Art Appreciation Module Updated Final Version (1) Converted

POLYTECHNIC UNIVERSITY OF THE PHILIIPINES
GEED 10073
Prepared by:
ASST. PROF. MARIA CORAZON C. CONSTANTINO

Faculty
College of Social Sciences and Development
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TABLE OF
Week 1 Course Introduction And Overview.............................................................6
Introduction...........................................................................................................6
Reference:..............................................................................................................................7
Week 2 Arts And Humanities: Western And Filipino Concepts ............................8
Lesson 1: Arts As A Humanistic Discipline ..........................................................................8
Lesson 2: The Humanities In Western Civilization ...........................................................10
Lesson 3: The Humanities And The Filipino Personhood (Pagkatao) ..............................12
Lesson 4: The Filipino Concept Of Art..................................................................................4
Reference: ...........................................................................................................................20
Week 3 : Art Appreciation And The Human Faculties ...........................................21
Lesson 5: Art And The Human Faculty ..............................................................................21
Lesson 6: Process Of The Art Appreciation .......................................................................22
Lesson 7: Art And The Perception Of Reality ....................................................................24
Reference: ...........................................................................................................................26
Assessment: Art, Humanities, And Human Faculties ..........................................26
Week 4: Arts And Philosophy: Imitationism And Representationism ..................27
Lesson 8: Imitation On Theory Of Art And Beauty ...........................................................27
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Lesson 9: Philosophical Theory Of Music .........................................................................28
Lesson 10: Representational Theory Of Reality ................................................................29
Lesson 11: Romantic Realism In The Philippines .............................................................30
Reference: ............................................................................................................................31
Week 5 Art And Philosophy: Formalism, Expressionism, And Hedonism ............32
Lesson 12: Formalist Theory Of Art ...................................................................................33
Lesson 13: Expression Theory Of Art .................................................................................34
Lesson 14: Aesthetic Hedonism .........................................................................................35
Reference:............................................................................................................................37
Week 6 Art And Philosophy: Functionalism, Action Theory, And Institutional

Theory..................................................................................................................38
Lesson 15: Functionalism ...................................................................................................38
Lesson 16: Action Theory ...................................................................................................40
Lesson 17: Institutional Theory ..........................................................................................41
Reference: ...........................................................................................................................42
Activity: Art And Philosophy.................................................................................43
Week 7 Arts And Science: Elements, Medium, Design, And Technology...............44
Lesson 18: Darwinian Theory Of Art And Beauty .............................................................44
Lesson 19: Elements And Media of Visual Art ...................................................................45
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Lesson 20: Designs And Principles Of Composition .........................................................52
Lesson 21: Application Of Technology To The Production Of Art ....................................54
Lesson 22: Art Of Selfie And Groupie ................................................................................56
Reference:............................................................................................................................58
Week 8 Midterm Examination..............................................................................59
Week 9 Arts And Mathematics: Aesthetic Formalism............................................61
Lesson 23: Aesthetic Formalism ........................................................................................61
Lesson 24: Harmony Of Proportions .................................................................................62
Lesson 25: Golden Measure ...............................................................................................63
Lesson 26: Mathematical Structure Of Music ...................................................................65
Reference:............................................................................................................................67
Assessment / Activity: Art, Science, And Mathematics..........................................68
Week 10 Art And Anthropology: Cultural Relativism............................................69
Lesson 27: Cultural Relativism In Aesthetic ......................................................................69
Lesson 28: Culture Beauty And The Female Body .............................................................71
Lesson 29: The Art Of Pleasure In Hindu Culture And Religion ......................................72
Lesson 30: Aesthetic Relativism In Popular Culture..........................................................74
Lesson 31: Batok: Art Of The Tattoo ..................................................................................76
Reference:............................................................................................................................77
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Assessment: Art And Anthropology.......................................................................79
Week 11 Art And Psychology: Perception And Symbolism....................................80
Lesson 32: Gestalt Principles Applied To Visual Arts .......................................................80
Lesson 33: Perception Of Space And Perspective .............................................................82
Lesson 34: Symbolic Meaning: Psychoanalyzing The Art And The Artist........................83
Lesson 35: Subliminal Suggestions And Escapism In Music.............................................84
Reference:............................................................................................................................85
Activity: Art And Psychology.................................................................................86
Week 12 Art And History: Evolution Of Styles ......................................................87
Lesson 36: Styles Of Classical Arts......................................................................................87
Lesson 37: Styles Of Modern Arts.......................................................................................88
Lesson 38: Styles Of Post-Modern Arts..............................................................................90
Lesson 39: Philippine Arts Styles And Movement .............................................................91
Lesson 40: Theory Of The End Of Art................................................................................94
Reference:............................................................................................................................95
Activity: Arts And History.....................................................................................97
Week 13 Final Examination..................................................................................98
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WEEK 1
Course Introduction and Overview
Learning Outcomes
At the end of this lesson, you should be able to:
1. Recognize the most essential concepts in arts as related to philosophy and other
social sciences.
2. Construct a critical analysis on different themes and issues regarding the course.
3. Evaluate the problems addressed in the course content and be critical about the
possible solutions on different issues presented.
4. Conceptualize the various perspectives of humanities as reflected in the historical
development of Western Civilization.
5. Understand some central issues in the development of Western Civilization in
relation to humanity and other sciences.
6. Analyze the Filipino notion of arts with the inclusions of the indigenous, ethnic and
pop arts.
Introduction
The course is a survey of the conception of humanities as reflected in the historical

development of Western Civilization. It will introduce the fundamentals of art appreciation,
including definitions and roles of the artist, visual thinking, creative aspects, and principles of
visual language, and how art communicates. Some of the ideas will be involved on how the
humanistic discipline viewed as a channel to create an art and how it affects the perspective of
the different aspect of the society throughout the years. The various theories of known
philosophers, historians, psychologist, artist, and others renowned individual will also be
discussed in this course that will give point about their contributions to the development of art.
Furthermore, the discourse of the Filipino concept of art, including indigenous, ethnic, and pop
art, will be emphasized.
This course explores the visual arts throughout Western Civilization, focusing on the
development of visual awareness, assessment, and appreciation of by examining a variety of
styles and their interconnections from various periods and cultures while emphasizing the
development of a common visual language. The materials are meant to foster a broader
understanding of the role of visual art in human culture and experience from the prehistoric
through the contemporary.
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Importance of Studying Humanities and Western Civilization
A unified learning outcome in the fields of Humanities and Western Civilization foster
vast cultural information with the aid of utilizing and exploring the connections amongst various
regions of knowledge. The study of Humanities and Western Civilization helps the students in
investigating relevant issues pertaining to human existence, their common past and present
difficulties from various aspects of philosophy, history, religion, literature, art and languages.
This also contributes to students' development in the demand for future success in their career
and to take active role in their global community in related fields of business, medicine, law,
marketing, sales, and social services.
The term "Western Civilization" refers to the various cultures of European descent that
shared cultural ideals, philosophical foundation, and ancient traditions. European heritage has
played an important role in the advancement of European countries. The knowledge about
Western Civilization and Eastern Civilization have contributed to the understanding of the
distinct characteristics of Europe and Asian culture.
Western Art and Filipino Art
Philippine Art refers to the Filipino artworks from Filipino indigenous artistry to the
mixture of the art of technology today. Philippine Art was inspired by the native cultural norms
and its expressive ancestral domain. However, the Philippine colonial experience has
transformed the Filipino concept of art towards Western perspective of art. Filipino Identity in the
Art broadens students' understanding of art in their locality and their global community. This also
provides students alternatives to discover their artistry and widens their knowledge that
contributes to shaping national identity.
Reference
Boquiren, L. (2021). Filipino Identity in the Arts (Arts & Design) (SHS) [E-book]. Vibal Group.
Polytechnic University of the Philippines Humanities 1013. (2021). Western Art and Filipino Art.
Coursehero. Retrieved 2021, from https://www.coursehero.com/file/53500711/Western-Art-and-
filipino-artdocx/?fbclid=IwAR0Sv1Y3Uas5TSKC_uffIfmHVjtvYcDc50aX5M3XpkLQONu7-
Ku93ihD4i8
The University of Kansas. (2016). Humanities and Western Civilization Program < The University of
Kansas. KU. Retrieved 2021, from https://catalog.ku.edu/archives/2015-16/liberal-arts-
sciences/humanities-western-civilization/?fbclid=IwAR3khr9eff-F-I7HNwPwoJgnDKum-
iVIwZxS2zCGzb0hyO-XcpviFyQezxs
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Barry, Marie Porterfield, "Lesson 01: Introduction to Art Appreciation" (2020). Art Appreciation Open
Educational Resource. East Tennessee State University: Johnson City, TN. Retrieved 202, from
https://dc.etsu.edu/art-appreciation-oer/2
WEEK 2
Arts and Humanities: Western and Filipino Concepts
Learning Outcomes
1. Define Art as a Humanistic Discipline

2. Define the Western and Filipino Concepts
3. Differentiate the Filipino and Western Concept of Art
4. Recognize the philosophical contribution of Western civilization and the Filipino
concept of PAGPAPAKATAO about the formation of humanistic discipline;
5. Evaluate the Filipino and Western Concept of Art
Lesson
Arts as a 1Humanistic Discipline
In the paper of Erwin Panofsky (1955), one of the most influential art historians, he
begins his essay by putting into perspective the ambiguity of the word "Humanitas". The brief
story of Immanuel Kant gives the reader the swiftest yet clear understanding of this duality.
Originally, the term "humanity" meant differentiating between people and creatures
deemed less than humans, such as dogs, goldfish, or the actual "less than humans" known as
barbarians and slaves. With the arrival of the Middle Ages, however, a renewed interest in the
divine developed, and a man began to search for something higher than himself. With this
remembrance came the realization that if certain humans are deemed sub-humans, what must
humans seem to God to be like? As a result, a new definition of "Humanitas" entered the
lexicon, one that indicated our inevitable mortality rather than our superiority over one another.
Panofsky
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defines "humanism" as "maintaining our rationality and freedom while bearing in mind our inherent
fallibility and weakness."
The humanist distinguishes between two types of distinctions: natural and cultural.
Because everything is either found in nature or is man-made, everything fits into one of two
categories. Old concepts must preserve credibility, not validity since even though something is
outdated, it leads to new and improved thinking or idea, and it served as a starting point to our
current understanding.
Panofsky refers to a painting as a work of art, but he distinguishes it by stating that even
if something is not made to be experienced aesthetically, it nevertheless has aesthetic
importance, if not aesthetic worth. To properly comprehend it, we must set aside our wants,
preconceptions, and knowledge about the issue under consideration. However, this is
susceptible to the thing itself because man-made artifacts always include the creators' intention.
The distinction between a scientist and a humanist is that a scientist can simply read and
interpret a book on art history, but a humanist must comprehend the meaning and influence of
the book on the reader. Panofsky ends his article by questioning whether art history could be
considered a part of "the humanities." Everything that has happened historically and
scientifically has been and continues to be real life to some degree, which explains our
fascination with it. Despite their differences, the humanities and sciences complement each
other. It's only that science's precision is a mastery, while the humanities' breadth is wisdom.
TOPIC RELATED VIDEO:
TITLE: ART AS A HUMANISTIC DISCIPLE

*Module 1 (Art as a Humanistic Discipline). (2020, September 21). [Video]. YouTube.
https://www.youtube.com/watch?v=Sju7pQp7RIk
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Lesson
The 2
Humanities in Western Civilization
Philosophy, religion, history, literature, and the arts are all part of the Humanities. The
Humanities — History of Culture program encourages research into religions and cultural history
in Europe and the Americas, China, Japan, South Asia, Sub-Saharan Africa, and predominantly
Islamic areas, with an emphasis on the historical development and cross-cultural interaction in
the past and present.
A Brief History of Western Culture
Historians divide history into large and small units to help themselves and students
understand the features and changes. It is critical to realize that each historical epoch is a
construction and a simplification.
Prehistoric (before c. 3000 B.C.E.)
The word "prehistoric" refers to the period preceding written history. The writing was
invented in ancient Mesopotamia just before 3000 B.C.E. in the West, therefore this period
encompasses visual culture (paintings, sculpture, and architecture) created before that date.
The earliest ornamental forms we can identify as art is from Africa, and they may date back to
100,000
B.C.E. In comparison, the oldest known cave paintings date back around 40,800 years, and
while we used to believe that only our species, Homo Sapiens, created art, anthropologists now
believe that Neanderthals may have created at least some of these extremely early images.
Ancient (c. 3000 B.C.E. to c. 400 C.E.)
This period encompasses the major early civilizations of the ancient Near East (think
Babylonia), ancient Egypt, ancient Greece, the Etruscans, and the Romans—everything that
occurred following the creation of writing and before the collapse of the Roman Empire. This
epoch is often regarded as the birthplace of Western philosophy, mathematics, theater, science,
and democracy.
Middle Ages (c. 400 C.E. to c. 1400 C.E.)
The Roman Empire was destabilized by waves of invasions by migratory peoples over
the first part of this thousand-year era in Western Europe. In 330 C.E., the Roman Emperor
Constantine founded Constantinople (now Istanbul, Turkey) as a new capital in the East, and
the
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Western Roman Empire quickly fell apart. The Byzantine Empire (with Constantinople as its
capital) thrived throughout the Eastern Mediterranean.
Christianity flourished across the former Roman Empire, even among migratory
barbarians (Vandals, Visigoths, etc.). The Christian Church, led by the Pope, became the most
dominant institution in Western Europe, while the Orthodox Church ruled in the East. Islam, one
of the three main monotheistic religions, was born during this period.
Petrarch (a 1300s writer) referred to the early Medieval era as the "Dark Ages" because
it appeared to him to be a period of diminishing human progress, especially when contrasted to
the Ancient Greeks and Romans. The term "Middle Ages" arose from Renaissance intellectuals'
perception of it as a lengthy barbarous era that separated them from the great civilizations of
ancient Greece and Rome, which they both admired and imitated.
Renaissance (c. 1400 to 1600)
The Renaissance was, in part, a revival of interest in ancient Greek and Roman culture.
It was also a prosperous time in Europe, notably in Italy and Northern Europe. Both the Italian
Renaissance and the Northern Renaissance in art history discuss a way of looking at the world
known as Humanism, which—at its most basic—placed renewed value on human knowledge
and experience of this world (rather than focusing primarily on the heavenly realm), using
ancient Greek and Roman literature and art as a model.
There are just a few historical events that can be pinpointed as having changed
everything. One example is the creation and widespread use of the printing press. Literacy rates
in Europe grew substantially as a result of the increasing availability of books. Readers were
empowered, and in many respects, the origins of our information revolution can be traced back
to 15th-century Germany and Gutenberg's first printing press.
Early Modern (c. 1600 — 1800)
Art historians research the 17th-century Baroque style. This was a period of a prolonged
and frequently deadly confrontation between Catholics and Protestants, which was complicated
by the increasing power of Europe's major kingdoms. The 1700s are commonly referred to as
the Enlightenment. It contributes to the interest in the individual seen throughout the Italian
Renaissance and, more broadly, during the Protestant Reformation in numerous ways. Thinkers
like Rousseau, Voltaire, and Diderot emphasized the power of people to the reason for
themselves rather than relying on the teachings of established organizations like the Church.
This is the time of the American and French Revolutions. The growing middle classes
(and eventually the working classes) launched a centuries-long effort to seize political power,
challenging the aristocracy and monarchy's authority. Successive reform movements and
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revolutions (during this time and the nineteenth century) steadily expanded the franchise (the
right to vote). Previously, suffrage was only available to men who held property or paid a certain
amount of taxes. Universal suffrage had not become the norm in Europe and North America
until the second part of the nineteenth and twentieth century.
Modern (after c. 1800)
During this time, capitalism emerged as the main economic system (though it had its
roots in the Renaissance). Individuals put their money at risk to create things in a currency-
based economy that relied on low-wage labor. In industries, steam-powered machinery and
unskilled employees began to displace expert craftspeople. The twentieth century was the
bloodiest in history. It saw two world wars, the Cold War, the end of colonialism, and the birth of
the totalitarian state. Dictators, among other things.
TOPIC RELATED VIDEOS:
TITLE: HUMANITIES IN WESTERN CIVILIZATION

*Module 2 (Humanities in Western Civilization). (2020, September 29). [Video].
YouTube. https://www.youtube.com/watch?v=PB_ubhbZGQ0
TITLE: THE EVOLUTION OF ART (AND HOW IT SHAPED THE MODERN WORD)
*The Evolution of Art (and how it Shaped the Modern World). (2017, July 14).
[Video]. YouTube. https://www.youtube.com/watch?v=bkWHrWw5yTg
Lesson
The 3
Humanities and the Filipino Personhood (Pagkatao)
In 1989, Virgilio Enriquez, a University of Illinois Ph.D. in social psychology, suggested a

personality theory based on the IKSP of Filipinos. He developed a framework for
comprehending the methods of the Filipino culture-bearers by using Western scientific jargon.
Pagkataong Filipino was the first academic theory to develop a value system for Asian
personalities. The contrast between “personhood” (pagkatao) and “personality” (personality) is
the most obvious divergence between Filipino personality theory and its Western equivalents.
The English suffix "hood" was used by Enriquez, who invented the word "personhood,"
to underline his psychological reasoning. When this “hood” is added to a root word, it
draws
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emphasis to the person's situation, quality, or condition (or thing). The notions created by the
word "hood" desire closure. They express essences that many people share. Thus, conceptions
ending in “hood” are deeper, wider, more general, and more complicated than those ending in
“ity.” The “ity” terms refer to customized or particular domains (for example, the repeated act of
being generous becomes “generosity”). These “ity” words denote distinctions—characteristics
that distinguish one person (or object) from another. Pagkatao—“personhood”—then
emphasizes a people's common humanity, whereas "personality" is limited to the unique
viewpoint of one outsider watching another.
The Philippine Personality Theory: “Pagkataong Pilipino” (Filipino Personhood)
The Filipino “Personhood” model of Enriquez is a central paradigm within Sikolohiyang

Pilipino. Value System of the Philippine Personality” omits some constructs, namely the three
Colonial / Accommodative Surface Values and the three Associated Behavioral Patterns. In this
primer on the Philippine Personality (Pagkataong Filipino) the three Core-Values of the theory
are explained, together with two more concepts.
The Three Core Values of Pagkataong Filipino:
1. KAPWA or Pakiki-Pag-Kapwa (Shared Identity)

 The core value of the Philippine personality is “kapwa”. This notion of a “shared self”
extends the “I” to include the “Other”. It bridges the deepest recess of a person with
anyone outside him or herself even total strangers. “People are just people despite
their age, clothes, diplomas, color or affiliations”, said one Filipino artist (de Guia
2006).
 “Kapwa” is the “unity of the one-of-us-and-the-other”, according to Enriquez, who
introduced his construct as a prime value in Filipino social interaction. Kapwa implies
moral and normative aspects that oblige a person to treat one another as fellow
human beings and therefore as co-equal, said the scholar. But he also foresaw that
this value was threatened by the spreading Western influences, when he wrote:
“...once AKO (the ‘I’) starts thinking of himself as separate from KAPWA, the Filipino
‘self’ gets to be individuated as in the Western sense and, in effect, denies the status
of KAPWA to the other”. (Enriquez ’89)
2. PAKI-RAMDAM (Knowing Through Feeling)

 As the heart is central to the body, the shared Self nurtures the Philippine personality
(Filipino personhood). But “kapwa” does not reside alone at the core. It manifests in
“paki-ramdam” the pivotal interpersonal value that would translate into the English
word “feeling”. But the scope of paki-ramdam embraces so much more than feeling!
It matches the ocean-like expanse of kapwa with an equally large field of piercing
awareness.
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 According to Mataragnon’s research, most Filipinos can boast this heightened
sensitivity. Paki-ramdam indicates a tacit cognitive process that assembles
information from a multitude of fragments and impressions. It works well within the
indigenous Filipino social reality, where emotions are participatory, open, and
constantly shared. Where personal privacy is neither existent nor needed. The
kapwa disposition must have it this way, initiating constantly new interpersonal
encounters through sharing space, food, ideas, beliefs, histories, opinions, gossip,
joys, tears, and more.
3. KAGANDAHANG-LOOB (Shared inner Nobility)

