Cultural Appropriation: Why Humans Define Nature Differently

In general meaning, culture is defined as the arts and other manifestations of human intellectual achievement regarded collectively. In short, people all over the world are educated or are influenced by people the culture and environment around them educate themselves with cultures from different conditions. Significantly, there are two additional type of society – The high-context societies are those that impart in ways that are certain and depend intensely on language; interestingly, low-context societies depend on unequivocal verbal correspondence. High-context societies are collectivist, esteem relational connections, and have individuals that frame steady, cozy connections. It is interesting how the anthropologist defines civilizations in only two settings. However, people earning experiences in different ways even they are in the same country, educational level, and similar family backgrounds.

More importantly, technologies such as aerospace engineering, computer science are rapidly developing in the twenty-first century, in order to gather from long distance and get closer and closer which help people to learn and spread out their ideology from their culture or foreign culture. For further understanding, people adopt the ideologies, or us traditional values as the expectations when they are travelling and often debate with people what is right or wrong due to their culture background. The critical question is attempting to: Is cultural appropriation a real thing?

The short answer is yes. Cultural appropriation plays an important role in diagnosing, identifying, and understanding the "unknown", thus with the continues discovering "unknown" can considerably assist people in determining the "unknown" without a long process. Landscape painting is most likely to be a great candidate to explain culture appropriation. W.J.T. Mitchell, the Gaylord Donnelley Distinguished Service Professor of English and Art History at the University of Chicago, the author of "Imperial Landscape" from the book Landscape of Power, credits the concept from Kenneth Clark for reinforcing his idea, says that '"the appreciation of natural beauty and the painting of landscape is…"' "a historically unique phenomenon. Both writers elide the distinction between viewing and painting, perception and representation – Bermingham by treating painting as the "expression" of a "view" …". Mitchell provides us an easier understanding answer on what landscape definition is, and make clear that landscape painting is fulfilling with the imagination not only for the creators, also with the people who watches their creations. Mitchell also gives that landscape aspects are not sharing the equal value when having a comparison from country to country. According to his own thought in "Imperial Landscape", claims that, "And the geographic claim that landscape is uniquely western European art falls to pieces in the face of the overwhelming richness, complexity, and antiquity of Chinese landscape painting. The Chinese tradition has a double importance in this context." The ideology mentioned above shows a clear relationship that although we generalize something in the same categories, sometimes the true value may differ with different civilizations.

Louise A. Hitchcock, the author of "Naturalizing the Cultural: Architectonized Landscape as Ideology in Minoan Crete", the Studies arrangement of the British School at Athens distributes a scope of material past the uncovering reports which are the concentration of the Supplementary Volumes. They comprise primarily of BSA-drove meeting reports or Festschriften for BSA individuals, both of which grasp an extensive variety of substance, from the Mesolithic to medieval periods. Also, two volumes exhibit legitimate records of ceramics generation at Knossos on Crete in the Bronze Age and in the Greek and Roman periods.

During the introduction, he claims that "…these features embody a landscape was appropriated and reproduced within a refined and artificial environment that was promoted by one or more central authorities." With being said, the culture values remain differently, and might not projecting the same aspects due to cultural appropriation. Albert Bierstadt, an American painter best known for his lavish, sweeping landscapes of the American West, creating Puget Sound on the Pacific Coast – an oil on canvas in 1870, for his prolific career as joining land surveyors and parties on journeys of Westward expansion in purposely. He portrayed various exemplary vistas. Such as the Rocky Mountains, the Oregon Trail, Yosemite, and other virgin scenes, and scenes of Native Americans and wild creatures. It was hilarious when the first time I saw that landscape painting in Seattle Art Museum because Puget Sound never surges such the big wave at all. In fact, Bierstadt was never visited Puget Sound on his whole life, all the creature and people showing on the painting comes from his combination and imagination. In my opinion, the wave described in the painting refers to the characteristic of toughness and invite American moving Westward. To get back to the point, he put all Western thought into his creation sounds perfect for him.

