All of them offer interpretations of humanity's struggles, desires, and existential dilemmas. Hieronymus Bosch's painting "The Garden of Earthly Delights" is renowned for its surreal and fantastical imagery, filled with symbolic creatures and allegorical scenes as we have discussed in class. Similarly, Salvador Dali's "The Visage of War" features Dali's characteristic dreamlike and symbolic elements. There also seems to be these themes of sin and destruction. Bosch's triptych "The Garden of Earthly Delights" explores themes of sin, temptation, and the consequences of indulging in earthly pleasures. Similarly, John Martin's "The End of the World" and Durer's "The Opening of the Seventh Seal" both depict apocalyptic themes and the destructive forces that can be unleashed upon humanity. There is also this expression of inner turmoil that reminds me of Bo Burnham’s Inside “Track 4: How the World Works,”. Van Gogh's self-portrait with a bandaged ear represents his personal struggles and mental anguish. Although not directly related to the themes in Bosch's work, it shares a common element of expressing the inner turmoil and emotional struggles of the artist. This is, if not identical to Burnham, very similar. While these connections exist on a thematic or symbolic level, it's important to note that each of their artworks represent the unique vision and style of them respectively. That’s why they have specific interpretations and intentions behind each piece that varies, and I appreciate them in their own context. Transhumanism is best defined as an ideology that explores the “What If…”s. It looks at the possibilities of enhancing human capabilities through technological advancements and a special emphasis on transcending the limitations of the human condition. Think of things such as artificial intelligence, genetic engineering, mind uploading, and the potential for human evolution. If you don’t trust me, thank the article I read titled “The End is Only the Beginning; The World as a Game”. All of these artworks along with Bosch's "The Garden of Earthly Delights," can be seen as reflections on human existence, its desires, and our struggles. Transhumanism, too, is rooted in an exploration of human potential and the desire to overcome those limitations. At the heart of this all is human frailty and enhancement. With Van Gogh's bandaged ear, a symbol of his personal suffering, that could be interpreted as a representation of human frailty. So this is where transhumanism seeks to overcome cutting off ears through technological enhancement. Then there’s also cataclysm and transformation. In John Martin's "The End of the World" and Durer's "The Opening of the Seventh Seal" they both depict apocalyptic scenarios that could be seen as opportunities for transformation and renewal, aligning with transhumanist notions of radical change and evolution. The use of surreal and symbolic imagery in Bosch's "The Garden of Earthly Delights" and Dali's "The Visage of War" can once again be connected to the idea of transcending physical reality and entering a realm of augmented or altered states, reminiscent of the aspirations of transhumanism.  When we were reading Hannah Arendt's book "The Human Condition" we examined the nature of human existence as she talked about the activities that constitute our daily human lives, in addition to the conditions that shape our identity through experiences. The concept and idea she proposed around emphasizing the importance of plurality and individuality struck me as relating to transhumanism. She argued that human beings are distinct individuals who thrive in a world of diverse perspectives and experiences. Transhumanism, with its focus on enhancing human capabilities and potentially blurring the boundaries of individuality, raises questions about the impact on our unique identities and the potential loss of human plurality. In Chapter 1, she wrote, “Plurality is the condition of human action because we are all the same, that is, human, in such a way that nobody is ever the same as anyone else who ever lived, lives, or will live." (pg. 8). Then there’s also when Arendt discussed the division between the public and private spheres of life. As we discussed in class the public sphere is where individuals engage in political activities and participate in the public realm, while the private sphere encompasses the intimate and personal aspects of life. Transhumanism very well challenges these boundaries by introducing technological enhancements that blur the line between public and private, potentially affecting one’s concepts of identity, privacy, and social interaction. I did a little extra reading past the assignment, but in Chapter 2 she wrote, "The reality of the public realm relies on the simultaneous presence of innumerable perspectives and aspects of reality, a presence that in turn depends on the existence of a world." (pg. 57). I think the double entendre that comes along with the engraving depending on how one positions and orientates the knife is interesting. On one edge it can be a “m” and on the other “b”. To me, this reminds me of how things are lost in translation when trying to convey important information and topics that are pressing on the matter of the end of the world. One instance is the article titled, “350” by Bill McKibben. People can try to grab hold of the knife, like trying to grab hold of knowledge but then they cut themselves and there is either metallic blood or semen dripping from their hands. I could write this section about what she thinks about labor, work, and action, also refer to my notes because Kelly made a good point in class. Arendt distinguished between labor (necessary activities for survival), work (the creation of durable artifacts), and action (meaningful human interaction and engagement). Transhumanism's pursuit of technological advancements and the potential for transcending these human limitations, such as the pain of a cut off ear, raises questions about how these categories might evolve and intersect in the future. She said something along the lines of how action, as distinguished from fabrication and work, is never possible in isolation and how to be isolated is to be deprived of the capacity to act. If the knife is a penis this reminded me of an excerpt I shared in class from Yoko Towada’s Scattered All Over the Earth where Hiruko references how he was attracted to her speech rather than her body.