 The third core value of the Filipino personality is “kagandahang-loob” “shared inner
nobility”. The dictionary renders this phrase as a very general concept that
emphasizes the beauty of something. Its meaning is so broad_it stands for “anything
good about something”. The term also translates into “nobility” and “generosity”.
 As a core value, kagandahang-loob acts like an anchor that grounds kapwa and
paki- ramdam in the enduring beliefs of Filipino Indigenous Knowledge. These are
basic: God is good. Life is about learning, creating, and sharing. Life is good, even if
there is a hardship. Every sunrise brings a new day, a new horizon. There is always
hope.
The Relevance of Enriquez’ Core Values in a New World Order
In summary, the three core concepts of the value structure of the Philippine Personality
Theory are kapwa, paki-ramdam, and kagandahangloob. Translated as Shared Identity
(inclusiveness), Shared Inner Perception (a keen sensitivity, enhanced feeling), and Shared
Humanity (nobility, generosity), these values show the humanistic inclination of the Filipino.
Additional Elements of Enriquez’ Theory:
1. Kalayaan (Freedom, Independence, Thinking Outside-The-Box) And The Kapwa

Culture
 The Philippine value “14alayaan” reflects the untamed need of all living beings to be
free. It is dubbed as the sine qua non of Filipino personhood.
 Ileto (1979), in his study of historical freedom fighters, examined this Filipino ideal.
He noticed that Filipino children, traditionally, enjoyed great freedom while growing
up. Indulged by their parents, they were allowed to learn at their speed, experiment
with life as “saling pusa” (informal group member), and slowly discover and manifest,
who they were as human beings (kapwa tao).
2. Bahala-Na! The Tacit Trust That Can Move Mountains

 The way Filipinos use the expression, “Bahala Na!” is being interpreted by some
social scientists to demonstrate our fatalism and being happy-go-lucky. But “Bahala”
which means “care” and “responsibility” has sacred undertones. The ancient
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inscription separates the term into “ba” (babae) for “woman” and “la” (lalake) for
“man.” “Ha”
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(hangin) means “breath” or “wind” or, in a larger sense, “spirit” and “God.” “Ba-ha-la”
was then interchangeable for “Ba-tha-la” which means “God” for the ancient Filipinos.
 “Bahala Na!” is also a way of drawing inner strength even while we remain cool.
Such momentary detachment helps reduce situational stress. It makes one accept
one’s feebleness or folly while pushing towards finding a creative solution for the
problem. It frees us from following rigid rules all the time.
TITLE: THE HUMANITIES AND THE FILIPINO PERSONHOOD PAGKATAO

*Module 3 (The Humanities and the Filipino Personhood Pagkatao). (2020, October 4).
[Video]. YouTube. https://www.youtube.com/watch?v=u2bn7FkgO0U&t=5s
TITLE: WHAT IS FILIPINO PSYCHOLOGY? | BLEPP TIPS: PAANO AKO NAGREVIEW NG

FILIPINO PSYCHOLOGY?
*What is Filipino Psychology? | BLEPP Tips: Paano ako nagreview ng Filipino
Psychology? (2020, July 18). [Video]. YouTube.
https://www.youtube.com/watch?v=IiKzUo_tBas
Lesson
The 4 Concept of Art
Filipino
The Philippines' arts represent a society with a wide range of cultural influences and
traditions. Early interaction with traders brought Chinese and Indian influences to the Malayan
peoples. In the 14th century, Islamic traditions were brought to the Malays of the southern
Philippine Islands. Most modern features of Philippine cultural life emerged during the foreign
control of Spain and, subsequently, the United States. The Spanish imposed a foreign culture
centered on Catholicism in the 16th century. While lowland peoples were acculturated through
religious conversion, Muslims and certain highland tribal tribes retained their cultural
distinctiveness.
Filipino artists have helped to shape a sense of national identity. Many Malays 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.
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1. Literature
 The indigenous literature of the Philippines developed primarily in the oral tradition in
poetic and narrative forms. Epic poems, legends, proverbs, songs, and riddles were
passed from generation to generation through oral recitation and incantation in the
various languages and dialects of the islands.
 After the arrival of the Spanish, Catholic missionaries employed indigenous peoples
as translators, creating a bilingual class known as ladinos. Later, the Spanish ballad
of chivalry, the corridor, provided a model for secular (nonreligious)
literature. Verse narratives, or komedya, were performed in the regional languages
for the illiterate majority.
 Francisco Balagtas Baltazar, generally considered the first major Filipino poet, wrote
poems in Tagalog. His best-known work, Florante at Laura (Florante and Laura),
probably written between 1835 and 1842, is an epic poem that subversively criticizes
Spanish tyranny. This poem inspired a generation of young Filipino writers of the
new educated class, or ilustrados, who used their literary talents to call for political
and social reform under the colonial system. These writers, most notably Jose Rizal,
produced a small but high-quality body of Philippine literature in Spanish. Rizal's
novel Noli Me Tangere (Touch Me Not), published in 1886, and its sequel, El
Filibusterismo (The Subversive), published in 1891, helped to shape a new,
nationalist identity during the last years of the 19th century.
 The transfer of the Philippines to the United States controls in 1898 resulted in a
dramatic increase in literacy and, consequently, literary production. A variety of new
literary journals began to be published. English-language Filipino novels, short
stories, and poems were first published in book form in the 1920s.
 The first book printed in the Philippines is the "Doctrina Christiana", see also the
written language. It had been published in 1593 in Manila.
 Tomas Pinpin wrote and printed in 1610 "Librong Pagaaralan nang mga Tagalog
nang Wikang Kastila", 119 pages designed to help fellow Filipinos to learn the
Spanish language in a simple way
 On December 1, 1846, La Esperanza, the first daily newspaper, was available in the
country. Other early newspapers were La Estrella (1847), Diario de Manila (1848),
and Boletin Oficial de Filipinas (1852).
2. Arts and Architecture

 During most of the Spanish colonial period, the art and architecture of the Philippines
were strongly influenced by the patronage of the Roman Catholic Church. Most arts
emphasized religious iconography.
 An elaborate and detailed style of Philippine painters began to explore secular
themes in the mid-1800s. The painters Juan Luna and Felix Resurreccion Hidalgo
produced works in the romantic and early impressionist styles, achieving recognition
in Europe.
 Painters of the early 1900s-notably Fernando Amorsolo, Fabien de la Rosa, and
Jorge Pineda-produced romanticized landscapes, genre scenes, and portraits. In the
late 1920s Victorio Edades, an American-trained painter, infused modernism into the
Philippine art world.
 The major Filipino sculptor of the American colonial period was Guillermo Tolentino,
who trained in classical sculpture in Rome. In the 1950s Napoleon Abueva pioneered
modernism in Philippine sculpture.
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 In remote areas, tribal groups have preserved traditional art forms such as
woodcarving, textile weaving, bamboo and rattan weaving, and metalsmithing.
Artistic body adornments such as bead jewelry, body tattoos, and headdresses are
important indications of social status. Most known in the Philippines are the bul-ul
figures and rice terraces in Ifugao and Okir design in Mindanao.
3. Painting
 The first paintings were commissioned works during the Spanish colonial era. Since
most art produced during the first two centuries of Spanish occupation was for the
church, the friars enforced strict supervision over their production. Until the 19th
century, art was only for the church and religious use.
 There is also some Chinese influence that can be found in brush handling.
 Tagalog painters Jose Loden, Tomas Nazario, and Miguel de los Reyes, did the first
still life paintings in the country. They were commissioned in 1786 by a Spanish
botanist to paint the flora and fauna found in the country.
 Several Filipino painters had the chance to study and work abroad. Among them
were Juan Novicio Luna and Felix Resureccion Hidalgo who became the first
international Filipino artists when they won the gold and silver medals in the 1884
Madrid Exposition.
 During the American period (1900-45) on-demand portraitists included Fabian de la
Rosa, Miguel Zaragoza, Teodoro Buenaventura, Jorge Pineda, and above all,
Fernando Amorsolo, whose style would dominate the period.
4. Dance
 As varied are the people of the Philippines are, so too are the dances. There are
many dances performed in the Philippine Islands such as the popular "Tinikling", to
the exoticized "Pangalay", to the skill-based interpretation of the "Banga" and
Spanish- tinged "Jota"
 The Philippines has many popular folk dances which have evolved and changed as
they have been passed down from generation to generation. Dancing plays an
important role in Filipino culture, telling their history and preserving traditions through
folk dances and music. These dances are entertaining to observe, and even more,
fun to learn and perform yourself.
5. Music
 Although geographically, the Philippines belongs to the East, its music has been
heavily influenced by the West owing to 333 years of Spanish rule and 45 years of
American domination.
 Three main roots are apparent:
o old Asian-influenced music referred to as the indigenous.
o religious and secular music influenced by Spanish and European forms; and
o an American/European inspired classical, semi-classical, and popular music.
18
 A system to classify Philippines' music is a geographic or ethnolinguistic approach:
for example, traditional Tagalog music, which is somewhat more Hispanic in flavor,
differs from Ifugao music and Islam-influenced Maranao kulintang music.
 In indigenous music, various kinds of instruments are made of bronze, bamboo, or
wood. These include gongs of various kinds of size and shapes, drums, flutes,
zithers, lutes, clappers, and buzzers.
6. Movie
 In August 1897, Liebman and Peritz, two Swiss entrepreneurs, presented the first
imported movies on the Lumiere Cinematograph in Manila at Escolta Street.
 After the second world war, a resurgence of Visayan films came about through Lapu-
Lapu Pictures. The 1950s were labeled as the first golden age of Philippine cinema.
Four big production studios (LVN Pictures, Sampaguita Pictures, Premiere
Productions, and Lebran International) were at their peak in filmmaking.
 The 1970s were the second golden age of Philippine cinema with the period of
avant- garde filmmakers. In 1977, Kidlat Tahimik made a film entitled Mababangong
Bangungot (Perfumed Nightmare), which won the International Critic’s Prize in the
Berlin Film Festival that same year.
 The year 2009 brought the highest international esteem to a Filipino filmmaker when
Brillante Mendoza was judged as the Best Director at the Cannes Film Festival for
his film Kinatay (Butchered), a movie about murder and police brutality. The Cannes
Film Festival proves that Pinoy movies can be outstanding. And more astonishing is
the fact that Jaclyn Jose could step out of this mass production. The Cannes Film
Festival is one of the 3 most important film festivals in Europe aside from Venice and
Berlin. A "Palme d'Or" in Cannes is culturally much more worth than an "Oscar" in
Hollywood.
7. Theatre
 Theatre arts have long been existing as a part of the Filipino tradition and serve
effectively as a medium of social awareness and entertainment. It is also a means of
a liberal and artful way of expressing opinions and talents.
 As part of the Philippine tradition, many festivals and occasions are celebrated in the
country where theatre arts are in use. For instance, during Holy Week, "Cenaculo"
takes place as an on-stage performance that re-enacts the passion of Christ.
Another is the Moro-Moro which expresses the conflict between Christians and
Muslims in the country.
 In other towns, a famous theatre form called Carillo, which is usually a drama play, is
shown after the harvest season. "Zarzuela" is another famous theatre performance,
a local version of Spanish operetta. In many other places or occasions, a variety of
traditional plays that express the Filipino love for arts are shown even up to this very
day.
19
8. Handicraft
 Inspired by the Japanese One Village One Product Movement of 1979, the
Philippines' OTOP program was proposed by then-President Gloria Macapagal-
Arroyo as early as 2002 and launched in 2004. Current Filipino President Benigno
'Noynoy" Aquino has authorized the continuation of the OTOP program.
 OTOP products vary and can include fruits, specialty dishes, or handmade products.
Examples of OTOP products include Arabica coffee in the Cordillera region, cacao
products in San Isidro in Davao del Norte, and brooms in Santa Fe in Nueva
Vizcaya.
 Handicraft you can see anytime and anywhere in the Philippines. On nearly any
island you find a black-smith who makes the traditional bolos. Fishermen wear the
typical conic hat made of sliced bamboo or palm leaves.
 Handmade items are usually not expensive, are decorative, and make the perfect gift
(pasalubong) for your family and your friends.
TITLE: THE FILIPINO CONCEPTS OF ART

*Module 4 (The Filipino Concepts of Art). (2020, October 11). [Video]. YouTube.
https://www.youtube.com/watch?v=zIzcg4Pi0GE
20
Reference
Panofsky, Erwin (1955). “The History of Art as a Humanistic Discipline” meaning in the Visual
Arts. Australia: Penguin Books, 1955. pp.1-25.
*Module 1 (Art as a Humanistic Discipline). (2020, September 21). [Video]. YouTube.

https://www.youtube.com/watch?v=Sju7pQp7RIk
Benjamin, Walter (1935), “The Work of Art in the Age of Mechanical Reproduction, “URL:
http://web.mit.edu/allanmc/www/benjamin.pdf
*Module 2 (Humanities in Western Civilization). (2020, September 29). [Video]. YouTube.

https://www.youtube.com/watch?v=PB_ubhbZGQ0
*The Evolution of Art (and how it Shaped the Modern World). (2017, July 14). [Video]. YouTube.
https://www.youtube.com/watch?v=bkWHrWw5yTg
Covar, Propero (1992). “Kaalamang Bayang Dalumat ng Pagkataong Pilipino”, url:

http://www.journals.upd.edu.ph/index/djwf/article/view File/ 4950/4459.
*Module 3 (The Humanities and the Filipino Personhood Pagkatao). (2020, October 4). [Video].
YouTube. https://www.youtube.com/watch?v=u2bn7FkgO0U&t=5s
*What is Filipino Psychology? | BLEPP Tips: Paano ako nagreview ng Filipino Psychology? (2020,
July 18). [Video]. YouTube. https://www.youtube.com/watch?v=IiKzUo_tBas
Danto, Arthur (1964). “The Artworld” in Journal of Philosophy, Vol. 61, Issue 19. American
Philosophical Association Eastern Division Sixty-First Annual Meeting, pp.571-584.
Danto, Arthur (1999), “Hegel’s End of Art Thesis”,

url:http:/www/rae.com.pt/Danto%20hegel%20art.pdf.
De Leon, Felipe (2011). “Defining the Filipino Through the Arts: From Specialistic Innocence to
Participatory Consciousness,” in
journals.upd.edu.ph/index.php/phr/article/download/4737/4273
*Module 4 (The Filipino Concepts of Art). (2020, October 11). [Video]. YouTube.
https://www.youtube.com/watch?v=zIzcg4Pi0GE
21
WEEK 3
Art Appreciation and the Human Faculties
Learning Outcomes
1. Define Art Appreciation;

2. Define Humanities;
3. Define Faculties;
4. Interpret the phases of Art Appreciation;
5. Evaluate the works of art based on the concept of art as reality;
6. Apply the concept of art as reality to the styles of art.
Lesson
Art 5 Human Faculty
and the
Art Appreciation – refers to the pursuit of knowledge and understanding the universal and
timeless qualities characterizing works of art.
Humanities - the term humanities come from the Latin words “Humanitas” which refers as art,
literature, music, architecture, dance and the theatre which human subjectively emphasized.
Faculties - an inherent mental or physical power.
In 1883 the publication of Inquiries into Human Faculty and Its Development by Francis
Galton foreshadowed the measurement of individual psychological differences. In 1896 at
the University of Pennsylvania, Lightner Witmer established the world’s first psychological clinic
and in so doing originated the field of clinical psychology.
22
In a book entitled Strange Tools: Art and Human Nature, the philosopher and cognitive
scientist Alva Noe asked many questions like, what is art? why do we value art as we do? And
what does art reveal about nature?
Individuals must set their thoughts free to make sound judgments. We must be wary of
trusting our intuition about what is best. The living universe is made up of an infinite diversity of
elements rather than a recurrence of similar ones.
TITLE: ART AND THE HUMAN ESSENCE

*Module 5 (Art and the Human Essence). (2020, October 31). [Video]. YouTube.
https://www.youtube.com/watch?v=qwllP3qnisE
Lesson of
Process 6 the Art Appreciation
Art appreciation may be defined as a technique that is used to make one aware of all the
negative aspects of oneself as well as all of the positive aspects of oneself to contemplate and
learn the object of beauty. It is a simple technique of communicating experienced in a thing of
beauty and responding to works of art that are intelligently speaking about a function of art.
Four Major Phases of Art Appreciation
1. Recognition of the Job

o State time or the day once the function was done, for example, March 2013.
o Title all of the things observed in the job and explain them.
2. Stock of Items
o Create an item inventory.
3. Technical characteristics
o Resources utilized in the delivery of the job. You might want a leather handbag lv
brand lookalike, so you’d need first, leather, design, and other materials. Or a velcro
material. You may also need tools like scissors, glue, a cutting blade, and many
more.
23
o Condition techniques or the technique utilized by the artist, e.g., patchwork technique
done in crocheting.
o Condition the character of the design or the structure. There’s unity and stability
within the agreement and the location of the soldered inscription along with the
printed design.
4. Interpretation of the job

o The color used for that marbling of the leather was purple color on product natural
leather.
o Condition capabilities or the uses of the job.
Art And The Perception Of Reality
 Perception in art stands for a complex relationship between visual stimuli and a personal
understanding of them. It is a theoretical demand aiming at a clarification of the relation
between artworks, individual opinions, and either evaluation.
 Perception is conditioned by a context from which observation and evaluation are made.
 It is conditioned by numerous factors, including political, social, cultural, gender, and
racial. It affects how we see art and what meanings we attribute to it but is also an active
factor in artistic creation.
 Perception affects the meaning we attribute to art, and often such understandings
change over time.
A Take on Perception with Maurice Merleau-Ponty
 In 1945 Maurice Merleau-Ponty published Phenomenology Of Perception which put him

on the map of modern phenomenologists, together with Edmund Husserl, Eugen Fink,
and Martin Heidegger.
 He developed his interpretation of phenomenology’s method, based on Gestalt theory,
psychology, neurology, and the critique of prejudices of empiricism and intellectualism.
 Indeterminate and contextual aspects of the living reality cannot be removed from the
whole account of the sensory.
 Sensing is a “living communication with the world that makes it present to us as the
familiar place of our life.
 Merleau-Ponty turns to expression as the perceptual exchange between an organism
and its surroundings. Perception has a creative and expressive dimension that is
manifested in art, and paintings are manifestations of expressivity of a perceptual style
into a more malleable medium.
24
Art Styles- A Coherent Deformation
 Art styles had developed from a willed decision of an artist that casts his inspiration in a
visual form inside historical trajectories and come as a coherent deformation in inherited
traditions.
 In art, meanings acquired from perception are concentrated in visual expression, and
style represents “an interpretation, an optional way of depicting the world.”
TITLE: THE PROCESS OF ART APPRECIATION

