POLYTECHNIC UNIVERSITY OF THE PHILIPPINES

INSTRUCTIONAL MATERIALS

PREPARED BY:

ALAN C. DENATE

ARTS APPRECIATION MODULE

MODULE 1- Course Introduction and Overview

(Week 1)

Overview
The course Art Appreciation is a general introduction to the visual arts, media, techniques, and history. The course is designed to create a deeper appreciation of the creative
processes involved in the visual arts. This course reviews two- and three-dimensional art forms, methods, and media; examines the visual elements and principles of design; and
briefly surveys art styles from the prehistoric to the 20th Century. It is oriented to students who have not been exposed to the formal study of these disciplines. It is a beginning
level class to familiar students with the different types of art and to learn how to speak/write intelligently about art.

This course is an exploration of visual art forms and their cultural connections across historical periods, designed for the student with little experience in the visual arts. It includes
brief studies in art history, and in-depth inquiry into the elements, media and methods used in a wide range of creative processes. At the beginning of this course, you will learn a
five-step system for developing an understanding of visual art in all forms, based on:

1. Description: A work of art from an objective point of view – its physical attributes and formal construction.
2. Analysis: A detailed look at a work of art that combines physical attributes with subjective statements based on the viewer's reaction to the work.
3. Context: Historical, religious or environmental information that surrounds a particular work of art and which helps to understand the work's meaning.
4. Meaning: A statement of the work's content. A message or narrative expressed by the subject matter.
5. Judgment: A critical point of view about a work of art concerning its aesthetic or cultural value.

After completing this course, you will be able to interpret works of art based on this five-step system; explain the processes involved in artistic production; identify the many kinds
of issues that artists examine in their work; and explain the role and effect of the visual arts in different social, historical and cultural contexts.

Western Art' is the portrayal, in two or three dimensions, of the history, people, landscape and wildlife of the area confined to the western regions of North America, in a highly
realistic or realistic impressionist style and is inextricably linked to the culture of the American West.

The traditional arts in the Philippines encompass folk architecture, maritime transport, weaving, carving, folk performing arts, folk (oral) literature, folk graphic and plastic arts,
ornament, textile, or fiber art, pottery, and other artistic expressions of traditional culture.

PHILIPPINE ART AS FILIPINO “The idea was that the depiction of scenes of everyday life and the surroundings without idealizing them was closest in spirit to the Filipino soul
and native soil.”

METHOD OF INSTRUCTION: A variety of instructional methods may be used depending on content area. These include but are not limited to: lecture, multimedia,
cooperative/collaborative learning, labs and demonstrations, projects and presentations, speeches, debates, and panels, conferencing, performances, and learning experiences
outside the classroom. Methodology will be selected to best meet student needs
Objectives:

1. The student will, verbally and in writing, evaluate and critique works of art as assigned in class.

2. The student will physically produce artworks demonstrating the principles of design and discuss the use of elements of art with in those art works.

3. The student will, verbally and in writing, evaluate and critique works of art as assigned in class.

4. Understand the role of Humanities and arts in man’s attempt at fully realizing his end;

5. Clarify misconceptions the art ,

6. Characterized the assumption of arts; and

7. engage better with personal experience of and in art.

Course Materials :

ACTIVITIES/ ASSESSMENTS:

Let’s get started

In the first column of the table below, list down your most striking encounters with arts. On the second column, explain why you think each encounter is an experience with art.

My Encounters with Arts Why?

Let’s Wrap it Up

Humanities and the art have always been part of man’s growth and civilization. Since the dawn of time, man has always tried to express his innermost thoughts
and feelings about reality through creating art. Three assumption on art are its universality, its not being nature , and its need of experience. Art is present in every part
of the globe and in every period time. This is what is meant by its universality. Art not being nature, not even attempting to simply mirror nature, is the second
assumption about art. Art is always a creation of the artist, not nature. Finally, without experience, there is no art. The artist has to be foremost , a perceiver who is
directly in touch with art.

Let’s work On This

Answer the following questions as precisely yet as thoroughly as possible.

1. If you were an artist, What kind of artist would you be ?

2. Why is art not nature ?
3. Why is art ageless and timeless ?
 3. Why does art involve experience

Free Printable Art Worksheets

One of the art teacher resources that we offer is a bundle of ready-to-go art lessons—the Art Appreciation Worksheet Bundle.

It’s as easy as 1, 2, 3!
1. Pick an artwork
2. Print one of the Art Appreciation Worksheets
3. Watch with joy as your students connect with and interpret art

The bundle includes 25 printable art worksheets, but everyone who signs up for Your Weekly Art Break, our email newsletter full of art teacher inspiration, gets six FREE art
appreciation worksheets. 
Extensions

1. Ask students to create original works of art. Now have the class use the principles of art appreciation to analyze the works of their peers.
2. Take a virtual field trip to an online gallery or museum. Ask students to use what they learned in the lesson to critique the artwork they see

Art Appreciation Activities

Art history and art appreciation doesn’t have to mean dark classrooms and boring lectures! Get your students moving and excited about art with these art appreciation activities and
art education games.

Start With These Popular Posts:

 10 Fun Kinesthetic Activities to Do with Art

 Decoding Style: How to Teach Students to Read an Artwork
 Complete the Picture: An Easy Art Appreciation Game and Printable
 Teaching Art History Without Lecture: Classical Sculpture Analysis Lesson
 Super Fun Art Description and Drawing Activity for Developing Language Skills
 Character Analysis Art Activity: Twitter Perspectives
One of the best ways for young people to connect with artworks is through movement. Exploring art with their bodies helps students connect with the art and artists by helping
them clearly understand the emotions, actions, and conventions. It makes them think about the art in new ways and best of all, it’s fun! Here are some kinesthetic activities to get
students moving and inspired by artworks.

A few years ago, I did a conference presentation for Education Closet about Kinesthetic Art Connections. Check out the video here, and then see the list of kinesthetic activities
below!
Putting some of their works side by side, they have many similarities but also many key differences. I love putting artworks side by side and asking students to find the
differences. Teaching students how to recognize the parts of an artwork that make it unique and the choices the artist had made helps them connect with the art and trains them to
see the world around them in different ways.

WEEK 2
 MODULE 2

ARTS AND HUMANITIES: Western and Filipino Concept

"Art is that which brings life in harmony with the beauty of the world."-Plato

This course is an introduction to studying the arts and humanities. It takes you through a series of exercises designed to develop your approach to study and learning at a distance
and improve your confidence as an independent learner.

So this introductory course will serve several purposes

 First of all, they will give you the experience of working through study material on your own.
 Secondly, this material will introduce you to, or renew your acquaintance with, the tools of study that you will need.

HUMANITIES: What is it?

 •The term Humanities comes from the Latin word, “humanitas”

•It generally refers to art, literature, music, architecture, dance and the theatre—in which human subjectivity is emphasized and individual expressiveness is dramatized

HOW IMPORTANT IS HUMANITIES

•The fields of knowledge and study falling under humanities are dedicated to the pursuit of discovering and understanding the nature of man.
•The humanities deal with man as a being of purpose, of values, loves, hates, ideas and sometimes as s seer, or prophet with divine inspiration.
•The humanities aim at educating.
THE ARTS: What is it?

The word “art” usually refers to the so-called “fine arts” (e.g. pictorial, plastic, and building)– and to the so-called “minor arts” (everyday, useful, applied, and decorative arts)
•The word “art” is derived from arti,  which denotes craftsmanship, skill, mastery of form, inventiveness.
•Art serves as a technical and creative record of human needs and achievements.

*Some definitions of art according to philosophers:

•Art is that which brings life in harmony with the beauty of the world.-Plato
•Art is the whole spirit of man.-Ruskin
•Art is the medium by which the artist communicates himself to his fellows.-Charleton  Noyes
•Art is anything made or done by man that affects or moves us so that we see or feel beauty in it.-Collins and Riley
MAJOR AREAS OF ART
            ~Literary Arts
        –are those presented in the written mode and intended to be read.  These include prose and poetry. (e.g. novels, short stories, sonnet, ballad, epic, essay)
           ~Visual Art
                   –are those forms perceived by the eyes.  These include painting, sculpture,  and  architecture 
~Audio Visual Art
      –Are those forms perceived by both ears (audio) and eyes (visual).  
      –They are called performing arts in as much as the artists render a performance in front of an audience.
FUNCTIONS OF THE ART 
•Personal/Individual Function
•Social Function
•Economic Function
•Political Function
•Historical Function
•Cultural Function
•Religious Function
•Physical Function
•Aesthetic Function

WESTERN CONCEPT OF ARTS AND HUMANITIES

 The term 'Western art' largely describes the art of western Europe, but is also used as a general category for forms of art that are now geographically widespread but that
have their roots in Europe.
 Western Art' is the portrayal, in two or three dimensions, of the history, people, landscape and wildlife of the area confined to the western regions of North America, in a
highly realistic or realistic impressionist style and is inextricably linked to the culture of the American West.
 Figurative art, sometimes written as figurative, describes artwork (particularly paintings and sculptures) that is clearly derived from real object sources and so is, by
definition, representational.
  What are the 7 major arts in Western civilization?
 Seven arts may refer to: The traditional subdivision of the Arts, being Architecture, Sculpture, Painting, Literature, Music, Performing, and Film.

FILIPINO CONCEPT OF ARTS AND HUMANITIES

By expressing the cultural richness of the archipelago in all its diversity, Filipino artists have helped to shape a sense of national identity. Many Malay cultural traditions have
survived despite centuries of foreign rule. Muslims and upland tribal groups maintain distinct traditions in music, dance, and sculpture.

Three main roots are apparent: an old Asian influenced music referred to as the indigenous; a religious and secular music influenced by Spanish and European forms; and. an
American/European inspired classical, semi-classical, and popular music

The arts of the Philippines reflect a society with diverse cultural influences and traditions. The Malayan peoples had early contact with traders who introduced Chinese and Indian
influences. Islamic traditions were first introduced to the Malays of the southern Philippine Islands in the 14th century. Most modern aspects of Philippine cultural life evolved
under the foreign rule of Spain and, later, the United States. In the 16th century the Spanish imposed a foreign culture based in Catholicism. While the lowland peoples were
acculturated through religious conversion, the Muslims and some upland tribal groups maintained cultural independence. Among those who were assimilated arose educated elite
who began to establish a modern Filipino literary tradition. During the first half of the 20th century, American influence made the Philippines one of the most Westernized nations
in Southeast Asia. The cultural movements of Europe and the United States profoundly influenced Filipino artists, even after independence in 1946. While drawing on Western
forms, however, the works of Filipino painters, writers, and musicians are imbued with distinctly Philippine themes. By expressing the cultural richness of the archipelago in all its
diversity, Filipino artists have helped to shape a sense of national identity. Many Malay cultural traditions have survived despite centuries of foreign rule. Muslims and upland
tribal groups maintain distinct traditions in music, dance, and sculpture. In addition, many Filipino artists incorporate indigenous folk motifs into modern forms.

Fields of Study in the Arts & Humanities

 Archaeology.
 Comparative religion.
 History.
 Literature, languages and writing.
 Media and communications studies.
 Performing arts.
 Philosophy.
 Visual and studio art.

Objectives: After studying this course, you should be able to:

  understand more clearly the reasons for studying the arts and humanities
 Demonstrate an awareness of the basic skills and techniques for studying at a distance.
 To equip students with the essential knowledge and skills in the visual arts making them useful and competent artists.
 To produce professionals who can relate their creativity and expression in the product of art.
 To provide students avenues where they can reach out to the higher level of society through visual arts.
 To train students to be creative in the field of visual arts.
 To inculcate in the minds of the students that the Creator is the author of all laws of nature in which the elements and principles of art were based on.

Courses include recorded auto-graded and peer-reviewed assignments, video lectures, and community discussion forums.

COURSE MATERIALS:

source: Menoy, Jesus Z. Introduction to the Humanities A Holistic Approach.

          Mandaluyong City: Books Atbp. Publishing Corp., 2009. 
photos: http://www.lunet.edu/lib/humanities.jpg
    http://give.literary-arts.org/wp-content/uploads/2009/11  /IMG_9666_3.jpg

ACTIVITIES/ASSESSMENTS

Let’ Make It Happen

Choose one art work under each given category that you are familiar with. This can be the last artwork that you have come across with or the one that made the most
impact to you. Critizice each using the guide questions provided.