It is important that the ideology of changing the definition of "nature" is perfect on some purpose, but representing the "nature" in affected form is against what the general idea of "nature". Of course, there is no completely developed language in any countries, which people cannot project the exacted expression between the conversations or even use the word systems, because cultural appropriation takes a critical part of the perception in determining the things or saturations is unusual for people via their daily basis, also occluded by their culture traditions and values. Rebecca Solnit, an American writer, the editor at Harper's Magazine, in A Field Guide to getting Lost, "Open Door" is the first chapter of the book, quotes Edgar Allan Poe said “All experience, in matters of philosophical discovery, teaches us that, in such discovery, it is the unforeseen upon which we must calculate most largely”. According to Solnit and Poe, both are agreed that as reading someone as a lesson could accelerate the process to figure out the "unknown". However, even though the understanding opinion may remain different when two people face similar situations. In other words, they might have distinct results.

As has been noted, not only landscape painting, music is another genre always contains cultural appropriation, especially in jazz. The Division on Black American Literature and Culture of the Modern Language Association, the quarterly diary African American Review advances an exuberant trade among essayists and researchers in expressions of the human experience, humanities, and sociologies who hold assorted points of view on African American writing and culture. Near 1967 and 1976, the diary showed up under the title Negro American Literature Forum and for the following fifteen years was titled Black American Literature Forum.

In 1992, African American Review changed its name for a third time and extended its main goal to incorporate the investigation of a more extensive cluster of social developments. Sun Ra, an American jazz composer, bandleader, piano and synthesizer player, creating a twelve-minute collection of jazz: Pathways to Unknown Worlds: Sun Ra, El Saturn Chicago's Afro-Futurist Underground, 1954-68. According to Daniel Kreiss, the Associate Professor in the School of Media and Journalism at the University of North Carolina and an assistance of the Information Society Project at Yale Law School, in his journal "performing the Past to Claim the Future: Sun Ra and the Afro- Future Underground, 1954- 1968", says that "This line of work critiques dominant analytical perspectives of sociotechnical change in focusing on the relations of power that underlie technological development, while showing how African Americans and others socioeconomically excluded from high technology and design engage with artifacts on their own terms." As a matter fact, people from different culture backgrounds tend to express in many ways when they approach to the brand-new artifacts.

James O. Young is Professor and chairman of the Department of Philosophy, University of Victoria, the author of "Profound Offense and Cultural Appropriation." The Journal of Esthetics and Art Criticism distributes ebb and flow inquire about articles, extraordinary issues, and convenient book audits in feel and expressions of the human experience. The expression "feel," in this association, is comprehended as incorporate all investigations of human expressions and related sorts of understanding from a philosophical, logical, or another hypothetical outlook. "Expressions of the human experience" are seen extensively to incorporate not just customary structures, for example, music, writing, theater, painting, design, model, and move, yet in addition later increments, for example, film, photography, earthworks, execution craftsmanship, and the artworks, brightening expressions, advanced and electronic generation, and different parts of mainstream culture. There are an additional three types of appropriation as shown in figure 2: Subject Appropriation, Content Appropriation, and Object Appropriation. Consequently, content appropriation suits for Sun Ra's creations and Bierstadt's painting belongs to subject appropriation.

The technology exponential has grown since the last two decades, this field creating new genre as the medium with full loads of human's imagination. Instead, cultural appropriation cannot be avoided. Pico Lyer, a travel journalist and the author of "Why We Travel", gives the first thing that people can teach someone, and learning by someone through the vision. Hence, during the journal, he says that "…the second - and perhaps more important - thing we can bring them is a fresh and renewed sense of how special are the warmth and beauty of their country, for those who can compare it with other places around the globe." Cultural appropriation is a real thing, and happening in anytime, anywhere, even when you are dreaming in your bed. Although these types of imaginations face numerous debates with its ethical problems and dangerous outcomes such as boycott, which a person has a decision to not use or buy products or services to show support for a reason. Although cultural appropriation is inevitable, people have the responsibility to choose how to respond even though it is different to define the right and wrongs.

However, it provides the benefits that will presented to the human kind. With the right expectations will human able to be the great traveler and go through the process, when the final goal of the enjoyment can be found in different cultures, what seem impossible is now possible.