*Module 6 (The Process of Art Appreciation). (2020, October 31). [Video]. YouTube.
https://www.youtube.com/watch?v=1vvz8oPN5cg
Lesson
Art 7 Perception of Reality
and the
In art, perception refers to the intricate relationship between visual stimuli and one's
interpretation of them. It is a theoretical postulate that seeks to elucidate the relationship
between artworks and individual perceptions and assessments. Perception is conditioned by a
context from which observation and judgment are done, rather than being a universally set
matrix of comprehending art. It is influenced by a variety of elements, including political, social,
cultural, gender, and racial issues, rather than generic frameworks of understanding.
It influences how we perceive art and the meanings we assign to it, but it is also an
active component in creative creation. Making claims about the meaning of art would be difficult
without previously established concepts of value derived from complex perceptual conditionings.
The perspectives of an artist and an observer both contribute to our knowledge of art, and the
value of the one does not differ from that of the second.
Perception impacts the meaning we ascribe to art, as evidenced by countless historical

instances, and such understandings frequently shift through time. Some universal postulates
may remain, but the majority are contingent on the specific social mores of a given period.
Perception
25
and opinion are inextricably connected. Turning to art, we can see that throughout history, the
appraisal of creative styles has evolved through time, supporting the preceding claim of a
connection between our opinions and perception of art.
Together with Edmund Husserl, Eugen Fink, and Martin Heidegger, Maurice Merleau-
Ponty published Phenomenology of Perception in 1945, putting him on the map of modern
phenomenologists. He created his interpretation of the process of phenomenology, based on
Gestalt theory, psychology, neurology, and the critique of empiricism and intellectualism biases.
Indeterminate and contextual components of live reality, according to Merleau-Ponty, cannot be
separated from the sensory account. Sensing is defined as a "dynamic dialogue with the world
that makes it apparent to us as a familiar location in our lives." We imbue the observed reality
with values and understandings that are fundamentally related to our lives and bodies, but we
frequently forget that this reality is only as it appears to these perceived values and is not a fact
in and of itself. Merleau-Ponty expands his approach to encompass creative endeavors,
defining expression as the perceptual interchange between an organism and its environment.
Paintings are expressions of expressivity of a perceptual style into a more flexible medium, and
perception has a creative and expressive dimension that is reflected in art.
In explaining the evolution of artistic styles about perception, Merleau-Ponty employs a

language of progress and historical development, establishing the historical trajectory of art as a
systematic development beginning with our views and understandings, with no regard for the
artist's subjective preferences. As stated in the beginning, perception in art is influenced by both
the observer's and the artist's situatedness. Art styles have evolved because of an artist's willed
decision to cast his inspiration in visual form within historical trajectories and emerge as a
cohesive distortion in inherited traditions. Meanings gained via observation are focused on
visual representation in art, and style reflects “an interpretation, an optional method of
representing the world.” According to Merleau-Ponty, the unfinished quality of contemporary art
is not a shift from objective observation and portrayal of reality to a more subjective vision, but
rather a testament to a “paradoxical logic of all expression.”
TITLE: ART AND THE PERCEPTION OF REALITY

*Module 7 (Art and the Perception of Reality). (2020, October 31). [Video]. YouTube.
https://www.youtube.com/watch?v=5g127jjfVBI
26
Reference
*Module 5 (Art and the Human Essence). (2020, October 31). [Video]. YouTube.
https://www.youtube.com/watch?v=qwllP3qnisE

*Module 6 (The Process of Art Appreciation). (2020, October 31). [Video]. YouTube.
https://www.youtube.com/watch?v=1vvz8oPN5cg
Anapur, E. (2016, December 6). How Perception in Art Changes our Views. Widewalls.
https://www.widewalls.ch/magazine/perception-in-art
*Module 7 (Art and the Perception of Reality). (2020, October 31). [Video]. YouTube.
https://www.youtube.com/watch?v=5g127jjfVBI
ASSESSMENT:
Art, Humanities and Human Faculties
Answer the following: (Avoid plagiarism.)
1. Compare and contrast the concept of art according to the Western thought and Filipino
thought. Give at least 3 examples for each comparison and differentiation.
2. How can human faculties be the basis for the appreciation of art? Give at least 3
examples to explain your answer.
3. Are human faculties the only important basis in Appreciating art? Why?
4. How can you apply the Filipino concept of art in judging the work of art?
5. In the concept of Filipino “Pagkatao”, what cultural influences do you find relevant to
showcase the Philippine culture in the global community? Give at least 5 examples.
6. What Filipino characteristics are revealed in their work of art? Give at least 5 examples.
7. How can art be beneficial in this Covid-19 pandemic? Give 5 specific examples.
27
WEEK 4
Arts and Philosophy: Imitationism and Representationis
Learning Outcomes
1. Define imitationism;
2. Define representationism;
3. Differentiate imitationism from representationism;
4. Discuss how you view art concerning reality and existing philosophies.
Lesson 8on the Theory of Art and Beauty

Imitation
IMITATION ON THEORY OF ART AND BEAUTY
 The theory that art involves some form of imitation originated with the ancient Greeks
particularly with Plato
 It is imitational in the sense that it x-rays or reflects is the aspect of reality that appears
to be comprehensive, improving our knowledge and understanding.
 We can draw a conclusion based on our analysis of these concepts about works of art
as imitation representation, the reflection of our inner self, and worldview concerning
aspects of reality
 Plato believes in the existence of the ideal world, where exists a real form of every object
found in nature. A work of art –which reflects nature-is twice far from the reality it
represents.
28
 Plato’s account of imitation would seem to be relatively simple at this stage; mimesis
appears to be translatable as “representation”, an expression of character whereby the
poet (using dialogue) and the actor (in a dramatic presentation) imitate a character.
 Aristotle, on the other hand, does not deal with the ideal world, instead, he analyses
nature. In this sense, and the artist does not violate the truth but reflects the reality.
 Socrates explains how the artist and poet simply and imperfectly imitate the everyday
world of sensations and appearances which are in turn merely poor copies of the
unchanging "real" world of perfect essences.
 A problem with imitative theories is that their coverage appears limited, that is, they work
well for portraits.
 Seeing art as an imitation of beauty in nature but also emphasized the expression of the
artist’s feelings and there was a corresponding decrease in emphasis on limitation.
TITLE: PHILOSOPHICAL PERSPECTIVES ON ART

*philosophical perspectives on art. (2020, October 13). [Video]. YouTube.
https://www.youtube.com/watch?v=KaYgksXQjS4
Lesson 9 Theory of Music

Philosophical
PHILOSOPHICAL THEORY OF MUSIC
 Since the 1950s, the philosophy shared among many in the field of music education
should develop the aesthetic potential with which every human being is endowed to the
highest possible level.
 Philosophy of music is the study of fundamental questions about the nature and value of
music and our experience of it.
 Any “philosophy of X” presupposes knowledge of its target. However, unlike the
philosophy of science, say, the target of philosophy of music is a practice most people
have a significant background in, merely because of being members of 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, but they also tend to have thought about some of
those questions before encountering the academic discipline itself.
29
 Music is perhaps the art that presents the most philosophical puzzles. Unlike painting, its
works often have multiple instances, none of which can be identified with the work itself.
Thus, the question of what exactly the work IS initially more puzzling than the same
question about works of painting, which appear (at least initially) to be ordinary physical
objects.
TITLE: PHILOSOPHY OF MUSIC

*Philosophy of Music. (2014, October 4). [Video]. YouTube.
https://www.youtube.com/watch?v=QQ6_0gE80q8
TITLE: PHILOSOPHY OF MUSIC II

*Philosophy of Music II. (2014, October 9). [Video]. YouTube.
https://www.youtube.com/watch?v=QFK6L793T_A\
Lesson 10
Representational Theory of Reality
THE REPRESENTATIONAL THEORY
 At its most basic, the representational theory states that the fundamental, definitive
quality of the art is the ability to capture some aspect of reality. In short, if it's not a
reflection of something that exists, then it's not art.
 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 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 good-looking.
 Later theorists would revise imitation theory, claiming that the purpose of art was not to
strictly imitate nature but to represent it in any form.
30
 The representational theory has been an important part of Western art since the fall of
Rome, after which art became less naturalistic for a while.
 The direct imitation of reality in art was seen as an act of hubris - a human attempt to
recreate the creation of God. However, through slight abstractions, artists could still
represent reality without blaspheming.
 Artists can focus on the ugly, the horrific, and even things that cannot be physically seen.
TITLE: ART AS REPRESENTATION

*Art As Representation. (2020, September 10). [Video]. YouTube.
https://www.youtube.com/watch?v=ZwNGXxoLCbM
Lesson 11
Romantic Realism in the Philippines
ROMANTIC REALISM IN PHILIPPINE ART
 It seeks personal expression of values, imbuing art with feelings for ideas that the artist
holds passionately about life and humanity, thus infusing the work with a glowing
emotional essence
 Romantic realism is an aesthetic term that usually refers to art that combines elements
of both “romanticism” and “realism” that have been used in varied ways and are
sometimes seen as opposed to one another.
 Romantic Realist does not flee to history, mythology, the remote or exotic for subject
matter by which to express individualized imagery, brushstrokes, or bravado.
 Contemporary Romantic expresses values through images of the present. The here
and now, the real and relevant.
 Romantic Realist knows that in art it is positive, life-affirming values that we need to
see to feel to maintain the courage and energy to bring our own highest and most
promising visions of values into existence in the real world
 Representational art’s ability to afford us a spiritual experience as well as an aesthetic
one. The spiritual in art is not evoked by an escape from recognizable reality (as in
unintelligible art) but by an embrace of its existence and consciousness unified and
experienced as one beautiful entity.
31
TITLE: ROMANTIC REALISM

*Romantic Realism. (2015, April 23). [Video]. YouTube.
https://www.youtube.com/watch?v=RoDrkJPuyJ0
TITLE: ROMANTICISM
*Romanticism (Spoliarium by Juan Luna). (2020, October 30). [Video]. YouTube.
https://www.youtube.com/watch?v=BNZfapjFK5I
Reference
Plato, “Allegory of the Cave” in Republic, VII 514a, 2 to 517a, 7. Translation by Thomas Sheehan
(1992).
*philosophical perspectives on art. (2020, October 13). [Video]. YouTube.

https://www.youtube.com/watch?v=KaYgksXQjS4
*Philosophy of Music. (2014, October 4). [Video]. YouTube.

https://www.youtube.com/watch?v=QQ6_0gE80q8
*Philosophy of Music II. (2014, October 9). [Video]. YouTube.

https://www.youtube.com/watch?v=QFK6L793T_A\
*Art As Representation. (2020, September 10). [Video]. YouTube.

https://www.youtube.com/watch?v=ZwNGXxoLCbM

Jocano, Landa F. (2001). “Aesthetic Dimension,” in Filipino Worldview, Quezon City: PUNLAD
Research House, 2001. Pp.135-144.
32
*Romantic Realism. (2015, April 23). [Video]. YouTube.

https://www.youtube.com/watch?v=RoDrkJPuyJ0
*Romanticism (Spoliarium by Juan Luna). (2020, October 30). [Video]. YouTube.

https://www.youtube.com/watch?v=BNZfapjFK5I
WEEK 5
s and Philosophy: Formalism, Expressionism and Hedon
Learning Outcomes
At the end of the lesson, you should be able to:
1. Define and Understand Formalism;

2. Define and Understand Expressionism;
3. Define and Understand Aesthetic Hedonism;
4. Evaluate the Beginnings of Philosophy of Formalism, Expressionism, and Hedonism
in Relation to Artistic Representation.
33
Lesson 12
Formalist Theory of Art
FORMALISM
 Formalism is the study of art by analyzing and comparing form and style. Its discussion
also includes the way objects are made and their purely visual or material aspects.
 In painting, formalism emphasizes compositional elements such as color, line, shape,
texture, and other perceptual aspects rather than content, meaning, or the historical and
social context. At its extreme, formalism in art history posits that everything necessary to
comprehending a work of art is contained within the work of art. The context of the work,
including the reason for its creation, the historical background, and the life of the artist,
that is, its conceptual aspect is considered to be external to the artistic medium itself,
and therefore of secondary importance.
 Formalism is a school of literary criticism and literary theory having mainly to do with the
structural purposes of a particular text.
 Formalism describes the critical position that the most important aspect of a work of art
is it’s the way it is made and its purely visual aspects rather than its narrative content or
its relationship to the visible world.
Formalist Theory
Roger Fry, a Bloomsbury painter and critic, and Clive Bell, a Bloomsbury writer,
established formalist art theory in the United Kingdom. Bell developed the concept of important
form — that shape may transmit emotion – in his 1914 book Art. All of this rapidly evolved to
abstract art, which is an art of pure form. Formalism dominated the evolution of contemporary
art until the 1960s, when it peaked in the so-called new criticism of American critic Clement
Greenberg and others, notably in their essays on color field painting and post-painting
abstraction. Postmodernism began to attack formalism exactly at that moment.
Formalism emerged as a critical attitude in response to impressionism and post-

impressionism (particularly Cézanne's paintings), which placed unprecedented focus on the
purely visual qualities of the work. Maurice Denis, a post-impressionist painter, and art critic
issued a manifesto titled Definition of Neo-Traditionism in 1890, in which he emphasized that
aesthetic enjoyment was to be sought in the painting itself, not it's topic. "Remember, that a
painting, before it is a depiction of a combat horse, a nude lady, or any tale, is fundamentally a
34
flat surface covered in colors organized in a specific order," he said, and it became one of the
most referenced passages in the history of contemporary art.
TITLE: FORMALISM - WHAT IS IT? WHY DOES IT MATTER?

*Formalism - What is it? Why does it matter? (2015, January 30). [Video]. YouTube.
https://www.youtube.com/watch?v=KE4oNy6uTKI
Lesson 13 Theory of Art

Expression
EXPRESSIONISM
 Expressionism, artistic style in which the artist seeks to depict not objective reality but
rather the subjective emotions and responses that objects and events arouse within a
person.
 The artist accomplishes this aim through distortion, exaggeration, primitivism, and
fantasy and the vivid, jarring, violent, or dynamic application of formal elements. In a
broader sense
 Expressionism is one of the main currents of art in the later 19th and 20th centuries, and
its qualities of highly subjective, personal, spontaneous self-expression are typical of a
wide range of modern artists and art movements.
 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 that lack
denotation can still be art.
 In expressionist art, color, in particular, can be highly intense and non-naturalistic, the
brushwork is typically free and paint application tends to be generous and highly
textured.
 Expressionist art tends to be emotional and sometimes mystical. It can be seen as an
extension of Romanticism.
35
Expression Theory
The notion that “art is imitation (representation)” has not only been questioned but has
also remained dormant in at least certain arts since the nineteenth century. It was then
superseded by the idea that art is expression. Instead, then representing exterior world states,
art is said to reflect the artist's inner condition. This appears to be implied in the basic meaning
of the expression: the outward representation of an interior state. Art as a depiction of outside
reality (although “seen through a temperament”) has given way to art as an expression of a
human interior life.
However, the words express, and expression are imprecise and may not necessarily
mean the same thing. The process-product ambiguity affects express like it does many other
terms: the same word is used to describe both a process and the product that comes from that
process.
TITLE: ART THEORY IN MOTION: EXPRESSIONISM

*Art Theory in Motion: Expressionism. (2014, May 7). [Video]. YouTube.
https://www.youtube.com/watch?v=Xa6jEubs8DM
Lesson 14
Aesthetic Hedonism
HEDONISM
 The term “hedonism,” from the Greek word for pleasure, refers to several related
theories about what is good for us, how we should behave, and what motivates us to
behave in the way that we do.
 All hedonistic theories identify pleasure and pain as the only important elements of
whatever phenomena they are designed to describe.
 Philosophical hedonists tend to focus on hedonistic theories of value, and especially of
well-being (the good life for the one living it). As a theory of value, hedonism states that
all and only pleasure is intrinsically valuable and all and only pain is intrinsically not
valuable.
 Psychological Hedonism is the view that humans are psychologically constructed in
such a way that we exclusively desire pleasure.
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 Ethical Hedonism, on the other hand, is the view that our fundamental moral obligation is
to maximize pleasure or happiness. It is the normative claim that we should always act
to produce our pleasure.
Aesthetic Hedonism
This type of hedonism is founded on a functional account of aesthetic pleasure,

according to which it drives and facilitates mental engagement with artworks, and pleasure
learning account, according to which it reinforces the enjoyment of culturally particular methods
of engaging with art.
In this context, pleasure can be defined as a pleasant feeling or as a psychological

reaction that reinforces a subject's proclivity to perform the activity that elicits the response. In
any case, it bases value on human response rather than objective attributes. This thesis is
applied to aesthetic value by AH, who claims that it is derived from aesthetic pleasure.
Aesthetic Hedonism contradicts objectivism, which holds that aesthetic value is

independent of experiential value (experience being, at most, an apprehension of value). AH
begins with the notion that humans "enjoy" art; aesthetic value is then regarded as the utilitarian
worth of providing them with what they want. The great tragedy, on the other hand, elicits
unpleasant emotions, and the finest art is intellectually difficult to comprehend. These are
psychological impediments to participation and enjoyment.
Most aesthetic hedonists deal with the problem by restricting the scope of either
hedonism or aesthetic pleasure. Some, such as Hume, argue that art must be evaluated
concerning the reaction of someone who has been sufficiently exposed to it and therefore
developed "taste"; only the pleasure that such individuals take in art is probative. Others, such
as Kant, believe that aesthetic appreciation is characterized by a distinct type of pleasure.
TITLE: AESTHETIC HEDONISM

*Aesthetic Hedonism. (2021, April 9). [Video]. YouTube.
https://www.youtube.com/watch?v=uBXIsBWJn_c
37
Reference

*Formalism - What is it? Why does it matter? (2015, January 30). [Video]. YouTube.
https://www.youtube.com/watch?v=KE4oNy6uTKI
*Art Theory in Motion: Expressionism. (2014, May 7). [Video]. YouTube.

https://www.youtube.com/watch?v=Xa6jEubs8DM
Lloren, Gregg S. (2011). “Horror Vacui and the Pinoy Inclination for Filling Up Every Inch of
Space”, in https://www.academia.edu.
Orate, Allan (2000). “Art and the Perception of the World,” in UE Today, Vol. 12, No.2, pp.7-8
&14.
*Aesthetic Hedonism. (2021, April 9). [Video]. YouTube.

https://www.youtube.com/watch?v=uBXIsBWJn_c
38
WEEK 6
hilosophy: Functionalism, Action Theory and Institution
Learning Outcomes

1. Define Functionalism;
2. Define Action Theory;
3. Define Institutional Theory;
4. Relate the three topics that will be discussed to art.
Lesson 15
Functionalism
 In the arts, the doctrine is that the design of an object should be determined solely by its
function, rather than by aesthetic considerations and that anything practically designed
will be inherently beautiful.
 The term is applied to architecture in which the form of a building is derived from the
function it is intended to fulfill. It would, however, be hard to substantiate the claim that
modern architecture is truly more functional than that of many other periods, particularly
as it was impregnated with aesthetic and social concerns that sometimes conflicted
directly with the requirements of use.
 Functionalism: art is defined by purpose(s) that make successful art valuable. (A
definition of "chair would normally mention that the purpose of a chair is for sitting. And a
chair that cannot be sat upon has no value as a chair. So, it seems that chairs require a
functional
39
definition. Functionalists treat art in the same way.) A function commonly assigned to art
is to provide a satisfying aesthetic experience.
Functionalism in Philosophy
 In the social sciences, the theories of all aspects of society serve a function and are
necessary for the survival of that society. Functionalism is the analytical tendency within
the social sciences most notably, sociology and social anthropology that exhibits a
particular interest in the functions of social or cultural phenomena.
 In its most traditional form, functionalism has claimed that all items and activities in a
system should be explained about their objective consequences for the system.
 A secondary but significant meaning of function in social science is similar to the use of
the term in mathematics. When it is stated that x is a function of y, it is meant that x
varies in direct proportion to the variation in y.
 In social science, this perspective on the concept of function has to do with
interrelatedness. The dominant and the secondary meanings are linked as follows. The
notion of function as consequence for the state of the system suggests that all
phenomena in the system are considered, at least initially, as being relevant to the
system's persistence.
History of Functionalism in Philosophy
 Functionalism didn’t gain its name until the 20th century, but the earliest theory that
could be considered a kind of functionalism was Aristotle’s theory of the soul. Aristotle
did not believe that the soul existed independently of the body, or that it was identical to
the material of the body or brain. He seemed to consider the soul identical to what we
call “consciousness” and to be made of its functional capacities, such as its ability to
think.
 Thomas Hobbes, in the 17th century, voiced a point of view remarkably like modern
computational functionalism. He claimed that mental activity was made from
computations, and an entirely mechanical process, even though he had never heard of a
computer.
 Dualism is the idea that mind and matter are fundamentally different “substances”
(whatever that means) and owes a lot to religious thought. Dualism is favorable towards
the idea of an incorporeal soul. But dualists were never able to say what the “thinking
substance” of the mind is and were unable to explain how mind and body could interact if
they were made of completely different stuff.
TITLE: FUNCTIONS OF ART