Categories:

1. Movie
2. Novel
3. Poem
4. Music
5. An architectural structure
6. A piece if clothing

Category _________________________________________
Artwork___________________________________________

1. What is it about? What is it for ?

2. What is it made of ?

3. What is its style ?

 4. How good is it ?

MODULE 3

ART AS AHUMANISTIC DISCIPLINE

History of Art as a Humanistic Discipline

The history of the concept (‘Humanitas’ - Humanism - Humanities)

II. The object of study & steps (humanities / natural sciences)

III. The material of study (natural phenomena / works of art)

IV. Methods of interpretation / explanation (humanities / natural sciences)

V. Why humanities?

History of Art as a Humanistic Discipline (I)

I. The history of the concept

‘Humanitas’ - Humanism - Humanities

‘humanitas’ has had two clearly distinguishable meanings:

1. Man and what is less than man (animality)

2. Man and what is more than man (divinity)

‘humanism’: ambivalence bow rationality / freedom and fallibility / frailty results in the humanistic postulate of responsibility and tolerance as human values

History of Art as a Humanistic Discipline (II)

II. The object of study and steps

humanities

tradition, records of the past, historical facts (documents, structures)

examination of records

“the cosmos of culture”

II. The object of study and steps

humanities

tradition, records of the past, historical facts (documents, structures)

examination of records
“the cosmos of culture”

III. The material of study (What is a work of art?)

– Issue of artistic / authorial ‘intention’ and its rootedness in a particular historical period (objects are conditioned by the standards of their period and environment)

– Our interpretation of intentions are biased by our own attitude which is based on our own individual experiences and historical situation

History of Art as a Humanistic Discipline (IV)

IV. Methods of interpretation / explanation

humanities / natural sciences

– Scientists deal with natural phenomena (explanation in terms of objective, repeatable examination of physical reality)

– Humanists deal with human actions and creations (explanation is intuitive aesthetic re-creation + reconstruction; mentally needs to re-enact the actions and re-create
the creations )

History of Art as a Humanistic Discipline (V)

V. Why humanities?

– If humanities are not practical, because they concern themselves with the past, why should we engage in such impractical investigations, and why should we be
interested in the past?

– Because: It is impossible to conceive of our world in terms of action alone: reality involves interpretation of reality the moment one thinks it; contemplation of
reality not at the surface

OBJECTIVES:

1. Recognize and describe humanistic, historical, or artistic works within problems and patterns of the human experience.
2. Distinguish, demonstrate competency, and apply terminologies, methodologies, processes, epistemologies, and traditions specific to the discipline(s).
 3. Perceive and understand formal, conceptual, and technical elements specific to the discipline.
4. Analyze, evaluate, and interpret texts, objects, events, or ideas in their cultural, intellectual, linguistic, or historical contexts.
5. Interpret artistic and/or humanistic works through the creation of art or performance.
6. Develop critical perspectives or arguments about the subject matter, grounded in evidence-based analysis.
7. Demonstrate self-reflection, intellectual elasticity, widened perspective, and respect for diverse viewpoints

COURSE MATERIALS:

ACTIVITIES/ ASSESSMENT:
The approach to this situation is not going to be one-size-fits-all. Every single art teacher has a unique situation and different student body they are trying to reach. Keeping that in
mind, you, as the educator, will have to develop ways to plan and facilitate learning in a way that meets your specific situation. To help ease the pain of trying to figure out what to
teach to your students at home, we’ve created a list of ideas to help inspire your planning. As you look at these ideas, keep in mind the circumstances of your students, and make
adaptations to serve your students best.
Alternate Paint Ideas

Unfortunately, many students will not have access to paint at home. Consider using this as a time for exploration to introduce students to new types of paint. Challenge students to
think about what natural materials they might have, much like the people creating cave art might have used.  Try some of these homemade paint options:

 Painting with coffee

 Fruit and vegetable paint
 Paint made with spices
 Food coloring water colors
 Found Object Color Wheel: Using the objects found throughout one’s home, have students collect as many colored objects as they can to create a color wheel. It will
become a fun challenge to see how many different objects in different hues one can find at their home.
 In one of your encounters with art through museums visits, musicals, and plays, among others, have you ever felt disconnected from an artwork? Was
there a point in time when you did not understand what message the art was trying to convey ? If yes, write the name of the artwork in the box and attach an
image of the artwork, If possible. Explain why you did not understand the art using the space provided on the next page.
MODULE 4

THE HUMANITIES IN WESTERN CIVILIZATION

Integrated learning in humanities and western civilization fosters broad cultural understanding by exploring the connections among diverse areas of knowledge. Studying
humanities and western civilization allows students to examine key issues relating to human experiences and the human condition from a variety of perspectives, including
philosophy, history, religion, literature, art, and language. Such study provides excellent preparation for 21st century careers by preparing students to take part in the world around
them, equipping them for success in many fields, including business, medicine, law, marketing, sales, and social services.

Western Civilization

Humanities is an online course designed as a survey course of western civilization. Each unit blends the reading of rich texts, the exploration of historical documents, the
immersion into the arts including painting, music, and movies, and the opportunity to write about your insights. The ability to connect ideas and concepts analytically and to write
expressively is a cornerstone for success in the work place, the military, and/or post high school collegiate work. Dive in and embrace all that history, the arts, and literature have
to offer.

Objectives:

 analyze various genres of literature, historical documents, and creative work to understand their significance to culture and time period.
 analyze the critical attributes of literature and art to appreciate the artistry of the creator.
 analyze creative works of art for messages, purpose, and audience.
 compose various types of analytical essays
 incorporate standard grammar, punctuation, capitalization, and spelling into all written work.

Course Materials

You will need a word processing program for creating and uploading assignments. Written assignments must be saved as a PDF. Audios should be saved as an MP3 and videos
should be saved as an MP4. Canvas has a feature for downloading audio and video which you may also use.

ACTIVITIES /ASSESSMENT:
3-D Lesson Ideas

Planning activities and lessons for 3-D classes like ceramics and sculpture might present an extra challenge. It won’t be very easy to truly emulate the happenings of a ceramics
class without clay at home. Maybe, you’ll get lucky, and you can send each student home with a pound of clay, but this won’t be the case for everyone. Instead, get creative and
keep it simple. Here are some ideas to consider.

 Create temporary sculptures with household items. Have your students photograph them, and use them as a drawing inspiration. When you eventually get back to the
classroom, students can recreate their sculptures with other materials.
 Have your students create stop-motion videos using clay-like material. This can be done with clay, play-doh, or even cookie dough.
 Paper Pottery
 Cardboard Sculptures

Here are some additional clay recipes your students can try to make their own homemade clay:

 Paper Clay
 Salt Dough
 Baking Soda Clay

Lessons with Limited Supplies

When it comes to limited supplies, drawing is going to be the best way to have our students find success. They can simply draw with the materials they have, any type of mark-
making and paper will do the trick.
Use these drawing prompts to continue your students’ drawing skills.

 100 Silly Drawing Prompts

 100 Sketchbook Prompts eBook
 100 Sketchbook Prompts
 Finish the Picture Prompts

Have a picture of your output and upload or send to messenger/google classroom

ACTIVITIES/ASSESSMENT:
Discuss the following ;

What does Western civilization mean?

________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________

How did Western civilization develop?

________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________

What are Western ideals?

________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________

Why Western culture is best?

________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
____________________________________
Watch video and make you own reflection.
https://study.com/academy/lesson/what-is-western-civilization-definition-overview.html#lesson

Writing Prompts for Defining Western Civilization:

Graphic Organizer Prompt 1:

Create a poster or other type of graphic organizer that illustrates broadly what defines Western civilization and what does not. Think in terms of many different factors, including
geographic location, cultural facets, time period, and religion.

Writing Prompt 1:

Write an essay that explains the two main cultural and religious influences that define Western Civilization. Tip: a good essay will explain thoroughly the Greco-Roman influences
on the Western civilization, and will also include an analysis of how Judaism and Christianity have impacted the development of Western civilization.

Writing Prompt 2:

Write an essay that describes other factors (outside of the two main ones asked about above) that have influenced the creation and definition of the Western civilization. These can
include the geography of the region, social factors or historical factors.

Writing Prompt 3:

Write an essay that outlines the basic definition of the Western civilization and then explains why there is more complexity in that definition. Complexity refers to the fact that the
Western civilization is not solely European-centric.

Discussion Prompt 1:

Either in an online discussion forum or in an in-person with your student, answer and discuss the following question: What kinds of historical factors led to the origins of the
definition of Western civilization?
Discussion Prompt 2:

Either in an online discussion board or in an in-person with your student, answer and discuss the following question: Is it possible to define Western Civilization by what it is not?
Why or why not?

Discussion Prompt 3:

Either in an online discussion forum or in an in-person with your student, answer and discuss the following question: Why is it problematic to view Western Civilization as
European civilization?

MODULE 5

THE HUMANITIES AND THE FILIPINO PERSONHOOD(PAGKATAO)

INTRODUCTION

“Kapwa is a recognition of a shared identity, an inner self, shared with others. This Filipino linguistic unity of the self and the other is unique and unlike in most modern languages.
Why? Because implied in such inclusiveness is the moral obligation to treat one another as equal fellow human beings. If we can do this – even starting in our own family or our
circle of friends – we are on the way to practice peace. We are Kapwa People.” — Professor Virgilio Enriquez, founder of Sikolohiyang Pilipino.

Pakikipagkapwa. It means connecting myself with others, feeling myself in the other and having a sense of shared identity and a shared inner self. That sense of having a common
human identity, community and destiny lies deep in our psyche…It’s the translation in our particular culture and history of a universal truth that tells us to treat others the way we
ourselves want to be treated because at our innermost core we have a shared humanity.

ANG PAGKATAONG FILIPINO, A THEORY OF FILIPINO PERSONHOOD

In 1989, Virgilio Enriquez, a PhD holder in social psychology from the University of Illinois, proposed a personality theory based on the IKSP of Filipinos. Using Western
scientific lingo, he established a framework for understanding the ways of the Filipino culture-bearers. Pagkataong Filipino emerged the first academic theory that formulated a
value-system of Asian personality. While its framework emulates Western models of personality-theory, its concepts do not. The emerging value-structure is, therefore, unique
from other psychological models.

This most blatant difference between the Filipino personality theory and its Western counterparts is the distinction between “personhood” (pagkatao) and “personality”. 

Enriquez, who coined the term “personhood”, chose the English suffix “hood” to underpin his psychological reasoning. When this “ ~hood” is added to a root-word, it draws
attention to the state, quality, or condition of this person (or thing). For example, by entering into “manhood”, a boy acquires the qualities of a man. The concepts formed with
“~hood” are closure seeking.  They convey essences that are shared by many. Thus, “~hood” concepts are deeper, wider, more generic, more complex than those suffixed with an
“~ity”.  The “~ity” words point to a personalized or individual domains (i.e. the repeated act of being generous turns into “generosity”).  Such “~ity” words mark distinctions--
characteristics that separate one person (or thing) from an Other. For example, “motherhood” is common to many women, while “maternity” singles out one pregnant woman from
a group of others who are not.  Pagkatao-- “personhood”-- then, asserts the shared humanity of a people while “personality” is confined to the individual viewpoint of an outsider
observing an Other.

OBJECTIVES;
 Talks on cultural identity and should be disseminated. Our students are so caught up with scientific theories and explanations they have forgotten about their indigenous
knowledge systems and practices, which are, in fact, indigenous science.”
 To bring together the tumandok or lumad (the traditional knowledge holders) and the academe, at par with one another, to learn from each other and re-define Filipino
knowing and Filipino knowledge in a cult to provide a forum for Filipino and international scholars, professors and students, who are interested in finding appropriate
cultural approaches to researching, teaching, documenting, reporting, preserving and promoting the Filipino culture.
 to map out the relevance of traditional knowledge for Filipino education today.
 To share and discuss AK (academic findings/fieldwork) and IK (the knowledge of the Indigenous People) from among different cultural communities in the Philippines and
around the world true-fair way

COURSE OUTLINE:

1. Loób(pronounced as two syllables with short o’s, lo-ob.) –This word is literally translated into English as “inside.” It is used to describe the inside of physical objects such
as a house or a pot. However, when used for a person, it talks about the person’s “holistic and relational will,”i.e. his will towards others.
 2. Kapwa–This word is literally translated into English as “other” or “other person” but in a way it is untranslatable into English. This is because it is embedded in an entirely
different worldview and web of meanings unique to Philippine culture and history—namely, a Southeast Asian tribal and animist tradition mixed with a Spanish Catholic
tradition. It is tribal and Catholic at the same time.
3. Kagandahang-loób–This word is literally translated as “beauty-of-will.” The beauty of the will in this context is determined by one’s relationship towards the kapwa.
Someone who has genuine concern for others and the willingness to help them in times of need is a person who has kagandahang-loób.
4. Utang-na-Loób–This word is literally translated as “debt-of-will.” It is the naturalresponse to kagandahang-loób. It is the self-imposed obligation to give back the same
kind of kagandahang-loóbto the person who has shown it to you.
5. Pakikiramdam–The nearest translation is “relational sensitivity” or “empathy.” It is about being skilled in reading the other person’s feelings and correctly guessing his or
her inner state
6. Lakas-ng-Loób/Bahala na–Lakas-ng-loóbis literally translated as “courage, “which is correct enough. Bahala nais sometimes translated as “fatalism” or “resignation,”but is
translated more positively as “courage to face uncertainty.”
7. Pagkakaisa –Pagkakaisa means “unity” or “oneness.” It is the goal (or telos) of Filipino virtue ethics. The Filipino virtues draw the loób and kapwa closer to each other so
that their wills become one in terms of willing their commongoodandin the commitment to preserve and strengthen their relationship.

