IndexIntroductionMaterial possessions and the search for immortalityToxicity of material possessionsConclusionWorks CitedIntroductionAt first sight of the artwork painted by Vincent Laurensz Van Vinne, the most obvious aspect of the work is the “Memento Mori” label printed on a roll of paper protruding from under a sort of tapestry. This appears to be the same label the author chose as the title. Memento Mori directly translates to "remembering death" in the English language. This message provides the reader with a reality check that life does not last forever and that mortals, including humans, must remember that they have an expiration date. The author's central claim argues that humans must spend their time on earth trying to gain intangible emotions to carry forward throughout post-mortal life or inspire future generations after one's death due to the rapid nature of life rather than chasing material goods or temporary pleasures. This central argument is supported through the use of both everyday objects and luxury goods such as musical instruments, books or a skull which serve as a metaphor in describing the destructive affinity towards material possessions and temporary pleasure within our society , while the idea of ​​mortality presses on. the public. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Material Possessions and the Quest for Immortality There are two main contributors, aside from the words “Memento Mori,” to the idea of ​​mortality and a post-mortal life within the painting: the mechanical stopwatch and the skull. The mechanical chronometer is of considerable importance because it illustrates both of these ideas with equal importance. If a stopwatch were to count down from a specific time, like the purpose of a timer, it would represent the concept of mortality because the timer will eventually run out of time. The same goes for our lives as human beings on earth. In the opposite sense, if a stopwatch were to continue running, it would represent a sense of prolongation of one's spirit or ethics even after an individual's time comes to an end. The depiction of a skull promotes the idea of ​​mortality because it is, in itself, the epitome of mortality; the skull is the object that everyone's mind turns to when they think about death or the disappearance of their mortal body. The main evidence identified from the painting that supports the author's central argument are the various musical instruments hidden in the pile of artifacts. While the act of playing a musical instrument may provide an individual with a sense of joy, it does not contribute to his or her success in the afterlife. Music is a hobby taken up by many people to obtain temporary pleasure. This temporary pleasure results from the production of chemical compounds in the brain that alter an individual's physiological state. The change in one's physiological state results from the reception of electrical signals produced by the sound waves of musical instruments. The same phenomenon is similar to that provided by a plethora of drugs rampant in our society. It can therefore be established that music, in a certain sense, is a drug for the brain and that it only causes temporary pleasure. The fact that a tool is also a material possession is related to the author's central argument, partly due to the fact that material possessions cannot be carried by an individual into his or her life beyond his or her time on earth. This makes music obsolete as well as the ability to produce it in the afterlife. Toxicity of Material Goods The purpose of the author's depiction of a tapestry together with this collection of objects is to promotethe toxicity of material goods. This tapestry may have been used, at some point in time, to reinforce the appearance of an individual's socioeconomic status. At the time, the individual who owned this tapestry may or may not have reaped the benefits of this "heightened" appearance, but in reality the item is left behind when the individual in question dies. It remains an insignificant part of their life when considering what awaits them in the future. These material possessions provide people with temporary pleasure, but do not leave a lasting legacy that is truly remembered by others when you die. In addition to the tapestry, the empty chalice lying parallel to the table is another object within this painting that supports the author's central argument regarding the pursuit of material possessions rather than the attainment of intangible emotions or the inspiration of others. The chalice and its metaphorical relationship to the dead individual who previously owned this pile of artifacts represents the accumulation of wealth during his mortal life. If someone seeks material possessions throughout their life, their wealth may accumulate as they collect more and more items. Eventually, however, humans die and leave these goods behind, thus resulting in an empty glass. If an individual sought to improve himself or the lives of others, he too would observe an accumulation of wealth similar to what was previously observed. Contrary to the previous situation, however, the glass would remain full when the individual dies because this legacy is what travels and remains with someone even after their death. The final aspect plays a vital role in providing the backdrop to the central topic of the piece is the setting itself. The setting depicted in this painting can be described as gloomy or dirty. The artifacts themselves rest on what appears to be a very uninviting stone surface. The undesirable situation illustrated by these certain techniques provided the author with a catalyst to further his argument about the culture surrounding materialism and society's affinity for material possessions. Once a person dies, these material possessions turn into outdated objects left with no absolute purpose because they are not useful in guiding their pursuits and endeavors after death. As clearly demonstrated, the pile of inanimate luxury goods such as the skull, mechanical chronometer, musical instruments and tapestries, all located in a gloomy and unpleasant atmosphere, support the idea that material possession is obsolete in the greater scheme of an individual's progression through and beyond the stages of life because they provide only temporary pleasure. There is no thoughtful construction behind one's ethics in the pursuit of material possessions, hence the idea that humans need to focus on a more holistic approach to their mortal life on earth, seeking to create lasting inspiration upon other beings humans or attempting to gain intangible emotions to carry forward throughout their afterlife. Conclusion The idea of ​​mortality imposed on the audience of this piece relates to the “Net” because it is a network through time, specifically between their current life and what awaits them when they die. Material possessions, as depicted in this piece, do not contribute to the web of time because they are sources of temporary pleasure rather than a source of inspiration. A network cannot survive if the connection is temporary; the connection must be consistent and resilient. Material possessions are not durable because they cease to be useful when one dies. For this reason, leaving a lasting legacy and inspiring future generations while seeking intangible emotions is much more important than the pursuit of possessions..8203_05