*functions of art. (2020, October 13). [Video]. YouTube.
https://www.youtube.com/watch?v=-FmVlK4tPbk
40
LessonTheory
Action 16
ACTION THEORY
 The subfield of philosophy of mind is especially important for ethics; it concerns the
distinction between things that happen to a person and things one does or makes
happen.
 Action theorists consider issues such as motive, desire, purpose, deliberation, decision,
intention, trying, and free will. A central problem is the question of volition, or what
connects intention with bodily movement.
 Donald Davidson asserted that an action, in some basic sense, is something an agent
does that was ‘intentional under some description,’ and many other philosophers have
agreed with him that there is a conceptual tie between genuine action, on the one hand,
and intention, on the other. However, it is tricky to explicate the purported tie between
the two concepts.
o First, the concept of ‘intention’ has various conceptual inflections whose
connections to one another are not at all easy to delineate, and there have been
many attempts to map the relations between intentions for the future, acting
intentionally, and acting with a certain intention.
o Second, the notion that human behavior is often intentional under one description
but not under another is itself hard to pin down.
 There has been a notable or notorious debate about whether the agent's reasons in
acting are causes of the action a longstanding debate about the character of our
commonsense explanations of actions.
Action Theory: Psychological
 Action theory is not a formalized and unitary theory agreed upon by the scientific
community, but rather a unique perspective, narrative, or paradigm.
 During the history of psychology, in Germany, Brentano, a teacher of Freud's, focused
1874 on intentionality as a basic feature of consciousness leading to the concept of ‘acts
of consciousness.’
 Ten years later, Dilthey distinguished between an explanation of nature and an
understanding of the mind/soul, a dichotomy, which paved the way for the ongoing
discourse on the dichotomy of explanation and understanding.
 In 1920 Stern criticized the mainstream psychology of his time because it neglected
intentionality and also cultural change as a created framework for human development.
In Paris, Janet wrote his dissertation about ‘Automatisme’ in 1889. This was the
beginning of an elaborated action theoretical system of neuroses (Schwartz 1951).
 Münsterberg, a disciple of Wundt, proposed action as the basic unit of psychology
instead of sensations at the turn of the century. These early traditions were overruled by
the neo-
41
positivistic logic of explanation expounded by the Vienna circle in philosophy and
behaviorism in psychology.
TITLE: WHAT IS ACTION PAINTING? WHAT DOES ACTION PAINTING MEAN? ACTION
PAINTING MEANING & EXPLANATION
*What is ACTION PAINTING? What does ACTION PAINTING mean? ACTION
PAINTING meaning & explanation. (2017, April 21). [Video]. YouTube.
https://www.youtube.com/watch?v=tpL_IWQoEm8
Lesson 17 Theory
Institutional
INSTITUTIONAL THEORY
 The Institutional Theory of art is a theory about the nature of art that holds that an object
can only be(come) art in the context of the institution known as "the art world".
 In 1913, Marcel Duchamp opened the door to a question everyone thought had been
answered: “What is art?” If “anything”, even a bicycle wheel, even a bottle rack, even a
urinal, could be “art”, then how can the “precincts” of art be protected from “non” or “not”
art? The power shifts from the “art” itself to the gatekeepers, those–the artists—who are
(self)-empowered to define “art”.
 It is the theory that takes it up into the world of art and keeps it from collapsing into the
real object which it is (in a sense of is other than that of artistic identification).
 The concept of the “artworld”—one word—was taken up later by the aesthetician George
Dickie who suggested a more complex theory of art that rested upon the institution,
which was known as the “institutional theory of art.” “A work of art in the classificatory
sense is
(1) an artifact (2) a set of the aspects of which has had conferred upon it the status of
candidate for appreciation by some person or some persons acting on behalf of a certain
social institution (the artworld).”
 In his 2009 book,” How to Study Art Worlds”, Hans van Maanen, concluded his chapter
on George Dickie by explaining the importance of his theory:
o Firstly, there is his concept of roles and rules, which clarifies the significance of
conventions in making an art world system op- erate;
o secondly, there is his emphasis on the essential role of the public, a public that
exists as a more or less prepared addressee of the artist’s activity.
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 Art was relative, contingent, and dependent upon the existence of institutional space.
The art institution was more than a physical one of museums and galleries, it was also a
product of reading about art by an art audience, writing about art-by-art historians and art
critics, and current conversations about art–art discourse, all of which contributed to the
“making” of an artist or a work of art through naming and designation. All the “institution”
had to do was to acknowledge the presence of the artifact and “art” was “made.”
TITLE: THE DECONSTRUCTION OF THE ART AS INSTITUTION THEORY

*The Deconstruction of the Art as Institution Theory. (2014, April 7). [Video].
YouTube. https://www.youtube.com/watch?v=VuTG0Ah1v10
Reference

*functions of art. (2020, October 13). [Video]. YouTube. https://www.youtube.com/watch?v=-

FmVlK4tPbk
*What is ACTION PAINTING? What does ACTION PAINTING mean? ACTION PAINTING
meaning & explanation. (2017, April 21). [Video]. YouTube.
https://www.youtube.com/watch?v=tpL_IWQoEm8
*The Deconstruction of the Art as Institution Theory. (2014, April 7). [Video]. YouTube.
https://www.youtube.com/watch?v=VuTG0Ah1v10
43
ACTIVITY:
Art and Philosophy
Answer the following:
A. Philosophical Theories of Art:

1. Representation Theory
2. Romantic Realism
3. Formalist Theory
4. Aesthetic Hedonism
5. Functionalism
6. Action Theory
7. Institutional Theory
a) Print/ paste pictures of the popular Filipino painting/artworks that will

represent the philosophical theories of art.
b) Rank the pictures from the most beautiful to the least beautiful and give your
criteria for ranking.
c) Give the characteristics of each artwork chosen that represent the different
theories of art.
d) What is the relationship of each artist to his work?
B. Artwork
1. If you are to create your artwork, how will you represent your artistry? Describe your
artwork.
2. Do you think your artwork represents your personality? Why?
C. What is Music Philosophy according to the following philosophers?
1. Plato
2. Socrates
3. Aristotle
D. Explain the following:
1. Music and the Emotions

2. Emotions in the Music
3. “Music gives soul to the Universe and Wings to the Mind”
44
WEEK 7
rts and Science: Elements, Medium, Design and Technol
Learning Outcomes
At the end of the lesson, you should be able to:
1. Know the theory of beauty and art;

2. List down the elements and mediums of visual art;
3. Find out the different designs and principles of composition of art;
4. Know the development of art in the application of technology;
5. Understand the importance of the art of selfies and groupies.
Lesson 18Theory of Art and Beauty

Darwinian
Dennis Dutton, a philosopher, rejects the assumption that beauty is in the eye of the
beholder or is linked to ideal form. Instead, he takes a Darwinian perspective, suggesting that
our attraction to beauty is hardwired into our human existence and desire for mates.
He defines the ideal pictorial landscape as an open view with an element of water, a forked tree,
a sampling of wildlife, and a route or road going into the distance. He claims that it is universally
appealing across cultures because it appealed to our Pleistocene hunter-gatherer forefathers,
who were probably looking for a game to feed their mates. And art is more than just expert
motion. Many individuals consider Fauve, neo-primitive, and other things that intentionally
display a lack of ability to be art.
Dutton does not go further into the nature and breadth of the basic aesthetic reactions,
as well as why such responses may be evolutionarily advantageous. He offers several very
45
implausible statements regarding how Homo Erectus reacted to hand axes. How did he realize
the axes were works of art? Perhaps they were utilized for money rather than art. And how does
he know Homo Erectus lacked language?
According to Dutton's hypothesis, natural selection allows for a repulsion reaction to

potentially dangerous conditions such as standing on the edge of a cliff. So, how can Dutton's
theory account for sublime experiences expressed by aesthetic philosophers like Edmund
Burke? According to Burke, unsettling and distressing occurrences allure us rather than repel
us.
Tolstoy's definition of art is the purposeful expression of emotion. It applies to all forms of
dance, theater, art, and music, among others. It is also incredibly beneficial to working artists
since it provides a tangible evaluation of a piece's artistic value.
TITLE: A DARWINIAN THEORY OF BEAUTY | DENIS DUTTON

*A Darwinian theory of beauty | Denis Dutton. (2010, November 16). [Video].
YouTube. https://www.youtube.com/watch?v=PktUzdnBqWI
Lesson 19
Elements and Media of Visual Art
The Elements of Visual Art
The Visual Elements of line, shape, tone, color, pattern, texture, and form are the
building blocks of composition in art. When we analyze any drawing, painting, sculpture, or
design, we examine these parts to see how they combine to create the overall effect of the
artwork.
The Visual Elements have 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 a 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 character in an
artwork. Different elements can express qualities such as movement and rhythm,
46
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.
1. LINE
 The line is the foundation of all drawings. 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 have 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
2. Shape
 The 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 contour, anatomy, and configuration of objects formed in the space describe a
shape. The most commonly used shapes are squares, rectangles, and circles.
Complex geometric shapes gain prominence in intricate artworks, sculptures,
frescoes, murals, and architectural drawings. They include hexagons, polygons,
pentagons, and various other types of overlapping shapes.
 The Perspective of Shapes: The angles and curves of shapes appear to change
depending on our viewpoint. The technique we use to describe this 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.
3. COLOR
 The Visual Element of Color has the strongest effect on our emotions. It is the
element we use to create the mood or atmosphere of an artwork.
 Color is defined as the visual and perceptual property of an image. They originate
from the spectrum of light. The intensity, strength, purity, and depth of colors
contribute to the purpose and the feel of the painting. The basic thing you must know
is, how and where to use different intensities of colors. Dark shades like black and
gray are symbolic of negativity and a somber, serious, and melancholic mood, while
bright hues reflect happiness and optimism.
47
 There are three properties to color. The first is hue, which simply means the name
we give to a color (red, yellow, blue, green, etc.). The second property is intensity,
which refers to the vividness of the color. A color's intensity is sometimes referred to
as its "colorfulness", its "saturation", its "purity" or its "strength”. The third and final
property of color is its value, meaning how light or dark it is. [4] The terms shade and
tint refer to value changes in colors. In painting, shades are created by adding black
to a color, while tints are created by adding white to color.
There are many different approaches to the use of color in art:

 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
EXAMPLES OF THE USE OF COLOR IN ART
 Color as Form
To create the illusion of form in a painting, artists traditionally added lighter and darker
pigments to the main color of an object to render the naturalistic effects of light and
shade. The main disadvantage of this technique was that much of the intensity of the
original color was sacrificed when it was blended with highlights and shadows. The
Impressionists had introduced a more scientific approach to the analysis of color to try to
solve this problem while some of the Post Impressionists had begun to use color
structurally (Paul Cézanne and Georges Seurat) and symbolically (Gauguin and Van
Gogh).
 Color as Harmony
Harmony is the compatibility, balance, or progression of similar elements.
Color as Symbol
This is Van Gogh's masterpiece from the first period of his work before he moved to
Paris in 1886. 'The Potato Eaters' is a poor Dutch peasant family sitting down to share
their frugal evening meal. They are agricultural laborers and the earthy greens and
browns that Van Gogh uses to paint them symbolize their closeness to and dependence
on the land for their survival. There is a unity of color and texture between the hands and
faces of the peasants and the potatoes and coffee they are sharing. The dark somber
tones of the work sympathetically reflect their humble existence and the artist's respect
for the quiet dignity of their labor.
48
 Color as Mood – Anxiety
'The Scream' by Edvard Munch has entered the public consciousness as an emblem
of anxiety. All its components combine to form an image of impending doom; it is a panic
attack in visual elements. The two main colors of the painting are orange and blue, a
lurid contrast from opposite ends of the spectrum guaranteed to form a tense
relationship. An anxious state of agoraphobia is generated by the extended perspective
of the bridge and the haunting waves of sound that echoes around the fjord. A stomach-
churning glimpse over the edge of the handrail initiates an attack of vertigo. A deep
sense of isolation and helplessness is experienced by the figure who is holding his head
to absorb the phobic assault from this environment, while his path of escape is blocked
by the spectral figures at one end of the bridge and the mysterious border which
channels the burning color of the sky at the other.
4. FORM
 The term form can mean several different things in art. FORM is one of the
seven elements of art and connotes a three-dimensional object in space. A FORMAL
ANALYSIS of a work of art describes how the elements and principles of artwork
together independent of their meaning and the feelings or thoughts they may evoke
in the viewer. Finally, FORM is also used to describe the physical nature of the
artwork, as in metal sculpture, an oil painting, etc.
 When used in tandem with the word ART as in ART FORM, it can also mean a
medium of artistic expression recognized as fine art or an unconventional medium
done so well, adroitly, or creatively as to elevate it to the level of fine art.
An Element of Art
 Geometric Forms: forms that are mathematical, precise, and can be named, as in
the basic geometric forms: sphere, cube, pyramid, cone, and cylinder. A circle
becomes a sphere in three dimensions, a square becomes a cube, and a triangle
becomes a pyramid or cone.
 Organic Forms: forms that are free-flowing, curvy, sinewy, and are not symmetrical
or easily measurable or named. They most often occur in nature, as in the shapes of
flowers, branches, leaves, puddles, clouds, animals, the human figure, etc., but can
also be found in the bold and fanciful buildings of the Spanish architect Antoni
Gaudi (1852 to 1926) as well as in many sculptures.
 Form in Sculpture: form is most closely tied to sculpture, since it is a three-

dimensional art and has traditionally consisted almost primarily of form, with color
and texture being subordinate. Three-dimensional forms can be seen from more than
one side. Traditionally forms could be viewed from all sides, called sculpture IN-THE-
ROUND, or in RELIEF, those in which the sculpted elements remain attached to a
solid background, including BAS-RELIEF, HAUT-RELIEF, and SUNKEN-RELIEF.
Historically sculptures were made in the likeness of someone, to honor a hero or
God.
49
 Form in Drawing and Painting: in drawing and painting, the illusion of three-
dimensional form is conveyed using lighting and shadows, and the rendering of value
and tone. The shape is defined by the outer contour of an object, which is how we
first perceive it and begin to make sense of it, but light, value, and shadow help to
give an object form and context in space so that we can fully identify it.
5. VALUE
 Value is a basic element of art that refers to the gradual change of lightness or
darkness of a color. It is created when a light source shines upon an object creating
highlights, form shadows, and cast shadows.
 Value is most evident on the grayscale where black is represented as lowest or
darkest and white is represented as the highest or lightest value. Or more simply
said, they are the various shades of grey between white and black. Artists use them
to create highlights and shadows (shading) in objects and create depth in their
paintings or drawings.
 Colors can have value too. In painting, value changes can be achieved by adding
either black or white to the chosen color. Some colors, like yellow and orange, are
naturally light in value.
6. SPACE
 Space is one of the basic elements of art. It refers to the distance between or the
area around and within shapes, forms, colors, and lines. Space can be positive or
negative. It includes the background, foreground, and middle ground. Both positive
and negative space can play important roles in the overall success of a work of art.
By understanding the difference between the two, you will:
a) Become better at designing unified compositions.
b) Be more successful in visually communicating your story.
c) Gain important clues about the meaning of an art piece.
 Two types of space exist within art — positive space and negative space.
 Positive Space: Positive space is the area or part of the composition that an
object or subject occupies. It is usually the focus of the painting, such as a
vase of flowers, fruit, or candle in still life, a person’s face in a portrait, or an
animal in a wildlife painting, or a building, trees, and hills in a landscape.
When used skillfully, positive space will add interest by enhancing and
balancing the negative space in a composition.
 Negative Space: Negative space is that empty or open space that surrounds
an object. It helps to define the object, gives it some breathing room to
prevent the painting from being too crowded, and has a huge impact on how
the art piece is perceived.
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7. TEXTURE
 The texture is one of seven elements of art. It is used to describe the way a three-
dimensional work feels when touched. In two-dimensional work, such as painting, it
may refer to the visual "feel" of a piece.
 At its most basic, the texture is defined as the tactile quality of an object's surface. It
appeals to our sense of touch, which can evoke feelings of pleasure, discomfort, or
familiarity. Artists use this knowledge to elicit emotional responses from people who
view their work. The reasons for doing so vary greatly, but the texture is a
fundamental element in many pieces of art.
Mediums Of Visual Arts
8. PAINTING
 It is the expression of ideas and emotions, with the creation of
certain aesthetic qualities, in a two-dimensional visual language. The elements of
this language—its shapes, lines, colors, tones, and textures—are used in various
ways to produce sensations of volume, space, movement, and light on a flat surface.
These elements are combined into expressive patterns to represent real or
supernatural phenomena, to interpret a narrative theme, or to create wholly abstract
visual relationships. An artist’s decision to use a particular medium,
such as tempera, fresco, oil, acrylic, watercolor or other water-based
paints, ink, gouache, encaustic, or casein, as well as the choice of a particular form,
such as a mural, easel, panel, miniature, manuscript illumination, scroll, screen or
fan, panorama, or any of a variety of modern forms, is based on the sensuous
qualities and the expressive possibilities and limitations of those options. The
choices of the medium and the form, as well as the artist’s technique, combine to
realize a unique visual image.
9. SCULPTURE
 It is an artistic form in which hard or plastic materials are worked into three-
dimensional art objects. The designs may be embodied in freestanding objects, in
reliefs on surfaces, or in environments ranging from tableaux to contexts that
envelop the spectator. An enormous variety of media may be used, including clay,
wax, stone, metal, fabric, glass, wood, plaster, rubber, and random “found” objects.
Materials may be carved, modeled, molded, cast, wrought, welded, sewn,
assembled, or otherwise shaped and combined.
10. PRINTMAKING
 This involves creating images from ink that is transferred to paper from another
material, either wooden blocks or metal plates that are etched or carved with
designs in the reverse position. This is so when ink is applied over the surface
and this mold is pressed over the paper, an image is printed out. Prints have
been produced in 4 different ways:
 Relief printing (woodcut). The ink sits on the top surface of a plate or
block that has been carved.
 Intaglio printing (etching and engraving). The ink sits in the grooves.
51
 Planographic printing (lithography). The matrix is flat, and the printing
part is treated to hold ink, the other parts, to repel it.
 Stencil printing (silkscreen). There is a hole cut in the matrix and the
ink is pushed through it.
11. PHOTOGRAPHY
 Photography (from the Greek 'phos' which means light and 'graphics which
means representation by drawing) is the process of creating pictures using light
projected on a light-sensitive medium (the photographic film). It is the art of
recording light on a sensitive material called film made from a thin, transparent
base coated with light-sensitive chemicals.
 The art in photography does not solely reside on the camera but on the skills and
techniques of a photographer in controlling the tool.
12. ARCHITECTURE
 Architecture is an art form that reflects how we present ourselves across the
earth’s landscape, and, like other expressive mediums, it changes with styles,
technologies, and cultural adaptations.
 From the Latin word architectura, the word we use describes the job of an
architect. The ancient Greek arkhitekton was the chief builder or master
technician of all craftsmen and artisans.
 Depending on the context, the word "architecture" can refer to any man-made
building or structure, like a tower or monument; a man-made building or structure
that is important, large, or highly creative; a carefully designed object, such as a
chair, a spoon, or a tea kettle; a design for a large area such as a city, town,
park, or landscaped gardens; the art or science of designing and building
buildings, structures, objects, and outdoor spaces; a building style, method, or
process; a plan for organizing space; elegant engineering, etc.
TITLE: TYPES OF VISUAL ELEMENTS | ENGLISH 6.