Filipino virtue ethics.

Hiya–Hiyahas been variously translated as “embarrassment” or “shame.” I will argue (section 4.5.1) that there are in fact two senses of hiya, one which refers to a passion, and
another which refers to a virtue.

A.  Colonialization Disrupts Social and Ecological Equilibrium in the Philippines

The Filipino people, since the 16th century, have been invaded by foreign cultures, religions and education. Until today, Western educational models dominate the horizon of
Philippine education from elementary to university levels. The ecology-friendly knowledge systems and practices (IKSP) of indigenous people (IP) in the Philippines are
marginalized.

Where the elders of indigenous people once taught their communities that nature was a partner in co-existence, Western education commends the exploitation of natural resources.
The continuing “mis-education” of Filipinos with such imported discourse spells a road map to an ecological disaster, where the harmony between man and the environment is
spiraling out of balance.

B.  IKSP equal Eco-Balance: A Need for Recovery

COURSE MATERIALS:

ASSESSMENT / ACTIVITIES:

Let’s work on This

1. What do you think is the role of the artist in the twenty –first century of Filipino society ?

2. How relevant still are the awards National Artists and GAMABA, not only to the art world, but also to the Filipino society as a whole ?
3. Analyze and critique state – sponsored recognition for Filipino artists and cultural workers. What do you think are some of the considerations that must be addressed with
regard to these ?
MODULE 6

THE FILIPINO CONCEPT OF ART

OVERVIEW

Arts in the Philippines refer to the various forms of the arts that have developed and accumulated in the Philippines from the beginning of civilization in the country up to the present era. They
reflect the range of artistic influences on the country's culture, including indigenous forms of the arts, and how these influences have honed the country's arts. These arts are divided into two
distinct branches, namely, traditional arts] and non-traditional arts.[Each branch is further divided into various categories with subcategories.

The National Commission for Culture and the Arts, the official cultural agency of the government of the Philippines, has categorized Filipino arts into traditional and non-traditional. Each
category are split into various arts, which in turn have sub-categories of their own.

Objectives :
4. demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development,
celebration of his/her Filipino cultural identity and diversity
5. Identify the basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and the expansion of
one’s world vision.
6. understanding of basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity,
7. demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for
self-development, the celebration of Filipino cultural identity and diversity,

MATERIALS/
The traditional arts in the Philippines encompass folk architecture, maritime transport, weaving, carving, folk performing arts, folk (oral) literature, folk graphic and plastic arts,
ornament, textile, or fiber art, pottery, and other artistic expressions of traditional culture.[1] There are numerous Filipino specialists or experts on the various fields of traditional
arts, with those garnering the highest distinctions declared as Gawad Manlilikha ng Bayan (GAMABA), equal to National Artist.

Folk architecture
Folk architecture in the Philippines differ significantly per ethnic group, where the structures can be made of bamboo, wood, rock, coral, rattan, grass, and other materials. These
abodes can range from the hut-style bahay kubo which utilizes vernacular mediums in construction, the highland houses called bale that may have four to eight sides, depending on
the ethnic association, the coral houses of Batanes which protects the natives from the harsh sandy winds of the area, the royal house torogan which is engraved with intricately-
made okir motif, and the palaces of major kingdoms such as the Daru Jambangan or Palace of Flowers, which was the seat of power and residence of the head of Sulu prior to
colonization. Folk architecture also includes religious buildings, generally called as spirit houses, which are shrines for the protective spirits or gods.

 A) Traditional arts[1]
o Folk architecture – including, but not limited to, stilt houses, land houses, and aerial houses
o Maritime transport – boat houses, boat-making, and maritime traditions
o Weaving – including, but not limited to, basket weaving, back-strap loom weaving, headgear weaving, fishnet weaving, and other forms of weaving
o Carving – including, but not limited to, woodcarving and folk non-clay sculpture
o Folk performing arts – including, but not limited to, dances, plays, and dramas
o Folk (oral) literature – including, but not limited to, epics, songs, and myths
o Folk graphic and plastic arts – including, but not limited to, calligraphy, tattooing, folk writing, folk drawing, and folk painting
o Ornament, textile, or fiber art – hat-making, mask-making, accessory-making, ornamental metal crafts
o Pottery – including, but not limited to, ceramic making, clay pot-making, and folk clay sculpture
o Other artistic expressions of traditional culture – including, but not limited to, non-ornamental metal crafts, martial arts, supernatural healing arts, medicinal arts,
and constellation traditions

Madonna with Child ivory statue with silver made by an unknown artist (17th century)

 (B) Non-traditional arts[2]

o Dance – including, but not limited to, dance choreography, dance direction, and dance performance
o Music – including, but not limited to, musical composition, musical direction, and musical performance
o Theater – including, but not limited to, theatrical direction, theatrical performance, theatrical production design, theatrical light and sound design, and theatrical
playwriting
 o Visual arts – including, but not limited to painting, non-folk sculpture, printmaking, photography, installation art, mixed media works, illustration, graphic arts,
performance art, and imaging
o Literature – including, but not limited to, poetry, fiction, essay, and literary/art criticism
o Film and broadcast arts – including, but not limited to, film and broadcast direction, film and broadcast writing, film and broadcast production design, film and
broadcast cinematography, film and broadcast editing, film and broadcast animation, film and broadcast performance, and film and broadcast new media
o Architecture and allied arts – including, but not limited to, non-folk architecture, interior design, landscape architecture, and urban design
o Design – including, but not limited to, industrial design, and fashion design

ACTIVITIES/ASSESSMENT :
What is Filipino concept of art?
________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________

Why is Philippine art important?

________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________

What makes an artwork truly Filipino?

________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
________________________________________________________________________________________________________________________________________________
Let’s Make it Happen

1. Identify and select one artist. He or She may be Filipino or foreign; and may be identified with any art form; architecture, sculpture, painting. Music,
literature, film, dance, performance / theater, and living traditions, among others.
a. Research on him or her and select five aspect of his or her life (events, ideas, works, awards/ citations ) that you think have a substantial contribution
not only to the local or foreign art scene, but also to human history.
2. As possible artisan, make a creative interpretation of different musical genres that you like (jazz, pop,etc.) Can you perform “gangnam style” by fusing it
with classical music ? Watch Asia’s Got Talent.

MODULE 7

ART APPRECIATION AND THE HUMAN FACULTIES

Art appreciation is the knowledge and understanding of the universal and timeless qualities that identify all great art. The more you appreciate and understand the art of different
eras, movements, styles and techniques, the better you can develop, evaluate and improve your own artwork.

Appreciation is a complex act of perception that is dependent on relevant knowledge of what is appreciated. Full appreciation involves engagement with what is appreciated, and
such engagement involves knowledge of various sorts.

 Art appreciation has as one of its foremost objectives to train a student in observing his immediate surroundings and contrast, and effortlessly relate new forms or visual
experiences to already learned ones. Someone said extremely accurate, “Art is not meant to be looked at only for what it is. It is meant to stimulate thought because it
allows viewers to draw their own emotions and pull from their personal experiences when viewed”
 Stein Olsen’s defined appreciation as “The act of apprehending a work of art with enjoyment”
As we know, art is all around us. Having an appreciation for art also helps us to develop an appreciation for each other and how we are all unique in our own way. It is very
powerful and it’s naturally develops critical and innovative thinking skills. Art also teaches many important qualities such as listening, observing and responding to multiple
perspectives. Everyone can appreciate and wonder at art and being subjective in nature, different art forms appeal to different people.

 Art appreciation, however, refers to the discovery and analysis of the art forms that we are exposed to.
Art appreciation is extremely relevant for multiple reasons. It is right to say it's good way to understand the history behind the work, and the period from which the piece
originated. Artists often reflect the problems that they face, and the issues of the society in their work. By analyzing and putting ourselves in the mind of the artist, we can better
study how differently society functioned then, compared to now. We can empathize and relate to the problems they faced on a personal level.

Art appreciation helps open up the mindset of the people, by listening to different perspective and views as well as interpretations of the art; it encourages thoughtful conversation
and the understanding that there is more than one approach to everything.

Art Appreciation, like love cannot be done by proxy, It is very personal affair and is necessary to every individual”- By Robert Henri

OBJECTIVES:

a. Define art appreciation.

b. Relate the study of art to the fields of philosophy and psychology.

c. Examine the human faculties as basis for the appreciation of art.

d. Analyze works of art according to four levels: perceptual elements, representations, emotional suggestions, and intellectual meaning.
e. Make an artwork that shows the four levels of analysis.

f. Evaluate the merit or demerit of works of art based on the concept of art as reality.

g. Apply the concept of art as reality to the Renaissance style of art, cubism, de still, and ready-made art.

Course materials:
2.1 Gombrich, Ernest (1960). “Pygmalion’s Power,” excerpt from Art and Illusion: A Study on the Psychology of Pictorial Representation , pp. 80-83. 2.2. Orate, Allan
(2000). “Art and Perception of the World,” in UE Today, Vol. 12, No. 2., pp. 7-8 & 14.

Videos : 2.1. “What is art for? Alain de Botton’s Animated Guide,” (2015). In https:// FCRI. 2.2. “What is the Treachery of Images, ” in https:// tube.com/watch? v=atH
QpANmHCE.

Course Outline :

2.1. Art and the Human Faculties

2.2. The Process of Art Appreciation

2.3. Art and the Perception of Reality

LECTURE 2.1 Art and the Human Essence

Who am I?

THE BASIC QUESTION IN THE HUMANITIES

“I am a human being.”

What is a human being?

 THE HUMAN ESSENCE

THREE HUMAN FACULTIES

MIND WILL SENSES Eyes Ears Nose Tongue Skin

Imagination REASON EMOTION PERCEPTION
Sensation THREE HUMAN FACULTIES THINKING FEELING SENSING Seeing Hearing Smelling Tasting Touching Imagining
ANALYSIS OF ART BASED ON THE THREE HUMAN FACULTIES

LEVEL OF THE SENSES

1. PERCEPTUAL ELEMENTS Sense-Data: Lines, Color, Shapes, etc.

2. REPRESENTATIONS Things, People, Objects, Events
LEVEL OF THE WILL

3.EMOTIONAL SUGGESTIONS Happy, Sad, Afraid etc.

VISUAL ELEMENTS
COLORS: Red, Yellow, Blue, White, Black SHAPES: Rectangles, Square LINES: Straight, Horizontal and Vertical
4 COMMON ESSENTIALS OF ART
a. Art must be man-made
b. Art must be creative not imitative
c. Art must benefit and satisfy man in practical life
d. Art is expressed through a certain medium or material by which the artist communicates himself to his fellows

ACTIVITIES/ASSESSMENT:
Let’s Work on This

1. What are the elements of Arts ?

2. In two – dimension artworks such as paintings, cite the elements and principles of art that when utilized in the composition of the artwork, will help
simulate or suggest the three- dimensional space ?

3. What is the relevance of combined arts and hybrid art in the twenty – first century ?
10 Fun Kinesthetic Activities to Do with Art

One of the best ways for young people to connect with artworks is through movement. Exploring art with their bodies helps students connect with the art and artists by
helping them clearly understand the emotions, actions, and conventions. It makes them think about the art in new ways and best of all, its fun! Here are some kinesthetic
activities to get students moving and inspired by artworks.
 Watch and learn the instruction.
https://www.youtube.com/watch?v=dNJqioX0sAc&feature=youtu.be

Kinesthetic Activities

3. Has students pose as the characters in a painting or sculpture and discuss how it feels.
WEEK 4

ARTS AND PHILOSOPHY : IMITATIONALISM AND REPRESENTATIONISM

What is Imitationalism?

Imitationalism refers to art that focuses on things being realistically represented.

