this course has equipped me with critical tools to interpret stories, symbols, and cultural artifacts with depth and sensitivity. It has also inspired me to incorporate mythological themes and archetypal images into my future fashion projects, creating collections that resonate on a universal level while reflecting personal and cultural narratives. Embracing the lessons on resilience and authenticity will be essential as I strive to develop a distinctive voice in my artistic career, aware of the complex layers of meaning that inform human storytelling and creativity.

References

• Berger, J. (1972). Ways of Seeing. Penguin Books.
• Daniken, E. von. (1968). Chariots of the Gods. Bantam.
• Campbell, J. (1949). The Hero with a Thousand Faces. Princeton University Press.
• Jung, C. G. (1959). The Archetypes and The Collective Unconscious. Princeton University Press.
• Levi-Strauss, C. (1963). Structural Anthropology. Basic Books.
• Freud, S. (1913). The Interpretation of Dreams. Basic Books.
• Bauman, R. (2016). Emotional Experiences and the Arts. Routledge.
• Foster, H. (2002). The Return of the Real. MIT Press.
• Kracauer, S. (1952). The Mass Ornament. Harvard University Press.
• Campbell, J., & Moyers, M. (1988). The Power of Myth. Doubleday.