*Types of Visual Elements | English 6. (2020, October 27). [Video]. YouTube.
https://www.youtube.com/watch?v=2WtWwo28yA8
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Lesson and
Designs 20 Principles of Composition
COMPOSITION is a term used to describe the arrangement of the visual elements in a painting
or other artwork. It is how the elements of art and design—line, shape, color, value, texture,
form, and space—are organized or composed according to the principles of art and design—
balance, contrast, emphasis, movement, pattern, rhythm, unity/variety—and other elements of
composition, to give the painting structure and convey the intent of the artist.
BALANCE is even the use of elements throughout a work of art. It is the consideration of visual
weight and importance. It is a way to compare the right and left sides of a composition.
1. Formal Balance
a. Both sides are similar in visual weight and almost mirrored. Because symmetrical
balance often looks stiffer and more formal, sometimes it is called formal
balance.
2. Asymmetrical Balance
a. Both sides are similar in visual weight but not mirrored. It is a more casual,
dynamic, and relaxed feeling so it is often called informal balance.
3. Radial Balance
Is not very common in artist's compositions, but it is like a daisy or sunflower with
everything arranged around a center. Rose windows of cathedrals use this design
system.
 Symmetry is a very formal type of balance consisting of mirroring portions of an
image. Bilateral symmetry, that is, two-sided symmetry, is the most common, in
which two halves of a work of art mirror each other. The symmetry gives the
painting not only a sense of balance, but also a sense of calm, stability, and
formality.
 Emphasis consists of drawing attention to one or more points in a work. This can
be accomplished through any of the visual elements. 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.
 Movement refers to a sense of motion as the eye is guided through a work of art.
This can be accomplished by showing figures in motion or simply through visual
elements.
 Proportion refers to the relationship of parts of a body or form to one another
and of the parts to the whole, for example, the size of the head of a figure with
the entire body.
 Scale is the relationship of parts of an image to the image as a whole or
something in the world outside of the image, for example, the size of the figure of
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a king in an
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image as compared to the size of the figure of his servant in the same image, or
the size of a statue of the king as compared to the size of an actual person.
 Repetition can be less structured than pattern, which is more regular. The large
base of a Ming Dynasty Chinese Bronze statue of Vairochana Buddha is
composed of literally thousands of tiny which therefore seem to serve to support
Buddha figuratively, as well as visually. Their repetition is very regular,
establishing a clear pattern. This is also the case in the Buddhist mandala from
the 9th century. The pattern in both cases emphasizes the unity of purpose
shared by these thousands of figures, each an embodiment of the ideal of
compassion.
 Rhythm is the visual tempo set by repeating elements in a work of art or
architecture. The arches and columns of the Great Mosque of Cordoba provide a
good example. They are spaced very evenly, setting up an even tone to the
building. This is then enlivened by the rhythm created by the striped pattern on
the arches.
 Variety is the use of different visual elements throughout a work, whereas unity
is a feeling that all the parts of the work fit together well. These do not have to be
opposites, as a work filled with variety might also have unity.
 Unity in a composition is achieved when all the design principles (balance,
emphasis, proportion, contrast, and movement) have been correctly applied and
there is harmony between them. Everything selected for use in composition must
complement the key theme and must also serve some functional purpose within
the design. Achieving unity in your compositions will only result from practicing,
knowing, and selecting the right visual elements and using the best principles of
design to relate them.
 Opposition means dividing space by straight lines. It’s a simple place to start,
with the intention that the reader can begin to get a feeling for ‘fine relations’ –
harmony and beauty – without distractions.
TITLE: ELEMENTS AND PRINCIPLES OF DESIGN

*Elements and Principles of Design. (2018, July 18). [Video]. YouTube.
https://www.youtube.com/watch?v=RV55srVwWMM
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Lesson 21
Aof pTep
Rise chlincolaogtyioinnArot –f bTy eThcohmansoEvloangs y to the Pro
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Since the earliest cave paintings, the history of art has evolved in tandem with
developments in technology. In the 15th century, Jan Van Eyck experimented with oil-based
pigments, ushering in a new era of painting. The introduction of photography at the end of the
19th century changed how artists see the world forever. More recently, Andy Warhol’s most
famous works used screen-printing, an innovative new technology borrowed from the graphic
arts.
Today, technology is moving at a much faster pace than ever before, and artists have a
huge range of contemporary media and techniques to choose from. From 3D printing to
interactive installations to conductive paint, artists have found myriad new ways to connect with
the technologically developed world we live in. We wanted to share some of the most common
technologies that artist is utilizing today to give a good perspective on the rise of technology in
art.
3D PRINTED ART
 3D printing or “additive manufacturing” technology has been in development for several
decades now, but it was in the early 2000s that 3D printing exploded into the public view,
with the media reporting on the technique’s potential in the fields of science, medicine,
and manufacturing. In 2005, a growing trend for incorporating 3D printing into art and
design was first noted, and this technology has become increasingly prevalent in art. 3D
printing allows artists to create highly detailed and infinitely manipulable models, which
can be presented as artworks in their own right or which can be used as scale models
for a larger piece.
INTERACTIVE ART
 Interactive art and installation art have been around since the 1950s, but recently digital
developments have allowed artists to create completely immersive experiences, which
the viewer can interact with on several levels.
 One pioneer of digital installation art was Rafael Lozano-Hemmer. His 2005-
piece Subtitled Public consisted of a darkened room installed with infrared surveillance
cameras. The cameras tracked visitors as they moved, and a single verb was projected
onto each viewer’s torso, following them around the room. If one visitor touched another,
their verbs would be exchanged, encouraging viewers to engage with each other as well
as with the artwork.
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ONLINE ART
 With the prevalence of the Internet and our constant visual consumption online, it makes
sense that we’re starting to see the artwork, which only exists on the web. Much of this
work challenges the conventions of the art world since websites can usually be accessed
by all and are difficult to sell on the traditional art market. Internet-based artworks have
been around since the 1990s when the “net. art” movement took off. Examples from this
period include Olia Lialina’s My Boyfriend Came Back from the War (1996), a browser-
based art experience in which a narrative unfolds as the user clicks various links.
AUGMENTED REALITY
 Augmented reality programs use existing cameras and smart technology to add layers of
information and imagery to a user’s view of the world. Augmented reality offers a unique
crossover between the physical world in which we live and the digital world in which we
spend much of our time. It’s being adopted by museums worldwide in order to engage
viewers (particularly younger ones) with the art and artifacts on display.
NEW FRONTIERS: VIRTUAL REALITY IN ART

 Right now, it’s artists working with virtual reality who are pushing the boundaries of
contemporary art. Authoritative art editorial website Artsy has even argued that virtual
reality is “the most powerful artistic medium of our time”. Mostly achieved through multi-
sensory headsets, virtual reality places the viewer in a completely new simulated
environment, where they can look, listen, and interact with a virtual version of reality.
TITLE: HOW ARTISTS ARE USING TECHNOLOGY

*How Artists Are Using Technology. (2020, July 16). [Video]. YouTube.
https://www.youtube.com/watch?v=Nxh-5EXXGaM
57
Lesson
Art 22 and Groupie
of Selfie
Art evolves together with the times. The painting was the finest technique to build a
picture of oneself 500 years ago (being in opulent surroundings and posing as or with religious
figures was optional but highly recommended). We'd call all of Thomas Gainsborough's
paintings art, yet many of them were just capturing the moment/showing people in their finest
light. Then photography took over, providing a more accurate and, eventually, more cheap
depiction.
We now utilize selfies to show others where we are and what we're up to. Smartphones
have enabled anybody to become a photographer, and some of the photos shot with phones
these days are excellent – many photography contests now include a smartphone category.
Nothing is more expressive than the human face if art is about expression.
 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.
 Selfies is considered as a type of dynamic art form. Analysis identifies a range of
different types of museum selfies: art interactions, blending into art, mirror selfies,
silly/clever selfies, contemplative selfies, and iconic selfies. Considered and studied in
context, the museum selfie phenomenon reveals far more than the narcissism of the sort
explored by past psychological research. The ethnographic exploration of the selfie sees
it as more than a quest for attention but less than a genuinely destabilizing social force.
 Selfie-taking is complex and multidimensional, a cultural and social act, a call for
connection, an act of mimicry, and part of people’s ever-incomplete identity projects. In
the West, self-portraits emerged as an important visual genre in and around the 16th
century, typified by painters such as Albrecht Dürer and Rembrandt. These painters
used self-portraiture to enshrine themselves as artists, as well as to reveal the inner
depths of their character”.
 Carbon (2017) uses an art history perspective to explore this artful element of selfies. He
finds that selfies aim to communicate and express complex, multidimensional cultural
messages similar to those of self-portraits from the domain of artistic painting have done
for centuries (see Schroeder, 2002, 2013).
 Selfies “reveal something about the creator in particular, but also something about
humans in general” (Carbon, 2017, p. 17
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 The extent of selfie-taking in consumer culture as well as its evolution. Google Trends
shows that selfie as a search term emerged in December 2012. Instagram currently
features 277,724,072 posts that are tagged with the hashtag “#selfie”. That museum
plays an important role in facilitating selfie-taking becomes apparent through the
extensive use of the selfie subcategory hashtags “#artselfie” (36,426 posts on
Instagram) and #museumselfie (29,139 posts). On a pragmatic level, it is apparent in the
so-called “selfie museums” in Southeast Asia that present art objects specially selected
for their suitability as selfie backgrounds (Nationalpost.com, 2015).
 Selfie-taking as an aesthetic consumption experience and the self as an aesthetic object
come into play in a variety of ways in the selfies taken at museums. First, we find
evidence for the “art as wallpaper” selfie as suggested by Goldsmith in Burness (2016).
In these selfies, fragments of artwork form the background for close-up views of the self.
TITLE: THE ART OF THE SELFIE | ART HISTORY LESSON

*The Art of the Selfie | Art History Lesson. (2016, August 5). [Video]. YouTube.
https://www.youtube.com/watch?v=ontgK-_zBfQ
59
Reference

*A Darwinian theory of beauty | Denis Dutton. (2010, November 16). [Video]. YouTube.
https://www.youtube.com/watch?v=PktUzdnBqWI
*Types of Visual Elements | English 6. (2020, October 27). [Video]. YouTube.

https://www.youtube.com/watch?v=2WtWwo28yA8
*Elements and Principles of Design. (2018, July 18). [Video]. YouTube.

https://www.youtube.com/watch?v=RV55srVwWMM
*How Artists Are Using Technology. (2020, July 16). [Video]. YouTube.
https://www.youtube.com/watch?v=Nxh-5EXXGaM
*The Art of the Selfie | Art History Lesson. (2016, August 5). [Video]. YouTube.
https://www.youtube.com/watch?v=ontgK-_zBfQ
60
WEEK 8
Midterm Examination
ANSWER THE FOLLOWING:
A. CULTURAL HERITAGE MAPPING
Describe your community/town/province or city using vivid descriptions and if possible,

attach pictures of the following: (This will assist communities in recognizing, celebrating, and
supporting cultural variety to foster economic, social, and regional growth.)
1. Name of your residence town/province or city (your current residence

or hometown)
2. Native heroes/national artists
3. National heroes’ heritage houses
4. Libraries/archives
5. Old famous churches, buildings, statues, theatres, and national shrines a. Built
before or during 1900 to 1946 b. Designed by national artists
6. Old trees 100 yrs. and above
7. Zoos or animal sanctuaries
8. Famous resorts
9. Famous bakeries, restaurants/ hotels
10. Native delicacies
11. Mode of transportation
12. Art schools (ballet, dance/ music or the like)
13. Groups that perform traditional literature like Pasyon, komedya, and the like
B. COMMUNITY CREATIONS
1. What makes any work of art great?

2. Are there standards for grading the work of art? If yes, give your basis.
3. If you were to create a museum, what would it be focused on? Why?
.
a. Who will be your target audience? Why? (Describe your

target audience according to age, education, class, religion, education, etc.)
61
i. Are you targeting the general public or high school students like
yourself, or your local government officials, or many others that were
not mentioned here?
b. Who do you think would benefit most from the knowledge your museum will
impart? Why?
i. How will you go about sharing this knowledge to make an impact?
4. If you were to create an art festival in your community, how would you envision it?
a. Which places would you like to designate as a site of exhibitions and other
related activities? Why?
b. What are your considerations in making your selection?
A. REFLECTION
1. What have you learned about your community?

a. How can these learnings develop your sense of identity?
2. How much of yourself can remain constant and how much can remain open to future
changes?
3. How do you keep a sense of community at the same time build a sense of self that
assumes varied roles in an environment that constantly shifts?
62
WEEK 9
Arts and Mathematics: Aesthetic Formalism
Learning Outcomes
1. Define aesthetic formalism;

2. Define artistic proportionalism;
3. Relate the study of art to mathematics.
Lesson 23
Aesthetic Formalism
Formalism in aesthetics has traditionally been understood to relate to the philosophical

position that the characteristics that define an artwork and determine its value are formal in the
sense that they are accessed solely through direct sensation (usually sight or sound).
Even when restricted to the confines of aesthetic and literary theory, the words "form"
and "formalism" can have diverse meanings and refer to very different formal objects.
Formalism can relate to an aesthetic philosophy regarding what artwork does or should do. The
Russian Formalists were the first to use the term "formalism" in an artistic sense. Aesthetic
Theory known as Formalism stresses the visual quality of the artwork. Given the work of not just
the Russian Formalists, but also other New Critics, one might question if it is the oldest such
usage, but one cannot deny that the notion, like the first usage, dates to the emergence of
modernism in the early twentieth century. Three connected assertions emerge because of this
confluence of occurrences. To begin his definitional argument, the author refers to Kant's
famous remark that aesthetic perception considers natural objects lovely when it sees them be
purposeless.
 Focuses on the effective arrangements of colors, size, shapes, lines, and other elements
of arts.
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 Often in a distorted and abstract projection and it does not have to be presented
realistically.
 Refers to the style of criticism that focuses on the artistic or literary techniques
themselves, in separation to its work's social and historical context.
 Consciously detached from ideological and contextual contents and degrading the politics.
TITLE: AESTHETICS: FORMALISM

*Week 7 Aesthetics: Formalism. (2020, November 2). [Video]. YouTube.
https://www.youtube.com/watch?v=1gU5UYojR_c
Lesson 24
Harmony of Proportions
The main postulates of the theory, which unifies proportions in statics and dynamics,
explain how they relate to the functions of the social system. The theory's validity has been
shown. Its importance is demonstrated via specific instances, not just for anticipating social
processes and finding optimal connections in society, but also for the advancement of general
systems theory.
It is the sound of the harmony of the created being of the world, the harmony of what
Plato termed the "one visible living being, having within itself all living creatures of the same
natural order," together with its underlying mathematical rules of proportion.
In art, proportion refers to the connection between two or more components in a

composition and how they compare to one another in terms of size, color, number, degree,
placement, and so on, i.e., ratio.
When the principle of proportion is applied to a work of art it is usually in the relationship
of size. That is the size of one element as compared to the size of another related element
within the same composition. In this instance, a comparison of size is made between the:
 Height, width, and depth of one element to that of another
 Size of one area to the size of another area
 Size of one element to the size of another element
64
 Amount of space between two or more elements
There are several ways for achieving good proportion:
 Place-like elements together that are similar or have a common feature.

 Create major and minor areas in the design, as equal parts can quickly become
monotonous and boring. However, the differences in size must not be so great as to
make the parts appear unrelated and therefore, out of harmony with each other.
 The arrangement of space should be in such a way that the eye does not perceive a
standard mathematical relationship. Dividing up the composition into halves, quarters
and thirds should be avoided. A subtle relationship creates a more dynamic design.
 Create harmony in the artwork. Harmony is an agreement between the shapes that
stresses the similarities of all parts. In other words, the shape of one part should “fit” the
shape of the adjoining elements. Shapes should “fit” properly in their positions and
spaces.
TITLE: PRINCIPLES OF DESIGN PART 10 PROPORTION

*Principles of Design Part 10 Proportion. (2018, August 29). [Video]. YouTube.
https://www.youtube.com/watch?v=ztLseWvJgGg
LessonMeasure
Golden 25
The number phi, often known as the golden ratio, is a mathematical notion that dates
back to the time of the ancient Greeks. It, like pi and e, is an irrational number, which means
that its terms continue indefinitely after the decimal point without repeating. Over the years, a
considerable deal of mythology has accumulated around phi, such as the notion that it
embodies ideal beauty or is found only in nature. Much of that, however, is untrue.
Definition of Phi
Take a stick and cut it into two pieces to represent Phi. The sections are said to be in the
golden ratio if the ratio between these two segments is the same as the ratio between the entire
stick and the bigger segment. According to mathematician George Markowsky of the University
65
of Maine, this was initially described by the Greek mathematician 7Euclid, who termed it "the
division in extreme and middle ratio."
You can also think of phi as a number that can be squared by adding one to that number
itself, according to an explainer from mathematician Ron Knott at the University of Surrey in the
U.K. So, phi can be expressed this way:
phi^2 = phi + 1
This representation can be rearranged into a quadratic equation with two solutions, (1 +
√5)/2 and (1 - √5)/2. The first solution yields the positive irrational number 1.6180339887… (the
dots mean the numbers continue forever) and this is generally what's known as phi. The
negative solution is -0.6180339887... (notice how the numbers after the decimal point are the
same) and is sometimes known as little phi.
One final and rather an elegant way to represent phi is as follows:
5 ^ 0.5 * 0.5 + 0.5 This is five raised to the one-half power, times one-half, plus one-half.
Does the golden ratio exist in nature?
Though people have known about phi for a long time, it has just recently acquired
popularity. According to Knott, the Italian Renaissance mathematician Luca Pacioli produced a
treatise called "De Divina Proportione" ("The Divine Proportion") in 1509 that studied and
popularized phi. Pacioli utilized Leonardo da Vinci drawings that included phi, and da Vinci
probably was the first to name it the "sectio aurea" (Latin for the "golden section"). It wasn't until
the 1800s that the Greek letter (phi) was adopted to denote this number by American
mathematician Mark Barr. Many amazing qualities have been assigned to phi, as indicated by
various names for the number, such as the holy proportion and golden section.
TITLE: WHAT IS THE GOLDEN RATIO?