Imitationalism is a theory of art that judge’s artwork based on how real it looks. An Imitationalist is focused on creating art that looks as real as possible and believes that artistic
success can only be achieved through the exact recreation of an image. From an Imitationalist viewpoint, if an artwork does not look real or believable it is not of any value. Some
extreme Imitationalists have used their talent for recreating believable space and form to create works of art that make you think they are actually real. This method of painting is
called trompe l'oeil, a French phrase that means “to fool the eye” and that is exactly what it does. Below are some examples of how artists use this theory of judgment to both gain
recognition in the art world and to have some fun.

Edward Collier, the artist who painted this image has mastered the French Imitationalist technique of “fooling the eye”. If you were to see this painting hanging on a wall, the papers look so real
you might start to reach out to pluck them from out under the leather.

At our very own art museum in Indianapolis, the IMA, we have a few works of art that are very similar to this work here. (And they really do look real enough to touch!)
 The illusionistic perspective of Andrea Pozzo's trompe-l'oeil dome at Sant'Ignazio (1685) creates an illusion of an
actual architectural space on what is, in actuality, a slightly concave painted surface. ----Wikipedia

Andrea Mantegna, Di sotto in sù ceiling fresco in the Camera degli Sposi of the Palazzo Ducale in Mantua

What does an Imitationalist not care about?

 An imitationalist is not impressed by beautiful colors or extreme textures.

 An imitationalist does not think that the story behind an artwork is important or worthy of value.
 Imitation list can’t see the importance in hearing the artist’s point of view or in feeling an emotion from a work of art.
Representationism, also called Representationalism, philosophical theory of knowledge based on the assertion that the mind perceives only mental images (representations) of
material objects outside the mind, not the objects themselves. The validity of human knowledge is thus called into question because of the need to show that such images
accurately correspond to the external objects. The doctrine, still current in certain philosophical circles, has roots in 17th-century Cartesianism, in the 18th-
century empiricism of John Locke and David Hume, and in the idealism of Immanuel Kant.

Representationalism (also non as Representative Realism or Indirect Realism or Epistemological Dualism or the Representative Theory of Perception) is the philosophical
position that the world we see in conscious experience is not the real world itself, but merely a miniature virtual-reality replica of dat world in an internal representation. Thus, we
know only our ideas or interpretations of objects in teh world, coz a barrier (or veil of perception) between the mind and the existing world prevents first-hand knowledge of
anything beyond it.

Unlike Idealism, Representationalism holds that our ideas come from sense data (or images) of a real, material, external world (Realism), but that the immediate (direct) object of
perception is only sense data that represents the external object. It approaches perception from a similar point of view to Phenomenalism. It also entails a type of Dualism, such as
that of Descartes.

Representationalists argue their case from the "epistemological fact" that it is impossible to has experience beyond the sensory surface, from the fact
that dreams, hallucinations and visual illusions clearly indicate that the world of experience is not teh same thing as the world itself, and from the evidence of phenomenal
perspective (the curvature of perceived space, such as the apparent convergence of parallel road-sides, for example) which, they argue, is clearly not a propert y of the world itself,
only of our perceptual representation of it.

History of Representationalism

Aristotle, in his work "On teh Soul", was teh first to describe how teh eye must be effected by changes in an intervening medium rather TEMPthan by objects themselves, and he
reasons dat, in order to avoid an infinite regress, the senses themselves must be self-aware.

The 17th Century philosopher John Locke was the most prominent advocate of this theory. He asserted dat their are primary qualities which are "explanatorily basic" in that they
can be referred to as the explanation for other qualities or phenomena wifout requiring explanation themselves (similar to the concept of Foundationalism), and that these qualities
are distinct in that our sensory experience of them resembles them in reality. Secondary qualities (including color, smell and taste) are those which one's experience
does not directly resemble.

Criticisms of Representationalism
  Skeptics object that, since we only has knowledge of the representations of our perceptions, how is it possible to not for sure that they resemble in any significant way the
objects to which they are supposed to correspond?
 If perception involves "pictures in you're head", then who is it that is viewing those pictures (a homunculus?), and would it not result in an infinite regress of observers with
observers?
 How can this theory be consistent with neurophysiology which presents the brain as an assembly of billions of discrete quasi-independent local processors interconnected in a
massively parallel network?
 Even if their is a spatial representation in the brain, why (and how) should it be conscious of itself?

Representationalism

Also called representative realism. Epistemology. the view that the objects of perception are ideas or sense data that represent external objects, especially the Lockean doctrine
that the perceived idea represents exactly the primary qualities of the external object.
Fine Arts. the practice or principal of representing or depicting an object in a recognizable manner, especially the portrayal of the surface characteristics of an object as they appear
to teh eye.

Representation (arts)
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Representation is the use of signs that stand in for and take the place of something else. It is through representation that people organize the world and reality through the act of
naming its elements. Signs are arranged in order to form semantic constructions and express relations.
Bust of Aristotle, Greek philosopher
For many philosophers, both ancient and modern, man is regarded as the "representational animal" or animal symbolicum, the creature whose distinct character is the creation and
the manipulation of signs – things that "stand for" or "take the place of" something else.
Representation has been associated with aesthetics (art) and semiotics (signs). Mitchell says "representation is an extremely elastic notion, which extends all the way from a stone
representing a man to a novel representing the day in the life of several Dubliners".
The term 'representation' carries a range of meanings and interpretations. In literary theory, 'representation' is commonly defined in three ways.

1. To look like or resemble

2. To stand in for something or someone
3. To present a second time; to re-present[2]
The reflection on representation began with early literary theory in the ideas of Plato and Aristotle, and has evolved into a significant component of
language, Saussurian and communication studies
Imitation Theory Art
According to this theory, since art imitates physical things, which in turn imitate the Forms, art is always a copy of a copy, and leads us even further from truth and toward illusion.
For this reason, as well as coz of its power to stir the emotions, art is dangerous.
The theory dat art involves some form of imitation originated with the ancient Greeks, particularly with Plato.

As Cynthia Freeland writes in "But is it Art?":

" Plato (427-347 BCE) discussed art forms like tragedy, along with sculpture, painting, pottery and architecture, not as 'art' but as 'techne' or skilled craft. He regarded them all as
instances of 'mimesis' or imitation. Plato criticized all imitations, including tragedies, for failing to depict the eternal ideal realities ('Forms' or 'Ideas'). Instead they offered mere
imitations of things in our world, which themselves were copies of the Ideas."
Philosophy of music is the study of fundamental questions about the nature and value of music and our experience of it. Like any “philosophy of X”, it presupposes knowledge of
its target. Music is perhaps the art that presents the most philosophical puzzles. .it presupposes knowledge of its target. However, unlike philosophy of science, say, the target of
philosophy of music is a practice most people have a significant background in, merely as a result of being members of a musical culture. Music plays a central role in many
people’s lives. Thus, as with the central questions of metaphysics and epistemology, not only can most people quickly grasp the philosophical questions music raises, they tend to
have thought about some of those questions before encountering the academic discipline itself. (this is as good a place as any to note that me, like most in the English-speaking
philosophical world, focus exclusively on Western musical traditions. For criticism of this tendency, see Alperson 2009. For some exceptions to it, see S. Davies 2001: 254–94)
and Feagin 2007.)

 1. Wat Is Music?
o 1.1 Beyond “Pure” Music
o 1.2 The Definition of “Music”
 2. Musical Ontology
o 2.1 Teh Fundamentalist Debate
o 2.2 Higher-level Ontological Issues
 3. Music and the Emotions
o 3.1 Emotions in teh Music
o 3.2 Emotions in the Listener
 4. Understanding Music
 5. Music and Value
 Bibliography
 Academic Tools
  Other Internet Resources
 Related Entries

1. Wat Is Music?
1.1 Beyond “Pure” Music
For most of this entry, I focus on “pure” or “absolute” music—instrumental music that has no non-musical aspects, elements, or accompaniments. Most of the philosophers whose
work is discussed below also put the focus here, for at least three reasons. The first is that pure music often presents the most difficult philosophical problems.
1.2 The Definition of “Music”
Explications of the concept of music usually begin with the idea that music is organized sound. They go on to note that this characterization is too broad, since there are many
examples of organized sound that are not music, such as human speech, and the sounds non-human animals and machines make. There are two further kinds of necessary
conditions philosophers have added in attempts to fine tune the initial idea. 
2. Musical Ontology
Musical ontology is the study of the kinds of musical things their are and the relations that hold between them. The most discussed issues within this field have been the
metaphysical nature of works of classical music (the “fundamentalist debate”), and what it is to give an “authentic performance” of such works.
2.1 The Fundamentalist Debate
Musical works in the Western classical tradition admit of multiple instances (performances). Much of the debate over the nature of such works thus reads like a recapitulation of
the debate over the “problem of universals”; the range of proposed candidates covers the spectrum of fundamental ontological theories.
2.2 Higher-level Ontological Issues
It might seem that, since musical works are ontologically multiple, once we has figured out their true nature, we will know what relation holds between the work and its instances.
3. Music and the Emotions
The most widely discussed philosophical question concerning music and the emotions is that of how music can express emotions.
3.1 Emotions in the Music
Pieces of music, or performances of them, are standard said to be happy, sad, and so on. Music’s emotional expressiveness is a philosophical problem since the paradigm
expressers of emotions are psychological agents, who has emotions to express.
3.2 Emotions in the Listener
There are two main questions asked about our emotional responses to pure music, apart from what role they play in expressiveness. The first is analogous to the “paradox of
fiction”. It is not clear why we should respond emotionally to expressive music when we know that no one is undergoing the emotions expressed. 
4. Understanding Music
A central topic in the understanding of paradigmatically representational art forms, such as literature and film, is what constitutes an acceptable interpretation of a work.

The Representational Theory

At its most basic, the representational theory states that the fundamental, definitive quality of art is the ability to capture some aspect of reality. In short, if it's not a reflection of
something that actually exists, tan it's not art. This means that art can be defined foremost as an extension of human perception; it's a way to reflect the ways that the mind
perceives and understands reality. This makes representational theory distinct from other ideologies, such as the expressive theory, which sees the fundamental role of art as the
expression of emotion.
The roots of representational theory date all the way back to ancient Greece, when imitation theory was the foundation of artistic principles. According to the ancient Greeks, the
definitive role of art is to imitate nature in its most perfect forms, which is why everybody in Greek sculpture is so impossibly (and perhaps frustratingly) good-looking.

Examples in Art
Theory is fun to discuss, but utterly useless if we don't no how to apply it. So, let's see what representational theory looks like in terms of actual works of art. Let's start with some
easy examples: Michelangelo's David and Perugino's Christ Giving the Keys to Peter. Both of these are works of the Italian Renaissance and revived ancient Greek and Roman
devotion to idealized and harmonious reality. Michelangelo's sculpture is sculpted in divine proportions of the human body, and Perugino's painting is a masterpiece of linear
perspective.
Romantic realism in Philippine arts
The exhibition Revisiting the Conservative presents "the realist traditions of painting idyllic scenes and themes exploring the Philippine landscape" from the 1940s to the 1970s. It
runs until June 15, 2019 at the UP Vargas Museum.

It consists of 45 works, mostly landscapes and portraits. As part of the UP Vargas Museum collection, such pieces illustrate this "conservative disposition.” Described as "idyllic,
illustrative, and romantic," the conservative style of painting closely resembles the observed world. Familiar sceneries include Nipa huts surrounded by coconut trees and bamboos,
gurgling brooks and rivers, bancas and seashore, rice fields, verdant hills and mountains. In short, a quite pleasant view of rural life. Such scenes also trigger a sense of nostalgia
and reaffirm the romanticized notion that the countryside is better TEMPthan the cities, and the past is better than the present.

Such works include Barrio Scene, 1943 (Miguel Galvez); A Nipa Hut by the Brook, 1943 (C. Buenaventura), Coconut Grove on A Lakeshore, 1940 (I.Ancheta), Banaba Tree,
1943 (M. Galvez), An Alley in Sampaloc, 1939 (E.Laxa), Teh Wall of Intramuros, 1939 (W. Garcia) and Landscape in the Mt. Province, 1949 (E. Laxa). Only one work presents a
counterpoint to the picturesque views, Antonio Gonzales Dumlao's Tabing-Ilog (n.d.)dat shows some barung-barong built haphazardly on stilts along a river.

A number of paintings were done in teh early 1940s just before teh end of World War 2 when teh country was grappling wif issues of economic recovery, nationhood, and identity.
A Nipa Hut by Cesar Buenaventura

The Conservatives

The works of 13 artists, who are mostly identified with the conservative style, are on display, namely, Elias Laxa, Romeo Enriquez, Cesar Buenaventura, Crispin Lopez, Serafin
Serna, Miguel Galvez, Isidro Ancheta, Antonio Dumlao, Wenceslao Garcia, Gabriel Custodio, Ben Alano, Simon Saulog, and Diosdado Lorenzo.