*What is Golden Ratio - easy explanation. (2015, March 26). [Video]. YouTube.
https://www.youtube.com/watch?v=wdk37T8TltM
66
Lesson 26 Structure of Music
Mathematical
Reading Notes And Fractions
Musical parts are interpreted in the same way as arithmetic symbols are. The symbols
symbolize various aspects of the work. Measures or bars are the parts of a musical
composition. Each unit of measurement represents an equal amount of time. In addition, each
measure is split into equal halves known as beats. All of these are mathematical divisions of
time.
In music, fractions are used to represent note lengths. Each note has a unique form that
indicates the length of time of the beat. Numbers are often used to categorize notes. Whole
notes (one note per measure), half notes (two notes per measure), quarter notes (four notes per
measure), eighth notes (eighth notes per measure), and sixteenth notes are the different types
of notes (sixteen notes per measure). These values indicate how long the notes will last. That is,
a whole note would last through the entire measure whereas a quarter note would only be the
last
¼ of the measure and thus there is enough time for four quarter notes in one measure. This can
be expressed mathematically since 4 x 1/4 = 1. A note with a dot after it lengthens the note by
half.
FIBONACCI
The Fibonacci sequence is a famous and well-known sequence that follows as: 1, 1, 2, 3, 5, 8,
13, 21, 34, 55, 89, … and so on, adding each term to the one before it to create the next term.
That is, 5 + 8 = 13, 8 + 13 = 21, 13 + 21 = 34, and continuing infinitely. In music, the Fibonacci
sequence can be seen in piano scales.
The ratio between each term in the Fibonacci sequence is extremely close to 0.618, which
is known as the golden ratio. Music is more than just a series of notes strung together to
produce harmony. It's all about rhythm and melody, as well as the shifting of notes with time. If
you look attentively, you may see mathematical and geometric patterns in music and its
compositions. The odd terms of the Fibonacci ratio (the 1st, 3rd, 5th... terms) are all smaller
than the golden ratio, but the even terms of the Fibonacci ratio (the 2nd, 4th, 6th... terms) are all
greater than the golden ratio.
Because it has a geometric interpretation, the golden ratio is a valuable tool. The geometric
application of this ratio is used to divide a line into two unequal sections if the percentage of the
length of the whole line to the larger line segment is equal to the proportion of the bigger line
segment to the smaller line segment.
67
The golden ratio helps works of art look balanced and attractive. It may be found in
mosques and the Acropolis, as well as in book design, photos, and paintings. Artists may not
usually employ the golden ratio deliberately, but it can be used as a consequence of a feeling of
beauty and harmony.
Pythagoras and Frequency
Pythagoras was the first to recognize that different sounds may be produced by using
varied weights and vibrations. This led to his discovery that the pitch of a vibrating string is
related to its length and can be adjusted. Strings that have been cut in half are one octave
higher than the original. In principle, the higher the pitch, the shorter the string. He also learned
that certain notes sound better when combined with several frequencies of the same note.
Patterns are the most obvious link between music and arithmetic. Musical works
frequently feature recurring choruses or bars, which are comparable to patterns. We search for
patterns in mathematics to explain and anticipate the unknown. The music employs comparable
techniques. When listening to a piece of music, musicians seek notes that they recognize to
identify notes that are uncommon (high or low) and less familiar. Notes are related to one
another in this fashion. Relationships are essential to mathematics, and they provide an
intriguing connection between music and mathematics. When we hear a note, we are hearing a
periodic sequence of vibrations; sound enters our ears as a sine wave, which compresses the
air in a periodic pattern.
The frequency at which maximum and minimum air pressure alternate each second
defines the frequency of this sine wave. Sounds, especially instrument notes, do not reach our
hearing in their purest, most fundamental form. Instead, overtones are added to the notes'
sound wave. An overtone is a note whose frequency is a multiple of the fundamental frequency.
The power of overtones, discovered by the French mathematician Marian Mersenne in 1636,
was unknown to the ancient Greeks.
This crucial discovery was made by Pythagoras, the first true music theorist, and his
school of thinking. Pythagoras discovered the relationship between musical intervals and integer
ratios by extending the interval of the fifth to generate other intervals. According to Jamblichus,
a Masonic4 biographer of Pythagoras, “[Pythagoras was] thinking with himself if it would be
feasible to provide instrumental help to the hearing, which could be solid and unerring, such as
the eye receives through the compass and rule.”
The musical interval between two notes produced by two different hammers was
determined solely by the weights of the hammers, and in particular, the consonant musical
intervals (which in Ancient Greek music were the intervals of the octave, the fifth, and the fourth)
corresponded with weights to fractions, 2/1, 3/2, and 4/3, respectively. Pythagoras, as
previously stated, undertook a series of tests with various instruments to prove the link between
musical intervals and fractions.
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For additional information see the link below:

*Ancient Aliens: Pythagoras’ Revelations of Mathematical Sound (Season 12, Episode 8) |
History. (2018, September 14). [Video]. YouTube. https://www.youtube.com/watch?
v=0H25d8eVsZ4
Reference

*Week 7 Aesthetics: Formalism. (2020, November 2). [Video]. YouTube.

https://www.youtube.com/watch?v=1gU5UYojR_c
*Principles of Design Part 10 Proportion. (2018, August 29). [Video]. YouTube.

https://www.youtube.com/watch?v=ztLseWvJgGg
*What is Golden Ratio - easy explanation. (2015, March 26). [Video]. YouTube.
https://www.youtube.com/watch?v=wdk37T8TltM
Panofsky, Erwin (1955). “The History of the Theory of Human Proportion as a Reflection of the
History of Styles,” in Meaning in the Visual Arts. Australia: Penguin Books, 1955. pp.117-
134.
*Ancient Aliens: Pythagoras’ Revelations of Mathematical Sound (Season 12, Episode 8) |

History. (2018, September 14). [Video]. YouTube.
https://www.youtube.com/watch?v=0H25d8eVsZ4
69
ASSESSMENT & ACTIVITY:
Art, Science and Mathematics
ASSESSMENT
Answer the following: (Avoid Plagiarism. You can include references to validate the information
you have given.)
1. Explain the Darwinian Theory of Beauty.

2. Do you believe in the Darwinian Theory of Beauty? Have you experienced it? If yes, give
example. If no, give a reason.
3. Explain beauty with regards to the following concepts:
a. As a social construct
b. As biological adaptation
c. Associated with morality
4. Explain the following:
a. “Songs function as a repository of knowledge and cultural values that can be
transmitted across persons and generations.”
b. “Musical behaviors are universal across human populations and, at the same
time, highly diverse in their structures, roles, and cultural interpretations.”
ACTIVITY
Make a drawing and choose your theme. Attach your drawing or paste the picture into your
instructional material. Answer the following:
1. What theme did you use for your drawing? Why?

2. What method did you use in your drawing? Why?
3. Enumerate the elements and principles of design that you applied in your drawing and
give your reason for using them in your design.
4. How can you apply technology in your drawing? Send another picture showing the use
of technology in your drawing.
5. If we are to interpret the meaning of your artwork, can we say that your artwork
represents your personality? Why?
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WEEK 10
Arts and Anthropology: Cultural Relativism
Learning Outcomes
1. Define cultural relativism;

2. Examine, analyze, and understand works of art from various cultures;
3. Discuss multicultural forms of beauty and appreciate diversity;
4. Compare aesthetic approaches from cultures of the primitive era to the popular
culture of the modern period.
Lesson Relativism
Cultural 27 in Aesthetic
Cultural Relativism
Culture could be based on shared ethnicity, gender, customs, values, or even objects. In
addition, culture can also demonstrate the way a group thinks, their practices, or behavioral
patterns, or their views of the world.
Some examples:
 In some countries like China, it is acceptable to stare at others in public or to stand very
close to others in public spaces.
 In South Africa, if you board a nearly empty bus or enter a nearly empty movie theater, it
is regarded as polite to sit next to the only person there.
Cultural relativism refers to not judging a culture to our standards of what is right or wrong,
strange or normal. Instead, we should try to understand the cultural practices of other groups in
their cultural context.
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Cultural relativism is the idea that a person's beliefs, values, and practices should be
understood based on that person's own culture, rather than be judged against the criteria of
another.
Anthropologists argue that while considering other cultures and communities, we should
consider their traditions in a way that allows us to understand how their cultural practices fit into
their broader cultural framework. Having many spouses, for example, may make economic
sense for herders who travel around a lot. Polygamy makes cultural sense when seen in this
light.
Aesthetic relativism is the philosophical view that the judgment of beauty is relative to different
individuals and/or cultures and that there are no universal criteria of beauty. In contemporary
(cross-cultural) terms, body modification among "primitive" peoples is sometimes regarded as
grotesque by Western society.
Aesthetic
The aesthetic is the creation and appreciation of BEAUTIFUL human-made objects by

the artists in their creativity, by the art spectator with artistic taste, anything with a value that
delights, and art distinguished from nature.
The words "sublime" and "beautiful" are only two of the many that may be used to
describe our aesthetic experiences. For starters, there are clear terms like "ridiculous" and
"ugly." However, those who are more discriminating will have no trouble discovering something
that is "fine" or "beautiful" rather than "terrible" or "hideous," and "exquisite" or "superb" rather
than "gross" or "foul”.
For example, one may frequently characterize works of art in words that are primarily
concerned with the emotional and mental lives of humans. They can be described as "joyful,"
"melancholy," "serene," "witty," "vulgar," and "humble," among other things. Because of their
additional applications, these are not exclusively aesthetic words, yet they are nevertheless
extremely important to many aesthetic experiences.
TITLE: AESTHETIC RELATIVISM AND FEMALE PSYCHOLOGY

*Aesthetic Relativism and Female Psychology. (2018, February 8). [Video].
YouTube. https://www.youtube.com/watch?v=BP4fANoFLzI
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|
Lesson 28 Culture Beauty and the Female Body
BEAUTY- CULTURE
Beauty culture refers to the fashions, goods, and people connected with beauty, as well
as the emphasis on physical appearance and aesthetics. The focus on supermodels and the
creation of a conventional image of beauty is an example of beauty culture.
How Culture Influences Beauty
The definition of beauty lies in the eye of the beholder. Our sense of beauty is influenced
by cultural influences and aesthetic notions dictated by the fashion demands of the time.
Women, and occasionally men, would frequently go to absurd extremes and endure great
suffering to reach the elusive beauty ideal. Is your definition of perfection worth the cost?
Body & Beauty Standards
With images of ideal beauty overwhelming us daily, it is easy to forget that beauty
standard are arbitrary and vary significantly between cultures and time. Such differences in
beauty ideals frequently mirror the responsibilities that men and women are expected to play in
each community. In cultures where women are primarily valued for their fertility—their capacity
to carry and nurture children—full-bodied women with broad hips and big breasts are frequently
seen as the most beautiful. Large bodies are a sign of prestige and power in civilizations such
as Fiji. It is hardly surprising, however, that persons who would be considered fat in the United
States are regarded as the most attractive and desirable members of this community. However,
as societal conditions and gender roles shift, so do perceptions of beauty.
TITLE: HOW WOMEN’S PERFECT BODY TYPES CHANGED THROUGHOUT HISTORY

*How Women’s Perfect Body Types Changed Throughout History. (2017, March
27). [Video]. YouTube. https://www.youtube.com/watch?v=y4ipUdS8Td4
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Lesson
The Art of29
Pleasure in Hindu Culture and Religion
HINDUISM
Hinduism is a collection of various traditions and concepts rather than a fixed set of
beliefs. Most Hindus believe in a single ultimate God who manifests as many distinct devas
(celestial beings or deities), and they may worship specific devas as individual aspects of the
same God. Hindu sculpture, like other types of Hindu art, shows this diversity of ideas. Because
religion and culture are inextricably linked in Hinduism, recurrent motifs like gods and their
reincarnations, the lotus flower, additional limbs, and even ancient arts may be seen in many
Hindu sculptures. (Hindu Art | Boundless Art History, 2021).
Sexual Pleasure In Hinduism
Religious attitudes toward the body in Hinduism traditionally oscillate between the
impulses of pleasure, especially erotic pleasure, and celibate asceticism.
Classical Brahmanic sources mention four aims or goals of human life:
1. dharma (righteous behavior, ethics, duty);

2. artha (power, economic commodities);
3. kama (pleasure, especially sexual pleasure);
4. moksa (spiritual liberation).
Texts concerned with the principle of kama:
1. Kamasutra of Vatsyayana (ca. 300 CE), describe sexual pleasure by invoking

words such as rasa (aesthetic relish), bhava (emotional attitude), rati (passion),
priti (love), raga (attachment), and samapti (release, orgasm).
2. Sanskrit word commonly used in regional languages to speak of the principle of
sexual pleasure is bhoga (enjoyment), and the same word is invoked in a variety
of other contexts related to sensory indulgence, including the consumption, and
relishing of food.
Although most Sanskrit writings make it clear that dharma and moksa are goals that
should pervade all aspects of life, the attainment of riches and pleasure is limited in time.
Pleasure is to be had in youth, particularly in the framework of grhastha-asrama (married life)
and for procreation. After parental responsibilities have been fulfilled, an individual is urged to
abandon home life altogether and finally pursue a samnyasa-asrama lifestyle (celibate, ascetic
lifestyle).
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Certain people are excluded from household life entirely if they commit to asceticism throughout
their youth or adolescence. These individuals are regarded as extremely powerful on account of
their ability to retain sexual fluids and transform them into vital energies within their bodies
(Sexual Pleasure in Hinduism, 2021).
Although classical writings frequently emphasize the control and management of desire
and physiological pleasure, Hindu traditions of poetry, visual art, iconography, ritual, music, and
dance promote sexual experience and provide a distinct viewpoint on the location and function
of pleasure. Hindu courtly civilizations, such as those of South India's Nayaka kings (about
sixteenth to eighteenth-century CE), were profoundly invested in aesthetic pleasures. They
nurtured a dynamic culture of literary and creative output that changed the social ties of their
courts to the point that courtesans were elevated to the status of queens based on the quality of
their poems. Courtesans known as vesya or ganika played important roles in imperial culture.
They had a tremendous impact on the public and private realms as conduits for and agents of
sexual pleasure, power, and politics (Sexual Pleasure in Hinduism, 2021).
During the colonial period, Victorian morality had a significant impact on popular Hindu
ideas regarding the body and sexual pleasure. Colonial modernity imposed a new set of
discourses on "tradition" through the disintegration of indigenous political systems, which helped
to promote Brahmanic sexual ideas through the language of Western medicine and social
change. In independent India, popular culture, particularly popular film, shows not just
premodern contradictions between asceticism and sensuality, but also the legacy of colonial
prudishness toward sex and the body. HIV prevention has brought issues of sexual pleasure
into the public sphere, and certain Hindu communities are dealing with alternative sexualities,
sexual mores, and politics in novel and extremely inventive ways (Sexual Pleasure in Hinduism,
2021).
Kama Sutra
The "Kama Sutra" is an ancient Sanskrit literature commonly recognized as a book

about sexuality. It is much more than that. Scholars see the "Kama Sutra" as a manual on the
art of life, from choosing a spouse to personal grooming and etiquette in both marriage and
worldly concerns. The title of this work, written in the third century by Vatsyayana Mallanaga, is
derived from the Sanskrit, kama, which means longing and desire, frequently with a sexual
connotation (and alluding to the Hindu deity of love, Kamadeva); and sutra, which refers to a
short phrase or scripture. The title might also be rendered as "A Treatise on Pleasure" (Kama
Sutra, 2021).
TITLE: HINDU SEXUALITY, PLEASURE, ART, OR WORSHIP?

*Hindu Sexuality, Pleasure, Art, or Worship? (2020, September 13). [Video].
YouTube. https://www.youtube.com/watch?v=VVO_WUt5C88
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Lesson 30
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 that there are no universal criteria of beauty. It is
a variety of the philosophy known generally as relativism, which casts doubt on the
possibility of direct epistemic access to the "external world", and which therefore rejects
the positive claim that statements made about the external world can be known to be
objectively true.
 Aesthetic and Ethical relativism are sub-categories of Cognitive Relativism. Philosophers
who have been influential in relativist thinking include David Hume, particularly his
"radical skepticism" as set out in A Treatise of Human Nature.
 The most prominent philosophical opponent of aesthetic relativism was Immanuel Kant,
who argued that the judgment of beauty, while subjective, is universal.
 Recent experiments in psychology seem to contradict aesthetic relativism. In studies of
facial attractiveness, there seems to be wide cross-cultural agreement as to what
constitutes beauty in the human face. Whether this is down to symmetry or averageness
is a matter of disagreement.
 At the same time, the dominant media-generated image in terms of facial structure, body
shape, and hair color is that associated with northern Europeans. Furthermore, it should
be noted that the fashion for darker skin among white people is of relatively recent origin,
coinciding with the fashion among the upper classes for sun-holidays in the early
twentieth century.
 In some cases, common sense may appear to suggest that aesthetic relativism is false.
There is widespread agreement—at least among the "informed" and "educated" public—
as to the aesthetic value of individual works of architecture, painting, music, etc.
Aesthetic Relativism In Popular Culture
 The nature of art beauty and taste are assessed, created, and appreciated in the field of
Aesthetics.
 In different parts of the world, cultures establish their unique aesthetics which are formed
and perceived in various forms and styles.
 David Hume contradicted and explained his stand that beauty “is not a feature that
belongs to a reality independent of feeling and sentiment… there is no beauty or
ugliness inherent in paintings, novels,” thus, there exists a relationship between
experience and aesthetic perception (Suojanen, 2016).
 Aesthetic relativism refers to the philosophical view that considers judgment of beauty as
relative and something that varies from different individuals and/or cultures. Hence, it
argues that there is no universally established standard of beauty.
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 According to Crowley (1958), “Attitudes toward value judgment on art objects from alien
societies range from extreme subjectivity to extreme objectivity, from evaluation in terms
of personal intuition or “significant form,” to evaluations of the creators and members of
the society, to studies of museum specimens using the known ethnographic data, to
measurement and quantification studies.”
 Aesthetic Relativism is one of the categories under Philosophical Relativism which
debunks the idea of any absolute standards of truth or morality, and of course, of
aesthetic judgment, as often cited from the post-modern theory of Nietzsche, and
Cognitive Relativism
 Aesthetic Relativism is prevalent in social sciences and feminist thought. In this, beauty
is treated more as something merely constructed by society rather than a natural
function.
TITLE: CULTURES OF FILIPINOS - PHILIPPINE POPULAR CULTURE DEFINED

*Cultures of Filipinos - PHILIPPINE POPULAR CULTURE DEFINED. (2021, May
14). [Video]. YouTube. https://www.youtube.com/watch?v=nvdKlJQ6gvU
TITLE: BEAUTY STANDARDS IN POPULAR CULTURE (GEN X)

*Beauty Standards in Popular Culture(Gen X). (2020, February 11). [Video].
YouTube. https://www.youtube.com/watch?v=blFPjH1U_BY
77
LessonArt31of the Tattoo
Batok:
TATTOO
According to the definition of tattoo from Merriam Webster, it is a mark, figure, design, or word
intentionally fixed or placed on the skin:
a) one that is indelible and created by insertion of pigment under the skin;
b) one that is temporarily applied to the skin, resembles a permanent tattoo, and usually
lasts for a few days to several weeks;
c) one that is composed of scar tissue intentionally created by cutting, abrading, or burning
the skin.
Mambabatok: Tattoo tradition in the Philippines
In the Philippines, ladies have practiced a long-standing custom for many years. This is
commonly known as "batok," which refers to the technique of tattooing your body with tribal
motifs using a bamboo stick and thorn. Batok is thought to have been practiced for over a
thousand years. Batok is used to enhance women's beauty, while males who prefer to paint
their bodies with these ancient marks are seen as bold and courageous members of society. As
a result, a Kalinga warrior extensively marked with these old tattoos commands a great deal of
respect and may make his opponents quiver in dread. Mambabatoks are the ones who apply
these ancient markings to the bodies of men and women (PhilLife Culture, 2018).
The Legendary Mambabatok from Kalinga
The good news is that one mambabatok is still alive and well, and she continues to
practice this traditional skill despite her advanced age. Apo Whang-Od, Kalinga's renowned
mambabatok, is here. Apo Whang-Od has tattooed women and headhunters in the Kalinga area
for more than seventy years. This old lady was born in 1918 and is said to be the last remaining
mambabatok. Whang-Od has tribal tattoos on her chest and arms, which she got from her
father, who taught her the traditional skill of tattooing the body using ink and thorns. Whang-Od
used to tattoo her pals, including herself when she was younger. Her late father, on the other
hand, did several tattoos on her body. Apo Whang-Od dedicated her life to batok practice after
her spouse died in a logging accident (PhilLife Culture, 2018).
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TITLE: THE LAST KALINGA TATTOO ARTIST, WHANG OD | DW DOCUMENTARY

*The last Kalinga tattoo artist, Whang Od | DW Documentary. (2018, January
20). [Video]. YouTube. https://www.youtube.com/watch?v=HPJjQJ1UWn4
Reference

*Aesthetic Relativism and Female Psychology. (2018, February 8). [Video]. YouTube.
https://www.youtube.com/watch?v=BP4fANoFLzI
Aesthetic relativism - The Art and Popular Culture Encyclopedia. (2020, December 29). Art
and Popular Culture.
http://www.artandpopularculture.com/Aesthetic_relativism?fbclid=IwAR2XCZ_IgD-
kXQi2C6mCpsUPWQCmUNw59-xbiWQ6uMxYoOEl-H_B0z-sZzs
*How Women’s Perfect Body Types Changed Throughout History. (2017, March 27). [Video].
YouTube. https://www.youtube.com/watch?v=y4ipUdS8Td4
*Hindu Sexuality, Pleasure, Art, or Worship? (2020, September 13). [Video]. YouTube.
https://www.youtube.com/watch?v=VVO_WUt5C88
*Cultures of Filipinos - PHILIPPINE POPULAR CULTURE DEFINED. (2021, May 14). [Video].
YouTube. https://www.youtube.com/watch?v=nvdKlJQ6gvU
79
*Beauty Standards in Popular Culture(Gen X). (2020, February 11). [Video]. YouTube.
https://www.youtube.com/watch?v=blFPjH1U_BY
*The last Kalinga tattoo artist, Whang Od | DW Documentary. (2018, January 20). [Video].
YouTube. https://www.youtube.com/watch?v=HPJjQJ1UWn4
Bradley University: Body & Beauty Standards. (2021, March 26). Bradley University.
https://www.bradley.edu/sites/bodyproject/standards/?fbclid=IwAR0HpGLSTuyDezk8vfUp
g0uLA7toDkniqIBDP5gMl_C_PNvNL4rTJ7bMh1c
Hameed, S. (2021, April 1). How Culture Influences Beauty. Skin.Health Advance Dermatology
Center. https://www.drsunaina.com/2021/04/01/how-culture-influences-
beauty/?fbclid=IwAR2srxxnOzdTIUF5bZ2LvVlrcIfb25-
We4vMI2QWUktT12ilmYCHc8CdI2Q
Beauty-culture Meaning | Best 2 Definitions of Beauty-culture. (2021). Your Dictionary.

https://www.yourdictionary.com/beauty- culture?
fbclid=IwAR1525rGUWShDFUZbNduAKZCDgwBtZWlFQu4CeddsoYSk_ePDu8p
8iL9_Wo
B. (2021). Hindu Art | Boundless Art History. Lumen Learning.

https://courses.lumenlearning.com/boundless-arthistory/chapter/hindu- art/?
fbclid=IwAR1PDFFYkjwW4D3W9Z3KCmRqIpfHalN1k0FVLNLRuyNSuV4JgXOY4UE
8FpY
Sexual Pleasure in Hinduism. (2021). The Crankshaft Publishing. http://what-when-

how.com/love-in-world-religions/sexual-pleasure-in- hinduism/?
fbclid=IwAR2fcw5vE5eX69tdbU7VLyFvidPvhVqfPVTXoJXVmmZpcQzHj_GqtI ANIV0
Kama Sutra. (2021). Yogapedia.Com. https://www.yogapedia.com/definition/5447/kama-sutra
“Tattoo.” MERRIAM-WEBSTER.COM DICTIONARY, Merriam-Webster, https://www.merriam-

webster.com/dictionary/tattoo. Accessed 18 Sep. 2021.
P. (2018, April 24). Mambabatok: Tattoo tradition in the Philippines. Phillife.

https://www.phillife.co/mambabatok-whang-od/
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ASSESSMENT:
Art and Anthropology
A. Culture, Beauty and the Female Body
1. What does beauty standard mean?

2. What are the psychological effects of beauty?
3. Explain beauty culture as a sign of empowerment and oppression?
4. Enumerate at least 5 causes of the dramatic shifts in beauty standards. Give
example for each cause.
5. Explain the four (4) aspects of body image. Give example for each aspect base on
your perception of yourself.
B. Art of Pleasure in Hindi Culture
1. Mahabharata forms one of the pillars of Hindu Dharma and its moral values have a
huge impact on millions of people. Among Mahabharata’s seven important lessons,
which lesson/ lessons have a moral impact on you? Why?
2. Lotus is a national flower of India. Do you think you have the same characteristics as
a Lotus flower? Why? Enumerate your characteristics.
3. Paintings and carvings in ancient Indian temples challenge Western ideas of the
relationship of SPIRITUALITY and SEXUALITY says writer and historian William
Dalrymple. Why?
4. What is the Indian’s concept about the images of beautiful, bare, breasted palace
women? Why?
5. Explain the meaning of Yoga and Tantra in Kama Sutra. a. Do you agree with Slavoj
Zizek's view about our biological body? Why?
C. Batok: Art of Tattoos
1. What is Batok?
2. What are the meaning and significance of tattoos during the pre-historic period or
early colonial period?
3. What are the meaning and significance of tattoos in our modern time?
4. Why do many people still get tattoos despite the religious prohibition? (The verse in
the Bible that most Christians refer to is Leviticus 19:28 “You shall not make any
cuttings in your flesh for the dead, nor tattoo any marks on you. I am the Lord”.)
5. Are body tattoos unhealthy? Why?
6. Are tattoos a sign of mental illness? Why?
7. What can you say today about a person with body tattoos especially women? Why?
8. Are tattoos Art or Self-destruction? Defend your answer.
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WEEK 11
Arts and Psychology: Perception And Symbolism
Learning Outcomes
1. Define perception and symbolism;

2. Describe the importance of perception and symbolism in art;
3. Describe the Gestalt Principle;
4. Define psychoanalysis.
LessonPrinciples
Gestalt 32 Applied to Visual Arts
The Berlin School of Gestalt theory was interested in the mechanics of grouping and
regrouping in the visual field. The Gestalt theory is most commonly applied to visual arts
because of the specific study interests of its early proponents. However, its relationship to key
notions of aesthetics (anthroposophy, Russian formalism) and art theory (avant-garde,
Bauhaus) has received little attention (Kandinsky, Klee, Alpers, Moholy-Nagy, Kepes).
Gestalt principles are a crucial set of ideas for every designer to master, and their
application may considerably enhance a design's aesthetics as well as its usefulness and user-
friendliness. The human brain is extraordinarily excellent at filling in the holes in an image and
generating a whole that is larger than the sum of its parts. It's why we perceive faces in things
like tree leaves and pavement cracks. This concept is one of the most fundamental basic
assumptions underpinning the gestalt principles of visual perception.
Max Wertheimer's 1923 Gestalt rules of the perceptual organization was the most
significant early suggestion made about the topic, while Wolfgang Köhler's 1920 discussion of
Physical Gestalten also contains many key ideas on the subject. In its most basic form, gestalt
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theory holds that the human brain will seek to simplify and organize complicated pictures or
designs that contain many aspects by unconsciously organizing the pieces into an ordered
system that forms a whole, rather than just a collection of unrelated elements. Our brains are
designed to see structure and patterns for us to better understand the world in which we live.
There are six individual principles commonly associated with gestalt theory:
1. Similarity - It’s human nature to group like things together

2. Continuation -The law of continuity posits that the human eye will follow the
smoothest path when viewing lines, regardless of how the lines were drawn
3. Closure - It’s the idea that your brain will fill in the missing parts of a design or
image to create a whole.
4. Proximity - refers to how close elements are to one another.
5. Figure/ground - Your brain will distinguish between the objects it considers to be
in the foreground of an image (the figure, or focal point) and the background (the
area on which the rest of the figure). In general terms, your brain will interpret the
larger area of an image as the ground and the smaller as the figure.
6. Symmetry & order (also called prägnanz- a German word for “good figure”)- Your
brain will perceive ambiguous shapes in as simple a manner as possible. For
example, a monochrome version of the Olympic logo is seen as a series of
overlapping circles rather than a collection of curved lines.
7. Common fate - additional, newer principles sometimes associated with gestalt,
such as common fate. This principle states that people will group things that point
to or are moving in the same direction.
TITLE: GESTALT PRINCIPLES. HOW PSYCHOLOGY INFLUENCES YOUR DESIGN

STRATEGY
*Gestalt Principles. How psychology influences your design strategy. (2020, April
4). [Video]. YouTube. https://www.youtube.com/watch?v=G-xD1bDoNl4
83
Lesson 33of Space and Perspective
Perception
Space perception is a process through which humans and other organisms become
aware of the relative positions of their bodies and objects around them. Space perception
provides cues, such as depth and distance that are important for movement and orientation to
the environment.
Since antiquity, humans have been curious about how objects in space are perceived. In
ancient Greece, it was widely assumed that things could be seen because they released what
was considered to be a continuous succession of extremely thin "membranes" in their image,
which fell upon the eye and blended into the seen picture.
Centuries of experimentation resulted in a more tenable model in which space was

defined in terms of three dimensions or planes: height (vertical plane), breadth (horizontal
plane), and depth (horizontal plane) (sagittal plane). These planes all cross at right angles, and
their single point of intersection is described as in seen three-dimensional space—that is, in the
perceiving individual's "eye." Humans often do not experience a binocular space (a separate
visual world from each eye), but rather a Cyclopean space, as though the pictures from each
eye merge to form a single visual field comparable to that of Cyclops, a one-eyed giant in Greek
mythology. The horizontal, vertical, and sagittal planes split space into different sectors:
anything is seen as being "above" or "below" (the horizontal plane), "in front of" or "behind" (the
vertical plane), or "to the right" or "to the left" (the sagittal plane) (of the sagittal plane).
General Considerations
An early idea proposed by the Anglican bishop George Berkeley at the beginning of the
18th century was that the third dimension (depth) could not be experienced directly by the eyes
since the retinal picture of any object is two-dimensional, as in a painting. He believed that the
capacity to have visual perceptions of depth was not inborn but could only be obtained by
logical reasoning based on experiential learning using other senses such as touch. Even though
recent research has failed to validate Berkeley's focus on reason as essential to perception,
contemporary theories continue to incorporate both nativist (inborn) and empirical components
(learned through experience).
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TITLE: ELEMENTS OF ART: SPACE | KQED ARTS

*Elements of Art: Space | KQED Arts. (2015, February 2). [Video]. YouTube.
https://www.youtube.com/watch?v=U11B_0FCn6o
Symbolic
Lesson 34Meaning: Psychoanalyzing the Art and the Artist
Art history and psychoanalysis are both multidisciplinary disciplines that rely on images
to function. Images, whether two-dimensional or three-dimensional, are by definition works of
art. The observation and study of imagery: in dreams, symptom development, symbolism, and
fantasy, is the focus of psychoanalytic interpretation, both clinical and applied. These two areas
first collided in 1910, when Freud wrote the first psychobiography of an artist (specifically,
Leonardo da Vinci), and they collided again four years later in Freud's brief essay on
Michelangelo's Moses.
The field of art and psychoanalysis expanded into various approaches, depending on the
psychoanalytic or art-historical bias of the author. Although there has been considerable overlap
in these approaches, they can be divided into three major categories:
1. psychobiography, in which the artist’s life is directly related to his or her work;
2. psycho-iconography, in which the iconography of a work is determined by convention
and theme and can be analyzed psychologically; psycho-iconography can also provide
insights into works of art when the artist’s life is well known and can be related to the
meaning of the imagery; and
3. the origin and nature of creativity and symbolization. These three methods of analyzing
art and artists form the major sections of this article. Both psychobiography and psycho-
iconography are of most value when they clarify the art, especially regarding its meaning
or technique.
The origin and nature of creativity, as well as symbolization, are more significant to the
creative process and can be explored from the perspective of a particular artist or through the
norms present at a certain time and location. There are also brief bibliographic entries covering
peripheral problems and broader debates of the psychoanalytic technique applied to art. There
are broad overviews of how psychoanalytic thought is applied to works of art, as well as
publications that push the frontiers of psychoanalysis.
85
These overviews cover more modern approaches to art as well as compilations of
essays or presentations delivered at conferences that deal with various methods of viewing art
based on the author's preferred school of psychoanalysis. Feminist studies, semiotics and
structuralism, gender studies, colonialism, and non-Western art, and neurobiology are other
approaches to the application of psychoanalysis to art. Only when incorporated in works
primarily concerned with psychobiography, psycho-iconography, or creativity and symbolization
is the topic of aesthetics addressed. The application of psychoanalysis to aesthetics has
become a major field in its own right and deserves a separate set of bibliographical entries.
TITLE: PSYCHOANALYSIS AND ART

*Psychoanalysis and Art. (2020, December 11). [Video]. YouTube.
https://www.youtube.com/watch?v=ghAsHfXbht4
Lesson 35Suggestions and Escapism in Music

Subliminal
 Subliminal message - a subliminal message is a message that is meant to sort of ‘slip past
your mental radar’ and embed itself deep into your subconscious mind. The word itself
refers to the fact that this message should pass below (that is, sub) your normal perception,
underneath its limits – therefore being luminal.
 The subliminal message in music - Embedding a message in a song, either in the higher
or lower frequencies or by singing something backward
 Escapism - the tendency to seek distraction and relief from unpleasant realities, especially
by seeking entertainment or engaging in fantasy.
 Escapism through music - Escapism can be seen negatively and positively but music
serves as more than just one way to escape. The artists that write music escape by
physically writing their emotions and experiences into melodies while listeners escape by
experiencing those melodies.
Example of Subliminal Messages in Music

 Umbrella by Rihanna - In "Umbrella," the canopy is a symbol for protection, like a
condom. Rihanna sings, "Ooh, baby/ It's rainin', rainin' baby/Come here to
me/Come into me." Jay Z raps, "No clouds in my stones," meaning his testicles are
working properly. He then says, "In anticipation for precipitation/Stack chips for the
rainy day, Jay/Rain Man is back." Jay Z is planning on "making it rain," if you catch
our drift.
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Examples of Escape Music
 Half The World Away by Aurora (Cover) - The song begins with the speaker talking
about wanting a fresh start; he wants to leave this "old town" in search of something
new. His mind has given him "warning signs" to "leave this city" for reasons
explained later in the next stanza. The city has left him drained, therefore once he
leaves - if ever - he will "book himself into a soul asylum" or a place where he can
shelter his spirit that may have been broken from staying in the "old town" for so
long.
TITLE: WHAT IS A SUBLIMINAL MESSAGE?

*What is Subliminal message | Explained in 2 min. (2020, August 11). [Video].
YouTube. https://www.youtube.com/watch?v=CCU9GAexvAA
TITLE: 10 HIDDEN SUBLIMINAL MESSAGES IN POPULAR SONGS

*10 Hidden Subliminal Messages In Popular Songs. (2015, December 3).
[Video]. YouTube. https://www.youtube.com/watch?v=IrSHk6TBymg
TITLE: UNDERSTANDING ESCAPISM

*Understanding Escapism. (2019, January 8). [Video]. YouTube.
https://www.youtube.com/watch?v=hbQsjLMgXfs
Reference
Freud, Sigmund(1916). Leonardo da Vinci: A Psychosexual Study of Infantile Reminiscence.

Project Gutenberg EBook, in www.gutenberg,org.
Chapman, C. (2018, March 27). Exploring the Gestalt Principles of Design. Toptal Design Blog.
https://www.toptal.com/designers/ui/gestalt-principles-of- design?
fbclid=IwAR0SdCDUVyePm2SHGGni0yV5ZiAoi1IALAJ03Sc6aY5l3jcsdO4PEMcT
-kM
*Gestalt Principles. How psychology influences your design strategy. (2020, April 4). [Video].
YouTube. https://www.youtube.com/watch?v=G-xD1bDoNl4

87
*Elements of Art: Space | KQED Arts. (2015, February 2). [Video]. YouTube.
https://www.youtube.com/watch?v=U11B_0FCn6o
*Psychoanalysis and Art. (2020, December 11). [Video]. YouTube.

https://www.youtube.com/watch?v=ghAsHfXbht4
*What is Subliminal message | Explained in 2 min. (2020, August 11). [Video]. YouTube.
https://www.youtube.com/watch?v=CCU9GAexvAA
*10 Hidden Subliminal Messages In Popular Songs. (2015, December 3). [Video]. YouTube.
https://www.youtube.com/watch?v=IrSHk6TBymg
*Understanding Escapism. (2019, January 8). [Video]. YouTube.

https://www.youtube.com/watch?v=hbQsjLMgXfs
ACTIVITY:
Art and Psychology
1. How can Psychology influence your design strategy? Give 5 examples.

2. How does the artist convey the message of his artwork through techniques and
mediums of art? Give examples.
3. How do the following factors influence the work of art?
a. Environment
b. Economy
c. Geography
d. Politics
e. Culture and traditions
f. History and mythology
g. Religion
88
4. Enumerate 5 different Filipino subliminal songs and give the messages for each song
that makes it subliminal.
5. Give 2 different Filipino escapism movies and provide a summary for each movie
explaining their escapism theme.
WEEK 12
Arts and History: Evolution of Styles
Learning Outcomes
1. Understand different periods of art;

2. Compare different periods from one another;
3. Identify famous art styles and movements in the Philippines;
4. Discuss how the development of styles terminates in the consciousness of art.
Lesson
Styles of 36
Classical Arts
CLASSICAL ART
Classical art is known for its harmony, balance, and sense of proportion, but it differs by
genre. It utilizes idealized people and shapes in its painting and sculpture and addresses its
topics in a non-anecdotal and emotionally neutral manner. Line and composition are always
given precedence over color.
89
What is Classicism? What is Neoclassicism?
In the visual arts, the word "classicism" (adjective: classicist) typically refers to the
copying of ancient antiquity's art (c.1000 BCE - 450 CE), particularly the imitation of "Greek art"
and "Roman art," as well as earlier precursors such as "Aegean Art" (c.2500-1100 BCE) and
"Etruscan art" (c.700-100 BCE).
Thus, any architecture, painting, or sculpture made during or after the Middle Ages that
was influenced by the art of Ancient Greece or Ancient Rome is an example of classicism (or
maybe seen as classicist).
Rather puzzlingly, the terms "classicism" and "neoclassicism" are sometimes used
interchangeably. However, the word "neoclassicism" is most often used to designate a specific
resurgence of Greek and Roman art that took place in Europe and America between roughly
1750 and 1860. So, although the US Capitol Building (constructed between 1793 and 1829) is
appropriately classified as "neoclassicist," Michelangelo's statue is most likely best regarded as
an example of "classicism."
TITLE: CLASSICAL ART

*Classical Art. (2016, October 16). [Video]. YouTube.
https://www.youtube.com/watch?v=HCYvLoAQI7U
Lesson
Styles of 37
Modern Arts
What is Modern Art?
There is no specific definition of "Modern Art": it is an ephemeral word that can

encompass a wide range of interpretations. This is hardly unexpected given that we are always
going forward in time, and what is called "modern painting" or "modern sculpture" now may not
be considered contemporary in fifty years. Nonetheless, "Modern Art" is often defined as works
created between the years 1870 and 1970.
This "Modern era" followed a long period of dominance by Renaissance-inspired

academic art, which was fostered by a network of European Academies of Fine Art. And is
90
followed by "Contemporary Art" (1970 and after), the more avant-garde of which is also known as
"Postmodern Art."
Many art critics and institutions, although not all, agree with this chronology. For
example, the Tate Modern in London and the Musee National d'Art Moderne at the Pompidou
Centre in Paris both designate 1900 as the beginning point for "Modern Art."
In What Ways was Modern Art Different? (Characteristics)
Although there is no single defining feature of "Modern Art", it was noted for several
important characteristics, as follows:
1. New Types of Art

Modern artists were the first to develop collage art, assorted forms of assemblage, a variety
of kinetic art (inc mobiles), several genres of photography, animation (drawing plus
photography) land art or earthworks, and performance art.
2. Use of New Materials

Modern painters affixed objects to their canvases, such as fragments of newspaper and
other items. Sculptors used "found objects", as the "ready-mades" of Marcel Duchamp, from
which they created works of Junk art. Assemblages were created out of the most ordinary
everyday items, like cars, clocks, suitcases, wooden boxes, and other items.
3. Expressive Use of Colour