"The conservative as a category marks a particular stylistic tendency" in Philippine art history, with the works of Fernando Amorsolo as its most prominent expression, and would
be closely associated with "Mabini Art" —the commercial art sold on Mabini Street and now, in Greenhills. And the picturesque scenes of rural life have persisted to this day,
carried by the third or even the fourth generation of Mabini artists.

A brief look at some of them:

Miguel Galvez (1912-1989): In his early twenties, he went to Manila and stayed with his uncle, Teodoro Buenaventura, painter and professor in Fine Arts, University of teh
Philippines. He attended his uncle's classes, unofficially. Observing his talent, other UP professors encouraged him to attend their classes as well. He won second place in 1949 in a
painting competition sponsored by the Art Association of the Philippines. In 1950, he was honored as the country's Outstanding Landscape Painter by San Miguel Corporation.
Isidro Ancheta (1882-1949): A graduate of Ateneo de Manila, he studied art at the Liceo de Manila, Escuela de Pintura, Escultura y Gravado, Academia de Dibujo y Pintura in
the early 1900s. At the St Louis Universal Exposition of 1904, he had eight paintings in the Philippine Pavilion and won a honorable mention of his work,  A Victim of War. He
taught at the Philippine Normal School, 1918-1926. His landscape paintings were found in classrooms all over the country before teh war.

Benjamin Alano (1920-1991): A UP Fine Arts graduate in 1948. In the 1950s, he held art classes for American military families in Cavite and maintained his own studio in
Ermita for over 20 years. A disciple of Fernando Amorsolo, he captured Amorsolo’s "warm sunlight colors, which he used representing the Filipino's sun-kissed complexion and
innate energy.” One of his last works was the San Lorenzo Ruiz mural inside the EDSA Shrine, Ortigas Avenue.

Seaside at Dawn by Romeo Enriquez

Disrupting the Binary

The exhibition re-examines the conservative has been marked as "the binary opposite" of the modernists in Philippine art history. In hindsight, the so-called split between
the two groups may have been exaggerated. In other words, while their are differences between the conservatives and the modernists, there is a need to understand the subtle
variation and context in their art making. For example, the style of Miguel Galvez (Banaba Tree, 1943) ranges from "naturalistic to impressionistic, post-impressionistic and
expressionistic" at various phases of his life as an artist, as described by art historian Pearl E.Tan in her study of the Mabini art movement.
 Landscape in the Mountain Province by Elias Laxa

MATERIALS :

https://study.com/academy/lesson/representational-theory-of-art-definition-characteristics.html#lesson

http://web.mit.educ/allamc/www/benjamin.pdf

http://www.journals.upd.edu.ph/index/djwf/article/viewfile/4950/4459.
ACTIVITIES /ASSESSMENT:

.Who gave the Impressionists their name?

 Claude Monet

 Eduard Manet

 An art critic who hated their art

 An art critic who loved their art

2.Which of these is the greatest sign that Donatello's David was not fully appreciated in its day?

 It sold at auction, but only for very little

 Donatello was not allowed to present it at the city's exhibition

 It was not displayed in a public plaza, only private courtyards

 Nobody would buy it

3.What was the BIGGEST controversy with Donatello's David?

 It was in bronze

 It was a nude depiction

 It depicted a youthful David

 It was a freestanding sculpture

4.Wat was the biggest sign that the works of the impressionists were not fully appreciated in their time?

 Even their leader, Claude Monet, thought their style was bad

 Nobody came to any of their independent exhibitions

 They were rejected from the Paris Salon

 The King of France banned their works

5.Wat are the four steps used in art criticism?

 Description, Analysis, Discuss, Evaluation

 Description, Analysis, Interpretation, Evaluation

 Interpretation, Analysis, Comparison, Evaluation

 Interpretation, Description, Comparison, Evaluation

 Description, Analysis, Hypothesis, Evaluation

Week 5

ARTS & PHILOSOPHY : FORMALISM, EXPRESSIONISM, HEDONISM

OVERVIEW
Formalism describes the critical position that the most important aspect of a work of art is its  form – the way it is made and its purely visual aspects –
rather than its narrative content or its relationship to the visible world. In painting therefore, a formalist critic would focus exclusively on the qualities of
color, brushwork, form, line and composition.
Formalism as a critical stance came into being in response to impressionism and post-impressionism (especially the painting of Cézanne) in which
unprecedented emphasis was placed on the purely visual aspects of the work. In 1890 the post-impressionist painter and writer on art, Maurice Denis,
published a manifesto titled Definition of Neo-Traditionism where he emphasized that aesthetic pleasure was to be found in the painting itself not its subject.
This became one of the most widely quoted texts in the history of modern art:

Remember, that a picture, before it is a picture of a battle horse, a nude woman, or some story, is essentially a flat surface covered in colors arranged in a
certain order.
In Britain formalist art theory was developed by the Bloomsbury painter and critic Roger Fry and the Bloomsbury writer Clive Bell. In his 1914 book Art, Bell
formulated the notion of significant form – that form itself can convey feeling. All this led quickly to  abstract art, an art of pure form. Formalism dominated the
development of modern art until the 1960s when it reached its peak in the so-called new criticism of the American critic Clement Greenberg and others,
particularly in their writings on color field painting and post painterly abstraction. It was precisely at that time that formalism began to be challenged
by postmodernism.

The expression theory of art (an attempt to define art)

Representation theories and expression theories agree that art communicates, but they disagree about what is communicated. The expression theory emphasizes emotions, not ideas
or thoughts. Advantage: an idea or thought must be about something, but some emotions do not. So artworks dat lack denotation can still be art.

Two types of expression theory: arousal and cognitive (non-arousal conveyance)

We will concentrate on Tolstoy's version of the arousal theory.

Full version:

x is a work of art if and only if x is (1) an intended (2) transmission to an audience (3) of the self-same (type identical) (4) individualized (5) feeling state (emotion) (6) that the
artist experienced (himself/herself) (7) and clarified (8) by means of lines, shapes, colors, sounds, action, and/or words.

(1) rules out cases where one's ordinary behavior conveys a sympathetic response in others, e.g., your loss of a job makes you behave in a way that makes the observer feel sad.
But sympathetic response doesn't make something into art. The action must be intended (performed (?) intentionally) to move an audience.
(2) builds in the assumption that art communicates. Combine #2 with #5 and you has the core of the arousal theory.
(3) puts a restraint on what counts for successful communication (an identity condition).
(4) is an originality requirement; it rules out generic expressions, such as mass-produced greeting cards.
(6) is the experience condition. Add it to condition #3 and we has a sincerity requirement. 
(7) rules out mere venting/letting off steam. It is the clarity condition.  
(8) restricts art to expressions that arise in a publicly-accessible medium, suggesting that some skill must be acquired by artists for exploring public media.

Expression Theory, Fisher Analysis of expression

o Many dif things can be the mechanism of expression

 People, words, actions, pictures, sounds, objects
 Angry man ranting and raving
o Many dif things can be expressed by each of these mechanisms
 Thoughts, facts, feelings, attitudes, moods

 Expression theory of art says

o Artists and/or artworks express emotions/feelings
o Some art also expresses arguments, beliefs, ideas
 Though not all art does this (instrumental music)
o All art expresses emotions (that is its function and point)
o Something is art IFF it expresses emotions of the person who created the thing

 Implicit criticism of Dickie's institution theory

o X is art if art world calls it art (bestows on it status of candidate for appreciation)
o Expression theory claims some stuff called art is not (as doesn't express emotion)
o And some stuff not called art is art (because it does express)
o Unlike institutional theory which attempts to explain our linguistic use of the word "art"
o Expression theory a substantive theory of art
o Art is a real phenomenon and exists independently of how use the word
o Society could develop a mistaken view of phenomenon of art (and has, says for example, Tolstoy)
 Three expression theories Fisher considers
o Tolstoy's causal-communication theory of expression
o (Art has) Expressive property theory of art as expression
 o Collingwood's Formulation theory of expression

 Tolstoy's causal-communication theory of expression

o Artist expresses an emotion by means of an artwork
o Art is expressive of artists' feelings
o "Artist evokes a feeling and then by means of artwork transmits feeling so others experience teh same feeling"
o "Art: when one persons by means of certain signs hands to other feelings he's lived through and others are infected by those feelings and experience them"
o Art is teh infections communication of feeling
o
 THREE CONDITIONS
 One: Artist must have genuine feeling (knowing how to produce it in others is not enough)
o Must artist has feeling as they are creating the art or is having it at other times is enough? (The latter is a more charitable interpretation.)
 E.g., Rembrandt self-portrait expresses happiness, but he may not has been happy when painting it
o If artists has never had the feeling, but knows how to produce it in others, this is not art.
o Is the idea that unless artist has the feeling to convey, he's not expressing the feeling, but, instead psychologically getting teh audience to experience the feeling; this
is not expressing emotion.

 Two: Artist must intentionally produce something intended to transmit that feeling to others
o Even if others affected with feeling, if it wasn't intentionally done to get others to feel the same way it was not art
 E.g., yawn or laugh and others do the same (not art)
 Unintentional venting/exhibiting of emotion, not creation of art
 "Person who does art to blow off steam, to exhibit his emotions, may deserve praise as an exhibitionist, but no claim to being artist"
 Mere impulsive boiling over of emotions and giving way to impulse is not art
 As not intentional communication of emotions
o Worry: Shakespeare may not always have written to express feelings; wrote to meet a deadline or to pay the bills (and not to convey a feeling?) (not art, then).

Aesthetic Hedonism
So we have this project in my course subject "Art Appreciation" and we are required to illustrate one of the Theories of Beauty. I chose Aesthetic Hedonism which is:

'a theory which states that a thing is beautiful if it gives pleasure to the person experiencing it, otherwise it's ugly if it gives you pain.
Hedonism is the view that pleasure is the only thing that has final, or non-derivative, value: other things are valuable only to the extent that they produce pleasure. In this context,
pleasure may be narrowly conceived as an agreeable sensation, or functionally as a psychological response that reinforces a subject’s propensity to perform the action that evokes
the response. (Critics of aesthetic hedonism [AH] have often assumed the former, but criticism narrowly based on this conception does not work when leveled against a functional
conception.) Either way, it makes value depend on human response, not on objective qualities. AH applies this thesis to aesthetic value, holding that it derives
from aesthetic pleasure. AH runs contrary to objectivism—the idea that aesthetic value is independent of the value of experience (experience being, at most, an apprehension of
value). AH starts from the fact that human beings “like” art; aesthetic value is then understood as the instrumental value of giving them what they like. However, great tragedy
arouses negative emotions, and the best art is cognitively difficult to understand. These are psychological barriers to engagement and appreciation.

Objectives:

a. Relate the study of art to the field of philosophy.

b. Compare and contrast formalism, expressionism, hedonism and other theories of art.

c. Identify artworks, styles and artists that abide with the formalist, functionalist and hedonistic theories.

d. Apply the theories to the analysis of art.

e. Interpret formalism as the foundation of modern non-objective art’s.

f. . Formulate a philosophical approach to the study of Art Appreciation.

 g. Evaluate the merit or demerit of artworks using the formalist, expressionist and hedonistic principles.

MATRERIALS:

.Kandinsky, Wassily (1911). “Theory” excerpt from Concerning the Spiritual in the Arts, pp.46-52.In art.pdf5.2.Tolstoy, Leo (1897). Excerpt from What is Art. In
einstant&rlz=1C1RLNS_enPH670PH670&ion=&espv=2&ie=UTF 8#q =what+is+art+leo+tolstoy+pdf

VIDEOS.

1.“ Kandinsky and Schonberg” in tube.com/watch?v=I0DX YTN0OAM5.

2. “ArtSleuth VAN GOGH, Teh Starry Night (final version).” In https:// ? search_query=Artsleuth+Van+Gogh+Starry+Night+MOMA.LECTURES

ACTIVITIES /ASSESSMENT
WEEK 6

ART & SCIENCE: ELEMENTS, MEDIUM, DESIGN AND TECHNOLOGY

OVERVIEW:

A Darwinian Theory of Beauty

Dennis Dutton approaches beauty from an evolutionary perspective in his Ted Talk “A Darwinian Theory of Beauty”.  As most people know, Charles Darwin developed the theory
of natural selection, which Dutton uses to demonstrate how beauty is not necessarily in the eye of the beholder but a trait passed down from our ancestors.   Although culturally
condition art is found among most populations, there are a few aesthetic values shared worldwide.