Movements of modern art like Fauvism, Expressionism, and Colour Field painting were the
first to exploit color in a major way.
4. New Techniques
Chromolithography was invented by the poster artist Jules Cheret, automatic drawing was
developed by surrealist painters, as was Frottage and Decalcomania. Gesturalist painters
invented Action Painting. Pop artists introduced "Benday dots", and silkscreen printing into
fine art. Other movements and schools of modern art which introduced new painting
techniques, included: Neo-Impressionism, the Macchiaioli, Synthetism, Cloisonnism,
Gesturalism, Tachisme, Kinetic Art, Neo-Dada, and Op-Art.
TITLE: HISTORY OF MODERN ART CRASH COURSE

*History of Modern Art Crash Course. (2017, July 22). [Video]. YouTube.
https://www.youtube.com/watch?v=Jb1nqgNmmmU
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Lesson
Styles of 38
Post-Modern Arts
What is Postmodernist Art?
The rejection of the aesthetics on which its predecessor, "modern art" (1870-1970), was
founded is a defining feature of "postmodernist art." One of these rejected ideas is the notion
that "art" is something "exceptional" that should be "elevated above" common taste.
Postmodernism, which coincided with a slew of new technological developments, has resulted
in nearly five decades of artistic experimentation with new media and new art forms, such as
"Conceptual art," various types of "Performance art," and "Installation art," as well as computer-
aided movements such as Deconstructivism and Projection art. Postmodernist artists have
extended the notion of art to the point where nearly "anything goes" by employing these new
forms.
What’s the difference between postmodernist art and contemporary art?
These two words are interchangeable in practice. However, technically, “postmodern art”
means “after modern” and refers to a set era (say, 50 years) beginning about 1970, whereas
“contemporary art” refers to the dynamic 50-year period immediately before the present. These
two epochs are now overlapping. However, by 2050, “postmodern art” (1970-2020) will have
been surpassed by another epoch, while “contemporary art” will now encompass the years
2000-2050. As a result, the two will have split.
Three Principles of “Postmodernist Art”
1. Instant Meaning
From its beginnings in the Pop-art movement, postmodernist painting and sculpture were
bold, bright, and instantly recognizable. Themes and images were borrowed mostly from
high- profile consumer goods, magazines, advertising graphics, TV, film, cartoons, and
comic books.
For the first time, everyone understood the art on display. Although postmodernism has
evolved since Pop-art, a key objective remains instant recognition. Works of “postmodernist
art” are more “instantly understood” than others.
2. Art Can be Made From Anything

Postmodernists have made a point of creating art from the most unlikely materials and
scraps of rubbish. See Junk Art.
Sculptors, installationists, and assemblage artists have made art out of industrial scrap
iron, gasmasks, felt, human skulls, human blood, dead flies, neon-lighting, foam rubber,
soup cans, concrete, rubber, old clothes, elephant dung, and more. The idea behind this is
to democratize art and make it more accessible.
92
3. The Idea Matters More than the Work of Art Itself
Broadly speaking, up until the 1960s, artists (including Picasso, Pollock, and
Lichtenstein) believed that without a finished product, there was nothing. So, a huge amount
of attention was lavished on the quality of the finished work of art, and the craftsmanship
needed to produce it.
Today, things are different. Postmodernists typically have a stronger belief in the concept
behind the finished product, rather than the product itself. This is why a lot of “postmodernist
art” is known as “Conceptual Art” or “Conceptualism”. This new approach is exemplified by
the conceptual artwork (a list of instructions) by Martin Creed, entitled “227: The Lights
Going On and Off” (2001), which won the Turner Prize in 2001.
TITLE: HISTORY & THE ARTS – POSTMODERNISM: DESIGN IN A NUTSHELL (6/6)

*History & the Arts – Postmodernism: Design in a Nutshell (6/6). (2013, May 8).
[Video]. YouTube. https://www.youtube.com/watch?v=lKomOqYU4Mw
Lesson 39Arts Styles and Movement

Philippine
Art of the Philippines
The term "Philippine art" refers to works of art that have grown and accumulated in the
Philippines since the country's inception up to the present day. It reflects its society and non-
Filipinos the diverse cultural influences on the country's culture, as well as how these influences
polished the country's arts. The Philippines' art may be classified into two categories: traditional
arts and non-traditional arts. Each branch is further subdivided into categories and
subcategories.
Branches of art in the Philippines.
(A) Traditional arts – (bearers of traditional arts can be nominated as Gawad Manlilikha ng
Bayan) (GAMABA), equal to National Artist.
1. Folk architecture – including, but not limited to, stilt houses, land houses, and aerial
houses
2. Maritime transport – boat houses, boat-making, and maritime traditions
3. Weaving – including, but not limited to, basket weaving, back-strap loom weaving,
headgear weaving, fishnet weaving, and other forms of weaving
93
4. Carving – including, but not limited to, woodcarving and folk non-clay sculpture
5. Folk performing arts – including, but not limited to, dances, plays, and dramas
6. Folk (oral) literature – including, but not limited to, epics, songs, and myths
7. Folk graphic and plastic arts – including, but not limited to, calligraphy, tattooing, folk
writing, folk drawing, and folk painting Ornament, textile, or fiber art – hat-making, mask-
making, accessory-making, ornamental metal crafts
8. Pottery – including, but not limited to, ceramic making, clay pot-making, and folk clay
sculpture
9. 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
(B) Non-traditional arts – (bearers of non-traditional arts can be nominated as National Artist,
equal to Gawad Manlilika ng Bayan.)
1. Dance -including, but not limited to, dance choreography, dance direction, and dance
performance
2. Music -including, but not limited to, musical composition, musical direction, and musical
performance
3. Theater -including, but not limited to, theatrical direction, theatrical performance,
theatrical production design, theatrical light, and sound design, and theatrical playwriting
4. 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
5. Literature – including, but not limited to, poetry, fiction, essay, and literary/art criticism
6. 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
7. Architecture and allied arts -including, but not limited to, non-folk architecture, interior
design, landscape architecture, and urban design
8. Design – including, but not limited to, industrial design, and fashion design.
Art Movement
An art movement is a term used to describe a group of works of art that have a common
style, philosophy, and technique and were created by artists within a certain period. Deep
cultures and philosophies that existed throughout that period produced some of the most
recognizable art creations in all human history. These works were symbolic, stylized, and
experimented with a variety of styles to convey their originality.
94
Philippine Arts Timeline
Pre-Colonial Period 900 - 1521
 In these periods which is also known as the Neolithic Period, which is the later part of the
Stone Age, they make art by making stone weapons, jewelry, and decorative crafts out
of stone. Spanish Colonial Art Period Spanish Colonial Art Period 1521 - 1898
 Started when the Philippines was colonized by Spaniards. They introduced formal
paintings, sculptures, and architecture influenced by Byzantine, Gothic, Baroque, and
Rococo art styles.
 Most arts are religious (catholic based)
American Colonial Art Period 1899 - 1940
 Here, Filipinos were taught by the Thomasites. The American influence can be mostly on
architecture and literature because of education.
 The paintings’ themes in this period are landscapes, still, life and portraits are reserves
for officials with high ranks.
Japanese Colonial Art Period 1941 - 1945
 Filipinos were deprived of freedom of expression and speech because the Japanese
stopped the publication.
 But they also influenced us with poem style (Tanaga and Haiku).
 Despite the sufferings some artists still expressed themselves. Like the painting: Manila
War Ruins (1945) painted by Ferdinand Amorsolo.
Post-Colonial Art Period 1946 - 1969
 Also known as the Philippine Modern Art Era

 Arts in this period are modern, conservative, and experimental public art.
 This art has the influences of Western styles like pop art, maximalism, minimalism,
abstraction, expressionism, constructivism, magic realism, and environmental art
 Maria Makiling (1947) by Carlos "Botong" Francisco Contemporary Art Period 1970 -
Present
 Because of technology and Filipino’s freedom now in speech and expression, different
styles of art appeared in this period like digital art, photography, junk art even a mini
sculpture in a pencil tip is an art style now.
 Art is also used to protest or express their feelings about a certain situation in the society
or government with the use of editorial illustrations.
 Art is also used not just for aesthetics and entertainment but also to bring awareness.
95
 Editorial Art (2019) by Eric Roca
TITLE: ART MOVEMENTS? WHAT THEY “-ISM”. WHAT THEY AIN’T

*Art Movements? What they “-ism”. What they ain’t. (2015, February 23). [Video].
YouTube. https://www.youtube.com/watch?v=akadc4thczo
TITLE: TIMELINE OF PHILIPPINE ART

*Timeline of Philippine Art. (2012, January 19). [Video]. YouTube.
https://www.youtube.com/watch?v=xeENuKoL5jw
TITLE: THE BIG IDEA BEHIND THE PH MODERN ART MOVEMENT

*The big idea behind the PH modern art movement. (2017, September 14).
[Video]. YouTube. https://www.youtube.com/watch?v=4YGRNNl9Zvo
Lessonof40
Theory the End of Art
THEORY OF THE END OF ART
Ken Johnson defined Arthur Danto (1924–2013) as “one of the most widely read art
critics of the Postmodern era” in his obituary for the New York Times. Danto, who was both a
critic and a philosophy professor, is remembered for his approachable and pleasant language.
Despite this, Danto's best-known article, "The End of Art," is more frequently referenced than
understood.
Art history is commonly viewed as a continuous evolution of one movement or style after
another (Romanticism, Realism, Impressionism, Post-Impressionism, and so on), interrupted by
the impact of particular geniuses (Delacroix, Courbet, Monet, Cézanne, and so on).
Mimesis is a notion that emerges frequently (though in various forms) throughout the
history of art: the imitation and depiction of reality. This approach is followed by Danto's tale in
"The End of Art." According to Danto, the devotion to mimesis began to wane throughout the
nineteenth century due to the development of photography and film. As a result of these new
perceptual technologies, artists abandoned the imitation of nature, and 20th-century painters
began to investigate the subject of art's own identity.
96
The twentieth century witnessed a fast succession of diverse movements and ‘isms,'
each with their ideas about what art might be. “All there is at the end.” “In theory,” Danto wrote,
“art having ultimately become vaporized in a glitter of pure thinking about itself, and surviving,
as it were, only as of the object of its theoretical consciousness.” The big narrative of evolution
— of one movement reacting to another — had come to an end.
Art had progressed to a post-historical stage. All that remains is pure theory: art will, of
course, continue to be created. However, artists working in what I like to refer to as the post-
historical age of art will create works that lack the historical significance or meaning that we
have come to anticipate for a long time. The narrative ends, but the characters continue, happily
ever after doing whatever they like in their post-narrational insignificance. The age of pluralism
has arrived, when one direction is as good as another.
TITLE: CONTEMPORARY ART I: DANTO END OF HISTORY OF ART

*Contemporary art I: Danto End of history of art. (2016, December 27). [Video]. YouTube.
https://www.youtube.com/watch?v=tG3giJPOpr0
Reference

Classicism in Art: Definition, History, Examples. (2021). Visual-Arts-Cork.Com.

http://www.visual- arts-cork.com/definitions/classicism-in- art.htm?
fbclid=IwAR2srxxnOzdTIUF5bZ2LvVlrcIfb25- We4vMI2QWUktT12ilmYCHc8CdI2Q
*Classical Art. (2016, October 16). [Video]. YouTube.

https://www.youtube.com/watch?v=HCYvLoAQI7U
Modern Art: History, Characteristics, Movements. (2021). Visual-Art-Cork.Com.

http://www.visual-arts-cork.com/modern-
97
art.htm?fbclid=IwAR00CYwuUHCGUFFQpVDviVOmUUhkOhWwjNF3DW3VShGrOHrN9u
z_hsIibuQ
*History of Modern Art Crash Course. (2017, July 22). [Video]. YouTube.
https://www.youtube.com/watch?v=Jb1nqgNmmmU
Postmodernist Art: Definition, Characteristics, History. (2021). Visual-Arts-Cork.Com.

http://www.visual-arts-cork.com/postmodernism.htm?fbclid=IwAR08l1WUbFiR-
cQhREnDj1l3GMCZ1qIasB5lQNkLJPrzhdleQW4OUBzKHR0
*History & the Arts – Postmodernism: Design in a Nutshell (6/6). (2013, May 8). [Video]. YouTube.
https://www.youtube.com/watch?v=lKomOqYU4Mw
*Art Movements? What they “-ism”. What they ain’t. (2015, February 23). [Video]. YouTube.
https://www.youtube.com/watch?v=akadc4thczo
*Timeline of Philippine Art. (2012, January 19). [Video]. YouTube.

https://www.youtube.com/watch?v=xeENuKoL5jw
*The big idea behind the PH modern art movement. (2017, September 14). [Video]. YouTube.
https://www.youtube.com/watch?v=4YGRNNl9Zvo
Art of the Philippines. (2019, April 20). Art of the Philippines. HiSoUR - Hi So You Are.
https://www.hisour.com/art-of-the-philippines- 37061/amp/?
fbclid=IwAR0SPdF1Ki82pFZWoSbPSsCPkqYzjzctw3FqLJF_h_HtzN85JD3R cmiz5zY
The Artist. (2020, April 24). History of Art: Art Movement Definition, Style And Techniques. Artist
PopLab. https://www.theartist.me/artmovement/
Philippine Arts Timeline | Preceden. (2021). Preceden.Com.

https://www.preceden.com/timelines/617837-philippine-arts- timeline?
fbclid=IwAR2XCZ_IgD-kXQi2C6mCpsUPWQCmUNw59-xbiWQ6uMxYoOEl- H_B0z-sZzs
98
Purje, T. M. L. (2015, March 31). An Illustrated Guide to Arthur Danto’s “The End of Art.”
Hyperallergic. https://hyperallergic.com/191329/an-illustrated-guide-to-arthur-dantos-the-
end-of-art/
*Contemporary art I: Danto End of history of art. (2016, December 27). [Video]. YouTube.
https://www.youtube.com/watch?v=tG3giJPOpr0
ACTIVITY:
Art and History
1. What is an art movement?

2. Enumerate at least 5 Filipino art movements in the Philippines and give their
characteristics.
a. Give the Filipino national artists for each movement.
b. What are the standards by which their works are judged?
c. What are the distinct characteristics of their art styles?
3. Enumerate the famous Filipino artists in the period of Classical Art, Modern Art, and
Post- Modern Art.
a. What are the characteristics of their artwork?
b. How does the art reflect the personality of each artist?
4. How do the works of National Artists alter one’s impression of the place?
a. How does a location that features the works of one or several National Artists
affects the way we value that place?
5. If you are to be a national artist, what qualities should you possess? Why?
6. What is the Theory of the End of Art?
7. Do you agree with Arthur Dantos Theory of the End of Art? Why? Give your basis.
99
WEEK 13
Final Examination
A. Music and You
1. Can you make music without knowing Music Theory? Explain your answer.
2. Why is the human voice can be considered the ultimate melodic instrument?
3. Give appropriate music or song that will help you in the following areas of your
life: (Explain how each song will help you in these areas of your life.)
a. Health
b. Emotion
c. Behavior
d. Productivity
e. Perception of the world
B. Arts In Our Life
1. What does grotesque mean in Western society?

2. Why are contemporary women artists obsessed with Grotesque Art?
a. Would you also like to include grotesque art in your artwork? Why?
3. Is an ingrained evolutionary factor included in the perception of beauty? Why?
a. Give at least 3 specific examples of ingrained evolutionary factors.
4. Explain the relationship of aesthetic, sexual attraction, and reproductivity.
5. What is Art Therapy?
6. Give 5 different situational examples of why we need art in a time of crisis.
(Specially Covid-19 Pandemic)
a. What art therapy is appropriate for each situation.
b. Explain the importance of each therapy for each particular situation.
7. For your self-care, enumerate the different art therapy that you need in each of
the following and explain how this art therapy will help you.
a. Depression
b. Stress and anxiety
c. Traumatic experience
d. Increase self-esteem
e. That will make your mind and spirit sing
10
0
C. Free Thinking
If you are to add additional lessons to our subject, what will they be? Discuss the
importance of each lesson to be added to our subject. You can give as many added
lessons as you can.
10
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POLYTECHNIC UNIVERSITY OF THE PHILIIPINES

ASST. PROF. MARIA CORAZON C. CONSTANTINO

Week 1 Course Introduction And Overview.............................................................6

Week 2 Arts And Humanities: Western And Filipino Concepts ............................8

Lesson 1: Arts As A Humanistic Discipline ..........................................................................8

Lesson 2: The Humanities In Western Civilization ...........................................................10

Lesson 3: The Humanities And The Filipino Personhood (Pagkatao) ..............................12

Lesson 4: The Filipino Concept Of Art..................................................................................4

Week 3 : Art Appreciation And The Human Faculties ...........................................21

Lesson 5: Art And The Human Faculty ..............................................................................21

Lesson 6: Process Of The Art Appreciation .......................................................................22

Lesson 7: Art And The Perception Of Reality ....................................................................24

Assessment: Art, Humanities, And Human Faculties ..........................................26

Week 4: Arts And Philosophy: Imitationism And Representationism ..................27

Lesson 8: Imitation On Theory Of Art And Beauty ...........................................................27

Lesson 10: Representational Theory Of Reality ................................................................29

Lesson 11: Romantic Realism In The Philippines .............................................................30

Week 5 Art And Philosophy: Formalism, Expressionism, And Hedonism ............32

Lesson 12: Formalist Theory Of Art ...................................................................................33

Lesson 13: Expression Theory Of Art .................................................................................34

Lesson 14: Aesthetic Hedonism .........................................................................................35

Week 6 Art And Philosophy: Functionalism, Action Theory, And Institutional

Lesson 15: Functionalism ...................................................................................................38

Lesson 16: Action Theory ...................................................................................................40

Lesson 17: Institutional Theory ..........................................................................................41

Activity: Art And Philosophy.................................................................................43

Week 7 Arts And Science: Elements, Medium, Design, And Technology...............44

Lesson 18: Darwinian Theory Of Art And Beauty .............................................................44

Lesson 19: Elements And Media of Visual Art ...................................................................45

Lesson 21: Application Of Technology To The Production Of Art ....................................54

Lesson 22: Art Of Selfie And Groupie ................................................................................56

Week 8 Midterm Examination..............................................................................59

Week 9 Arts And Mathematics: Aesthetic Formalism............................................61

Lesson 23: Aesthetic Formalism ........................................................................................61

Lesson 24: Harmony Of Proportions .................................................................................62

Lesson 25: Golden Measure ...............................................................................................63

Lesson 26: Mathematical Structure Of Music ...................................................................65

Assessment / Activity: Art, Science, And Mathematics..........................................68

Week 10 Art And Anthropology: Cultural Relativism............................................69

Lesson 27: Cultural Relativism In Aesthetic ......................................................................69

Lesson 28: Culture Beauty And The Female Body .............................................................71

Lesson 30: Aesthetic Relativism In Popular Culture..........................................................74

Lesson 31: Batok: Art Of The Tattoo ..................................................................................76

Week 11 Art And Psychology: Perception And Symbolism....................................80

Lesson 32: Gestalt Principles Applied To Visual Arts .......................................................80

Lesson 33: Perception Of Space And Perspective .............................................................82

Lesson 35: Subliminal Suggestions And Escapism In Music.............................................84

Activity: Art And Psychology.................................................................................86

Week 12 Art And History: Evolution Of Styles ......................................................87

Lesson 36: Styles Of Classical Arts......................................................................................87

Lesson 37: Styles Of Modern Arts.......................................................................................88

Lesson 38: Styles Of Post-Modern Arts..............................................................................90

Lesson 39: Philippine Arts Styles And Movement .............................................................91

Lesson 40: Theory Of The End Of Art................................................................................94

Activity: Arts And History.....................................................................................97

Week 13 Final Examination..................................................................................98

At the end of this lesson, you should be able to:

The course is a survey of the conception of humanities as reflected in the historical

Western Art and Filipino Art

At the end of this lesson, you should be able to:

1. Define Art as a Humanistic Discipline

TOPIC RELATED VIDEO:

TITLE: ART AS A HUMANISTIC DISCIPLE

A Brief History of Western Culture