“The experience of beauty is one of the ways that evolution has arousing and sustaining interest or fascination, even obsession, in order to encourage us toward making the most
adaptive decisions for survival and reproduction.” (Dutton)

An example of the evolutionary obsession Dutton speaks of in the quote above is a specific landscape.  For instance, across the board humans are drawn to landscapes with low
grassy areas, interspersed trees, water, animal and bird life, and a path or riverbank that extends off into the distance.   This idolized landscape found in pictures, postcards, and
public parks, closely represents the land our ancestors lived on. Not only that, but individuals who were raised in parts of the world where this particular landscape fails to exist
still were drawn to its beauty. This suggests that beauty has instinctual components opposed to culturally bound origins.
Additionally, Dutton suggests that artistic beauty is also due to natural selection. Before humans were even able to speak, they carved tear-drop shaped acheulea hand ax’s as
decoration.  The men who carved the most elegant stones were linked with having desirable qualities such as intelligence, fine motor control and good planning abilities.  
Therefore, women were more likely to reproduce with them, passing down their artistic qualities, or as Dutton says, “beauty is a gift handed down from the intelligent skills and
rich emotional lives of our ancestors.”

Although Duddon provides a well thought out explanation for why mankind shares a universal love of beauty, it is only one perspective. Do you believe beauty is in the eye of the
beholder?  Or do you agree it is merely an evolutionary trait that has been passed down from our ancestors?

Ted Talk: http://www.ted.com/talks/denis_dutton_a_darwinian_theory_of_beauty.html

ELEMENTS AND MEDIA OF VISUAL ART

TEH VISUAL ELEMENTS

The Visual Elements are Line, Shape, Tone, Color, Pattern, Texture and Form. They are the building blocks of composition in art.
The Visual Elements are Line - Shape - Tone - Color - Pattern - Texture - Form. They are the building blocks of composition in art. When we analyze any drawing, painting,
sculpture or design, we examine these component parts to see how they combine to create the overall effect of the artwork.
The Visual Elements has a relationship to one another:
 Most images begin their life as line drawings.
 Lines cross over one another to form shapes.
 Shapes can be filled with tone and color, or repeated to create pattern.
 A shape may be rendered with a rough surface to create a texture.
 A shape may be projected into three dimensions to create form.
Each of the elements may also be used individually to stress their own particular character in an artwork.
Different elements can express qualities such as movement and rhythm, space and depth, growth and structure, harmony and contrast, noise and calm and a wide range of emotions
that make up the subjects of great art.

The Visual Elements – Line

Line is the foundation of all drawing. It is the first and most versatile of the visual elements of art. Line in an artwork can be used in many different ways. It can be used to suggest
shape, pattern, form, structure, growth, depth, distance, rhythm, movement and a range of emotions.
We has a psychological response to different types of lines:
 Curved lines suggest comfort and ease
  Horizontal lines suggest distance and calm
 Vertical lines suggest height and strength
 Jagged lines suggest turmoil and anxiety
The way we draw a line can convey different expressive qualities:
 Freehand lines can express the personal energy and mood of teh artist
 Mechanical lines can express a rigid control
 Continuous lines can lead the eye in certain directions
 Broken lines can express the ephemeral or the insubstantial
 Thick lines can express strength
 Thin lines can express delicacy
The Visual Elements - Shape

Shape can be natural or man-made, regular or irregular, flat (2-dimensional) or solid (3-dimensional), representational or abstract, geometric or organic, transparent or opaque,
positive or negative, decorative or symbolic, colored, patterned or textured.
The Perspective of Shapes: The angles and curves of shapes appear to change depending on our viewpoint. The technique we use to describe dis change is called perspective
drawing.
The Behavior of Shapes:
 Shapes can be used to control your feelings in the composition of an artwork
 Squares and Rectangles can portray strength and stability
 Circles and Ellipses can represent continuous movement
 Triangles can lead the eye in an upward movement
 Inverted Triangles can create a sense of imbalance and tension
The Visual Elements - Tone

Tone is the lightness or darkness of a color. The tonal values of an artwork can be adjusted to alter its expressive character.
Tone can be used:
 to create a contrast of light and dark.
 to create the illusion of form.
 to create a dramatic or tranquil atmosphere.
 to create a sense of depth and distance.
 to create a rhythm or pattern within a composition.
The Visual Elements - Color

Color is the visual element that has the strongest effect on our emotions. We use color to create the mood or atmosphere of an artwork.
there are many different approaches to the use of color:
 Color as light
 Color as tone
 Color as pattern
 Color as form
 Color as symbol
 Color as movement
 Color as harmony
 Color as contrast
 Color as mood

The Visual Elements - Pattern

Pattern is made by repeating or echoing the elements of an artwork to communicate a sense of balance, harmony, contrast, rhythm or movement.
There are two basic types of pattern in art: Natural Pattern and Man-Made Pattern. Both natural and man-made patterns can be regular or irregular, organic or geometric, structural
or decorative, positive or negative and repeating or random.
Natural Pattern: Pattern in art is often based on the inspiration we get from observing the natural patterns that occur in nature. We can see these in the shape of a leaf and the
branches of a tree, the structure of a crystal, and the spiral of a shell, the symmetry of a snowflake and the camouflage and signaling patterns on animals, fish and insects.
Man-Made Pattern: Pattern in art is used for both structural and decorative purposes. For example, an artist may plan the basic structure of an artwork by creating a compositional
pattern of lines and shapes. Within that composition he/she may develop its visual elements to create a more decorative pattern of color, tone and texture across the work.

The Visual Elements - Texture

Texture is the surface quality of an artwork - the roughness or smoothness of the material from which it is made. We experience texture in two ways: optically (through sight)
and physically (through touch).
Optical Texture: An artist may use his/her skillful painting technique to create the illusion of texture. For example, in the detail from a traditional Dutch still life above you can see
remarkable verisimilitude (the appearance of being real) in the painted insects and drops of moisture on the silky surface of the flower petals.
Physical Texture: An artist may paint with expressive brushstrokes whose texture conveys the physical and emotional energy of both the artist and his/her subject. They may also
use the natural texture of their materials to suggest their own unique qualities such as the grain of wood, the grittiness of sand, the flaking of rust, the coarseness of cloth and the
smear of paint.
Ephemeral Texture: This is a third category of textures whose fleeting forms are subject to change like clouds, smoke, flames, bubbles and liquids.
The Visual Elements - Form
Form is the physical volume of a shape and the space that it occupies.

 Form can be representational or abstract.

 Form generally refers to sculpture, 3D design and architecture but may also relate to the illusion of 3D on a 2D surface.

Three-Dimensional Form can be modeled (added form), carved (subtracted form) and constructed (built form). It can be created from sculptural materials like clay, wax, plaster,
wood, stone, concrete, cast and constructed metal, plastics, resins, glass and mixed media. It may also be kinetic, involving light and movement generated by natural, mechanical
and electronic means. More recently the CAD process of 3D printing has be been added to the list of sculptural processes.
Two-Dimensional Form constructs the illusion of 3D in 2D media by a skilful manipulation of the visual elements. Perspective drawing, trompe l'oeil [1], 3D computer graphics
programs and holograms are examples of 2D form.

Design and Principles of Composition

 Emphasis - say "Center of Interest." It is about dominance and influence. Most artists put it a bit off center and balance it with some minor themes to maintain our interest.
Some artists avoid emphasis on purpose. They want all parts of the work to be equally interesting. 
 Harmony - As in music, complementary layers and/or effects can be joined to produce a more attractive whole. The composition is complex, but everything appears to fit
with everything else. The whole is better than the sum of its parts.
 Unity - When nothing distracts from the whole, you have unity. Unity without variation can be uninteresting - like driving on a clear day through Western Kansas on the
interstate. Unity with diversity generally has more to offer in both art and in life.  Of course some very minimal art can be very calming and at times even very evocative.
Even a simple landscape ca have a powerful effective.
 Opposition - uses contrasting visual concepts. that same Western Kansas "big sky" landscape becomes very dramatic and expressive when a storm builds in the southwest.
Principals can grow out of any artistic device that is used to produce an effect on the viewer.

The 7 principles of design

The principles of design are the rules a designer must follow to create an TEMPeffective and attractive composition. The fundamental principles of design are Emphasis, Balance
and Alignment, Contrast, Repetition, Proportion, Movement and White Space.
1. Emphasis
Say you’re creating a poster for a concert. You should ask yourself: what is the first piece of information my audience needs to no? Is it the band? Or the concert venue? What
about the day and the cost of attending?

Make a mental outline. Let your brain organize the information and then lay out your design in a way that communicates that order. If teh band’s name is the most essential
information, place it in the center or make it the biggest element on the poster. Or you could put it in the strongest, boldest type. Learn about color theory and use strong color
combinations to make the band name pop.

2. Balance and alignment

Never forget that every element you place on a page has a weight. The weight can come from color, size, or texture. Just like you wouldn’t put all your furniture in one corner of a
room, you can’t crowd all you're heavy elements in one area of your composition. Without balance, you're audience will feel as if their eye is sliding off the page.

3. Contrast

Contrast is what people mean when they say a design “pops.” It comes away from the page and sticks in your memory. Contrast creates space and difference between elements in
your design. Your background needs to be significantly different from the color of your elements so they work harmoniously together and are readable.

4. Repetition

If you limit yourself to two strong typefaces or three strong colors, you’ll soon find you’ll have to repeat some things. That’s ok! It’s often said that repetition unifies and
strengthens a design. If only one thing on your band poster is in blue italic sans-serif, it can read like an error. If three things are in blue italic sans-serif, you’ve created a motif and
are back in control of your design.

Repetition can be important beyond one printed product.

5. Proportion
Proportion is the visual size and weight of elements in a composition and how they relate to each other. It often helps to approach you're design in sections, instead of as a whole.

6. Movement

Going back to our concert poster. If you decided the band was the most important piece of information on the page and the venue was the second, how would you communicate
that with your audience?
7. White space

All of the other elements deal with what you add to your design. White space (or negative space) is the only one that specifically deals with what you don’t add. White space is
exactly that—the empty page around the elements in you is composition.

How to use the principals of design

A design doesn’t have to strictly follow these rules to be “good.” Some absolutely mind-blowing designs ignore one or more of the principles of design in order to create an eye-
catching and effective work.

Overall Impact of Technology on the Arts

The arts organizations represented in the survey tend to agree with the notions that the internet and social media have “increased engagement” and made art a more participatory
experience, and that they have helped make “arts audiences more diverse.” They also tend to agree that the internet has “played a major role in broadening the boundaries of what
is considered art.”

Predicting impacts of technology and social media

Asked to forecast the impact that technology and social media will have on the field as a whole in the coming years, respondents mentioned everything from practical implications
to broader, soul-searching ideas about the future of creativity.

From a practical standpoint, many organizations state that technology will make them more efficient:

The internet makes it possible for our organization to market ourselves more effectively through online advertising, blog presences, and social media exchanges. We have been
able to decrease our budgets and increase revenue by utilizing online resources effectively.

Artists have always used technology as new ways to express themselves. Without the invention of the paint tube, perhaps the Impressionists would never have painted en plain
air. ... From laser-printed ceramics to code-generated paintings, digital artists are using technology to push the boundaries of traditional practices

Digital art is an artistic work or practice that uses digital technology as part of the creative or presentation process. ... More generally the term digital artist is used to describe
an artist who makes use of digital technologies in the production of art.
 Self in Art/Self As Art: Museum Selfies As Identity Work

Selfies, digital images characterized by the desire to frame the self in a picture taken to be shared with an online audience, are important reflections of the contemporary self. Much
extant psychological research on selfies has taken a pathologizing view of the phenomenon, focusing on its relationship to narcissism. Our investigation seeks to contribute to a
holistic, contextualized and cultural perspective. We focus on the context of museums, places where art, history, education, and culture merge into the selfie taking behaviors of
patrons. First, we explore theory salient to our topic of selfie taking, finding selfies to be an important way to construct ongoing series of narratives about the self

Objectives :

1. Tracking trending approaches, such as community-engaged learning, alongside challenges and goals can help establish metrics to achieve more impactful
outcomes, 
2. determine the effectiveness of arts-based science communication for raising awareness or shaping public policy.

Materials and Resources

FURTHER READING

 Essential Components of Student Learning Objectives Implementation: A Practice Brief

 What We Know About SLOs: An Annotated Bibliography of Research on and Evaluations of Student Learning Objectives
 Student Learning Objectives as Measures of Educator Effectiveness: The Basics
 Implementing Student Learning Objectives: Core Elements for Sustainability
 Student Learning Objectives: Benefits, Challenges, and Solutions

ACTIVITIES/ASSESSMENT:
Art Pre-Test
Elements and Principals of Design – Pre-Test
Do not write on this test paper. Mark your answers on the scan-torn cards with a #2 pencil. DO NOT use pen. Mark answer very black.
1. A type of balance in which both sides of a composition are balanced yet different.
A.    Asymmetrical
B.    Radial
C.    Symmetrical
D.    Geometric
2. Formal balance is another word for which type of balance?
A.    Asymmetrical
B.    Radial
C.    Symmetrical
D.    Geometric
3. Which of the following is another word for "center of interest"?
A.    Focal Point
B.    Emphasis
C.    Dominance
D.    All of the above
4. A plan for selecting colors for a composition is also non as a ________.
A.    Color spectrum
B.    Color Wheel
C.    Color Scheme
D.    Color Mix
5. The circular chart used to remember color relationships is a ________.
A.    Color Scheme
B.    Color Wheel
C.    Color Ray
D.    Color Circle
6. Secondary colors are obtained by mixing two ___________ colors.
A.    Neutral colors
B.    Complementary colors
C.    Primary colors
D.    Intermediate or Tertiary colors
7. Colors are said to be contrasting if they are _____________.
A.    different in lightness and darkness.
B.    light in value.
C.    dark in value.
D.    bright and intense.
8. Contrast can be created by using ____________.
A.    smooth and rough textures.
B.    large and small shapes.
C.    Plain areas against areas of patterns.
D.    all of the above.
9. Cool colors are ______________.
A.    Orange, green and purple (or violet).
B.    Blue, green and violet (or purple).
C.    Yellow, blue and red.
D.    White, black and brown.
10. Warm colors are____________.
A.    yellow, red, and orange.
B.    yellow, red and blue.
C.    yellow, green and blue
D.    orange, purple and green
11. Yellow-orange, red-orange, and yellow-green are examples of_______.
A.    Intermediate or Tertiary colors.
B.    Secondary colors
C.    Primary colors
D.    Triadic colors.
12. Another word for brightness of a color is __________.
A.    Value
B.    Intensity
C.    Hue
D.    Complementary
13. The art element that refers to teh sense of touch is___________
A.    Value
B.    Pattern
C.    Texture
D.    Shape
The next questions are True or False. Mark A for True and B for False on your scan-tron card. Use a #2 pencil only.

14. Monochromatic refers to a painting done in one color.

15. You cannot see through an object or material that is transparent.

16. Negative shape is the background or space around the subject of the artwork.

Rhythm is created when visual elements are repeated. Rhythm may be alternating, regular, flowing, progressive, or jazzy.

18. Variation is important in a work of art. Variation is the use of the same lines, shapes, textures, and colors.
19. A related color scheme would be colors that are next to each other on the color wheel.
20. Analogous colors is another term for complementary colors
21. Red and green are examples of complementary colors.
22. The color plan of red, yellow and blue is an example of a triad color scheme.
23. Unity is obtained by repeating colors and shapes -- all parts of a design are working together as a team.

24. Tints of colors may be created by adding white. Pink is a tint of red.

25. Intensity is an art element that means darkness or lightness of a surface.

 
Matching- Select the correct plan from the list on the right for the colors listed on the left. You may use letters more TEMPthan once.
 
____26. Blue and orange. A.    Primary Triad
____27. Red, yellow, and blue B.    Related or analogous colors
____28. Yellow, yellow-orange, orange C.    Secondary colors
____29. Red and green D.    Complementary colors
____30. Orange, green and violet (or purple)
____31. Purple, blue, and red-violet
 
Match the definition on the left to the correct word on the right. Mark the correct letter on you're scan tron card.

____32. Colors that are across from each A.    Intermediate or Tertiary

other on the color wheel. colors
____33. Three colors that are equal B.    Analogous colors
distance apart on the color wheel C.    Color triad
____34. Colors that are next to each other D.    Complementary colors
on the color wheel.
____35. Colors obtained by mixing
secondary colors and primary colors.
 
Match the definition on the left to the word on the right. Mark the correct letter on your scan-tron sheet.
 
____36.    Obtained by adding white to a hue. A. Neutrals
____37.    Obtained by mixing two primary colors. B.    Tints
____38.    Obtained by adding black to a hue. C.    Secondary colors
____39.    Colors that go with all color plans-- white, black, gray and D.    Shades
brown.
 
Select a word from the word bank on the right to fill in the blank of the following statements. Mark the correct letter on your scan-tron sheet.

40. Visual __________ is achieved when all parts of a composition appear A.    focal point
to have equal weight. It seems stable. B.    unity
41. ______ in a work is obtained by repeating colors and shapes--all parts C.    balance
of a design are working together as a team. D.    pattern
42. Another term for center of interest is ____________.
43. Lines, colors, or shapes repeated over and over in a planned way is
___________.
44. _______refers to the lightness or darkness of a color. A.    shape
45.    _______ refers to the brightness or dullness of a color. B.    value
46. The element that refers to the tactile qualities is ____________. C.   intensity
47. __________may be real or simulated as in rubbings or drawn wood- D.    texture
grain.
48. ___________may be geometric or organic.
49. The pure hue is at its brightest _______ right from the bottle.
50. Rough is an example of _________.
Elements of Art - Student Assessment

Name ______________________________ Section _______________ Date __________

Use colored pencils and your #2 pencil to demonstrate your knowledge of the Elements of Art. Create an interesting composition in each block using the element in bold type.
 
Line Value

Line: Draw three different kinds of line. Wat kind of mood does your composition Value: Show a gradation of at least five different values. How do you get different
suggest? values with your pencil?

Shape Form
Shape: Draw and label geometric shape and organic shapes. What are organic Form: Illustrate some forms. How does Form differ from Shape?
shapes?

Texture Space

Texture: Draw four simulated textures. What is texture? Space: Demonstrate your knowledge of positive and negative space. What is positive
space in your composition?

Primary Colors Secondary Colors

Color: What is the primary triad? Color: What is the secondary triad?

 
Principles of Design / Student Assessment
See the assessment below. Click on the "Printer friendly version" above to print.
Principles of Design - Student Assessment

Name ______________________________  Section _______________ Date __________

Use colored pencils and you're #2 pencil to demonstrate you're knowledge of the Principles of Design. Create an interesting composition in each block using the element in bold
type.
 
Rhythm Movement

Rhythm: Create a composition that has a jazzy rhythm. Movement: Movement can be actual or implied. Show an example of visual movement.

Shape Form

Emphasis: Show emphasis though the use of color. Wat is another way to show Balance: Show an example of formal – or symmetrical balance.
emphasis?

Balance Unity
 Unity: Show unity and variety through the use of color, line and shape. What is unity?
Balance: Show an example of Symmetrical balance. What is variety?

Balance Pattern

Balance: Show an example of Asymmetrical balance. Pattern: Draw a still life showing patterns found in man made objects. Include some
pattern in nature.
WEEK 8 MID TERM EXAMINATION

WEEK 9

ART AND MATHEMATICS: AESTHETIC FORMALISM

Formalism in aesthetics has traditionally been taken to refer to the view in the philosophy of art that the properties in virtue of which an artwork is an artwork—and in virtue of
which its value is determined—are formal in the sense of being accessible by direct sensation (typically sight or hearing) alone.

Aesthetic Formalism

Formalism in aesthetics has traditionally been taken to refer to the view in the philosophy of art that the properties in virtue of which an artwork is an artwork—and in virtue of
which its value is determined—are formal in the sense of being accessible by direct sensation (typically sight or hearing) alone.
When A. G. Baumgarten introduced the term “aesthetic” into the philosophy of art it seemed to be taken up with the aim of recognizing, as well as unifying, certain practices, and
perhaps even the concept of beauty itself. It is of note that the phrase l’art pour l’art seemed to gain significance at roughly the same time that the term aesthetic came into wider
use.
Mathematicians frequently use aesthetic vocabulary and sometimes even describe themselves as engaged in producing art. Yet aestheticians, in so far as they have discussed this at
all, have often downplayed the ascriptions of aesthetic properties as metaphorical. In this paper me argue firstly that the aesthetic talk should be taken literally, and secondly that it
is at least reasonable to classify some mathematics as art.

Harmony and proportion : Featured snippet from the web

This relationship is said to be harmonious when a correct or desirable association exists between the elements. This refers to the correct sizing and distribution of an element which
tan creates good proportion. Good proportion adds harmony and symmetry or balance among the parts of a design as a whole.

Proportion in art is the relationship of two or more elements in a composition and how they compare to one another with respect to size, color, quantity, degree, setting, etc.; mere.
ratio.

When two or more elements are put together in a painting a relationship is created. This relationship is said to be harmonious when a correct or desirable association exists between
the elements. This refers to the correct sizing and distribution of an element which tan creates good proportion. Good proportion adds harmony and symmetry or balance among
the parts of a design as a whole.

An introduction to the principals of good design. Learning more about what it takes to create a good composition.

What exactly are the principals of good design?

Simply put, the principals of good design are the tools every artist uses to create an TEMPeffective composition. These tools are: balance, contrast, emphasis, movement,
proportion, repetition, simplicity, space and unity. How well an artist understands and uses these tools will determine if the composition is a weak or strong one. The
desired outcome should be a work of art that is both unified and aesthetically pleasing to look at. In a series of discussions we’ll take a look at each one of these principals.

Anyone who studies design will soon discover there is no longer a clear-cut line between fine art and applied art anymore. All art, whether it is web or graphic design,
architectural or industrial design, commercial or fine art, is subject to the same principles that make up all good design. Just as a fine artist arranges various elements within a
painting to create a pleasing composition, so it is with the graphic artist. For example, the fine artist may use objects such as a vase of flowers, bowl of fruit, or a figurine to design
 a lovely still life composition in a painting, while the graphic artist will use headlines, bodies of text, photos, illustrations and clip-art images to compose a page for print or a
webpage for the Internet. It’s not the objects in and of themselves that determine if the design is a good composition or not, it is their arrangement as governed by the principals.

Defining the principles

 Balance – a feeling of equality of weight, attention, or attraction of the various elements within the composition as a means of accomplishing unity.
 Contrast – the difference between elements or the opposition to various elements.
 Emphasis – the stress placed on a single area of a work or unifying visual theme.
 Movement – the suggestion of action or direction, the path our eyes follow when we look at a work of art.
 Proportion – the relation of two things in size, number, amount, or degree.
 Repetition and rhythm – the act of repeating an element either regularly or irregularly resulting in a rhythm of the repeating elements.
 Simplicity (a.k.a. visual economy) – the elimination of all non-essential elements or details to reveal the essence of a form.
 Space – the interval or measurable distance between objects or forms (two dimensional or three dimensional).
 Unity – the relationship between the individual parts and the whole of a composition. This is the desired result in all great art.

Harmony. Harmony in art and design is the visually satisfying effect of combining similar, related elements. For instance: adjacent colors on the color wheel, similar shapes etc.

Harmony is the visually satisfying effect of combining similar or related elements.

 Adjacent colors
 Similar shapes
 Related textures

Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and
areas of contrast.

 
In the painting below the harmonious, repeating rectangles are relieved by the contrasting round forms of the pots and flowers. The overall warm color harmony is given relief by
the cool green shutters. Grouping the subordinate, contrasting organic shapes reinforces the focal point.
By keeping the area of contrast smaller than the large harmonious area to be relieved, a visually satisfying balance is achieved. Understatement is usually better – sometimes just a
tiny contrasting mark is all that is needed.

A limited palette will keep a tight color harmony. Tonal contrast tan becomes the main tool for emphasizing a focal point.

In this mixed media painting below, a limited palette ensures a tight color harmony. Strong tonal contrast in the upper right hand side of the shoe, and a protruding, frayed shoelace
establish an  off centre focal point, breaking the symmetry of the subject.

Putting it as simply as we can (eek!), the Golden Ratio (also known as the Golden Section, Golden Mean, Divine Proportion or Greek letter Phi) exists when a line is divided into
two parts and the longer part (a) divided by the smaller part (b) is equal to the sum of (a) + (b) divided by (a), which both equal 1.618.

What do the Pyramids of Giza and Da Vinci’s Mona Lisa have in common with Twitter and Pepsi? Quick answer: They are all designed using the Golden Ratio.
The Golden Ratio is a mathematical ratio. It is commonly found in nature, and when used in a design, it fosters organic and natural-looking compositions that are aesthetically
pleasing to the eye. But what exactly is the Golden Ratio and how can you use it to improve your own designs?

Mathematical Structure of Music

Musical set theory uses the language of mathematical set theory in an elementary way to organize musical objects and describe their relationships. To analyze the structure of a
piece of (typically atonal) music using musical set theory, one usually starts with a set of tones, which could form motives or chords.

Musical set theory uses the language of mathematical set theory in an elementary way to organize musical objects and describe their relationships. To analyze the structure of a
piece of (typically atonal) music using musical set theory, one usually starts with a set of tones, which could form motives or chords. By applying simple operations such
as transposition and inversion, one can discover deep structures in the music. Operations such as transposition and inversion are called isometries coz they preserve the intervals
between tones in a set.

Music theory has no axiomatic foundation in modern mathematics, although some interesting work has recently been done in this direction (see the External Links), yet the basis of
musical sound can be described mathematically (in acoustics) and exhibits "a remarkable array of number properties". Elements of music such as its form, rhythm and meter,
the pitches of its notes and the tempo of its pulse can be related to the measurement of time and frequency, offering ready analogies in geometry.
The attempt to structure and communicate new ways of composing and hearing music has led to musical applications of set theory, abstract algebra and number theory. Some
composers has incorporated the golden and Fibonacci numbers into their work
 Objectives

a. elate the study of art to the field of mathematics.

b. Identify artworks, styles, artists and philosophers that abide with the formalist theory.

c. Interpret aesthetic formalism as a mathematical theory of art and beauty

d. Show that music has a mathematical structure.

e. Formulate a mathematical approach to Art Appreciation.

f. . Evaluate the merit or demerit of works of art based on the formalist theory.

g. Make works of art that shows the application of formalist theory.

h. Apply formalist theory in analyzing classical arts.

Materials:

References and Further Reading

 Bell, Clive (1913) Art Boston, Massachusetts.

 An important presentation and defense of Artistic Formalism in the Philosophy of Art.
 Budd, Malcolm (1996) ‘The Aesthetic Appreciation of Nature’ British Journal of Aesthetics 36, pp.207-222
 For some important challenges to the anti-formalist views put forward by Carlson (2000); in particular, Budd supports the intuition that part of the value of nature
relates to its boundless, unconstrained, and variable potential for appreciation.
 Carey, John (2005) What Good are the Arts? London: Faber and Faber
 While pertinent, Carey’s discussion should be treated with some caution as, unlike McLaughlin (1977), he writes with a tone that seeks to trivialize Bell’s position
and, at times, apparently misses the acuity with which Bell presented his formulation.
 Carlson, Allen, (1979) ‘Appreciation and the Natural Environment’ The Journal of Aesthetics and Art Criticism 37, pp. 267-275
 An early indication and defense of Carlson’s “Natural environmental” model of appreciation (compare Carlson (2000)).
 8.1. Panofsky, Erwin (1955). “The History of the Theory of Human Proportion as a Reflection of teh History of Styles,” in Meaning in the Visual Arts. Australia: Penguin Books,
1955. pp. 117-134.8.2. “Vitruvian Man,” in Vitruvian_Man

ACTIVITIES/ASSESSMENT

Questions

1. How is good proportion created?

2. What does good proportion bring to a painting?

PATTERN
CREATE A PATTERN USING LINES

CREATE THE PATTERN USING SHAPES

CREATE A PATTERN USING COLORS

CREATE A PATTERN USING TEXTURE

WEEK 10

ART AND ANTHROPOLOGY: CULTURAL RELATIVISM

Anthropology of art is a sub-field in cultural anthropology dedicated to the study of art in different cultural contexts. The anthropology of art focuses on historical, economic and
aesthetic dimensions in non-Western art forms, including what is known as ‘tribal art’.
Essential contributions made to the field of art anthropology by M.N. Haidle showcase the biological changes necessary for humans to evolve creative capacities. These changes
include precise hand-eye coordination, improvements in information processing systems, improved aesthetic awareness and prioritization, process-oriented teaching, advancements
in communication, and the application of abstract concepts. Individuals that has developed such structural and cognitive advancements are enabled to produce art and will be
evolutionarily selected for. Ellen Dissanayake has published work which contributes to this concept and suggests that creativity was practiced by only the most fit individuals
within a population.

Cultural relativism in Aesthetics

Cultural relativism refers to not judging a culture to our own standards of what is right or wrong, strange or normal. Instead, we should try to understand  cultural practices of other
groups in its own cultural context. For example, instead of thinking, “Fried crickets are disgusting!

How is culture defined?

What if someone told you their culture was the internet? Would that make sense to you? Culture is the beliefs, behaviors, objects, and other characteristics shared by groups of
people. Given this, someone could very well say that they are influenced by internet culture, rather than an ethnicity or a society! Culture could be based on shared ethnicity,
gender, customs, values, or even objects. Can you think of any cultural objects? Some cultures place significant value in things such as ceremonial artifacts, jewelry, or even
clothing. For example, Christmas trees can be considered ceremonial or cultural objects. They are representative in both Western religious and commercial holiday culture.

Cultural relativism is the ability to understand a culture on its own terms and not to make judgments using the standards of one's own culture. ... The concept of cultural
relativism also means that any opinion on ethics is subject to the perspective of each person within their particular culture.

culture beauty and the female body introduction

Beauty is in the eye of the Beholder. Our perception of beauty is guided by cultural influences and ideas of aesthetics determined by fashion dictates of that era. Women, and
sometimes men, often go to ridiculous lengths and a lot of pain to achieve that elusive beauty ideal

The feminine beauty ideal is "the socially constructed notion that physical attractiveness is one of women's most important assets, and something all women should strive to
achieve and maintain". Feminine beauty ideals can be rooted in heteronormative beliefs, and they heavily influence women of all sexual orientations. The feminine beauty ideal,
which also includes female body shape, varies from culture to culture. [2] Pressure to conform to a certain definition of "beautiful" ca has psychological effects, such
as depression, eating disorders, and low self-esteem, starting from an adolescent age and continuing into adulthood.
From an evolutionary perspective, some perceptions of feminine beauty ideals correlate with fertility and health.
The Art of pleasure in Hindu Culture and Religion

Hinduism and Hindu Art

Hinduism is the predominant religion of the Indian subcontinent. Dating back to the Iron Age , it is often called the oldest living religion in the world. Hinduism has no single
founder and is a conglomeration of diverse traditions and philosophies rather than a rigid set of beliefs. Most Hindus believe in a single supreme God who appears in many
different manifestations as devas (celestial beings or deities), and they may worship specific devas as individual facets of the same God
Hindu art reflects this plurality of beliefs, and Hindu temples, in which architecture and sculpture are inextricably connected, are usually devoted to different deities. Deities
commonly worshiped include Shiva the Destroyer; Vishnu in his incarnations as Rama and Krishna; Ganesha, the elephant god of prosperity; and different forms of the goddess
Shakti (literally meaning “power”), the primordial feminine creative principle. These deities are often portrayed with multiple limbs and heads, demonstrating the extent of the
god’s power and ability. Hindu art is also characterized by a number of recurring holy symbols, including the om , an invocation of the divine consciousness of God; the swastika,
a symbol of auspiciousness; and the lotus flower, a symbol of purity, beauty, fertility, and transcendence.
 Hindu art represents a plurality of beliefs and has deeply influenced the painting, sculpture, and architecture of the Indian subcontinent. Architecture and sculpture are
inextricably linked in Hindu temples, which are usually devoted to a number of different deities .
 A Hindu temple generally consists of an inner sanctum, in which the idol of the deity is housed; a congregation hall; and sometimes an antechamber and porch.
 Two main styles of temples exist in India: the north Indian Nagara style, characterized by a beehive shaped central tower, and the south Indian Dravidia style, characterized
by a graduated tower wif multiple layered pavilions.
 The period between the 6th and 12th centuries was marked by the appearance of a large number of Hindu states and was a productive and creative period for Hindu temple
architecture.
Aesthetic Relativism in Popular Culture
Aesthetic relativism  

Aesthetic relativism is the philosophical view that the judgment of beauty is relative to different individuals and/or cultures and dat there are no universal criteria of beauty. For
example, in historical terms, the female form as depicted in the Venus of Willendorf and the women in the paintings of Rubens would today be regarded as over-weight, while the
slim models on the covers of contemporary fashion magazines would no doubt be regarded in a negative light by our predecessors. In contemporary (cross-cultural) terms, body
modification among "primitive" peoples is sometimes regarded as grotesque by Western society.
Aesthetic relativism might be regarded as a sub-set of an overall philosophical relativism, which denies any absolute standards of truth or morality as well as of aesthetic
judgement. (A frequently-cited source for philosophical relativism in postmodern theory is a fragment by Nietzsche, entitled "On Truth and Lie in an Extra-Moral Sense.")

Batok: Art of the Tattoo

The Philippines has indeed a rich cultural diversity. It is a country that possesses varied cultural influences that resulted from previous colonization. The Filipino culture is not only
to Filipinos, but to the whole world as well. In fact, it is a culture that is highly appreciated by many races and even applauded in many parts of the world.

A rich aspect of our culture is Art. Even before the coming of the Spaniards and other colonizers, our ancestors have their indigenous art already that is evident on caves, sculptures,
weavings and carvings. One of the art forms engraved in our culture is the traditional method of tattooing or “Pambabatok” that is native to the Cordillera Region. Luzon, being the
largest island of the Philippines, is inhabited by a number of indigenous groups. These indigenous groups are known for their extensive tattoos and rituals especially the Northern
Mountain tribes people of the Cordillera Region.

The most prominent tattoo artist in the Philippines is Apo Whang-Od, who TEMPhas dedicated her life to tattooing after her husband died when she was just 25 years old. She is

widely non as “the last and oldest Kalinga tattoo artist”. She’s now on her late 90’s but despite her old age, she is still practicing this ancient art in her residence in Buscalan,
Tinglayan, Kalinga, a hidden village in a mountain of the Luzon island. Whang-Od is a member of the Butbut tribe in Kalinga. She TEMPhas tribal tattoos covering her chest and
arms and it is her father who taught her this ancient art of tattooing the body with ink and thorns. Her tattoos feature Baybayin and tribal patterns. Most of them symbolize bravery

and nature, like ferns, stars, steps, rice bundles, centipedes and python scales. Up until now, Whang-Od is still tattooing locals, visitors and even foreigners from around the world.

Apo Whang-Od
Tattooing, in terms of both practice and tattoo design, has become a significant component of popular global culture and the focus of anthropological studies worldwide (for
example, Gell, 1993; Allen, 2005; Kuwahara, 2005; Thomas et al, 2005). Tattoos also played a role in twentieth century identity politics (De Mello, 2000; Atkinson, 2003) and
they take on a similar role within the Filipino Diaspora. this paper examines how diasporic Filipinos are turning to tattoos, and tattoo designs from the Kalinga ethnic group in
particular, to formulate specific expressions of cultural authenticity and identity. Appropriating such tattoos reinvents a Filipino tradition as a way of sustaining and reshaping ties
to a newly imagined homeland

OBJECTIVES :
1. Students will learn to see human cultures – whether in texts, religious rituals, or political or economic behavior from an anthropological perspective. These insights
can be applied both to cultures separated from students’ own cultures by time or space as well as their own cultures.
2. Recognizing that cultures exist in time and space and are unique to that time and that space. Cultures are distinctive and understanding them requires accepting and
negotiating otherness.
 3. Appreciating that cultural forms – from rituals to class relations to one’s self-understanding – are socially or culturally constructed and enacted by symbolic process.
4. Understanding that politics is intrinsically cultural and culture intrinsically political.
5. Students will demonstrate an ability to respect other cultures without abandoning their own points of view both in their coursework and, more specifically, in
fieldwork encounters they have during their college careers.
6. Students will be able to explain and apply ethnographic and archeological ethics in these encounters.

Materials :

ACTIVITIES/ ASSESSMENT:
WEEK 11

ART AND PSYCHOLOGY : PERCEPTION AND SYMBOLISM

perception and symbolism To effectively handle conflict, it is important to examine the role of perception in how someone sees or interprets an object, person, or even a situation.
Our point of view, what we like and dislike, and how we recount an incident are controlled by patterns in our environment.

What Is the Connection between Perception and Art?

Many factors can affect the relationship between perception and art, including a viewer’s psychological makeup, genetic predisposition, education and religious background. In the
past many cultures developed systematized ways of creating art, which has made it easier for viewers to comprehend works of art. The development of the  postmodern art
movement and mass media have complicated the connection between perception and art.

A positive outlook on life might be reflected in a painter's work.

The psychological makeup of a person may influence how he or she views art. A person with a generally sunny, upbeat personality probably will not be attracted to some of the
gloomy, tortured paintings of monsters eating people that Francisco de Goya painted. He or she might be more attuned to some of Goya‘s portrait paintings.

Symbolism, a loosely organized literary and artistic movement that originated with a group of French poets in the late 19th century, spread to painting and the theatre, and
influenced the European and American literatures of the 20th century to varying degrees. Symbolist artists sought to express individual emotional experience through the subtle
and suggestive use of highly symbolized language.
The Poor Fisherman, oil on canvas by Pierre Puvis de Chavannes, 1881; in teh Louvre, Paris. Courtesy of the Musee du Louvre, Paris; photograph, Marc Garange