St. Vincent College Art Appreciation Preliminary Module PDF

ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081...

ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] COO – FORM 12 SUBJECT TITLE: ART APPRECIATION INSTRUCTOR: LANE LYN B. ACEBOG, LPT SUBJECT CODE: HUM1 PRELIM MODULE Topic 1: ART: UNDERSTANDING THE ARTS LEARNING OBJECTIVES: At the end of this topic, the students are expected to: 1. Appreciate the importance of art; 2. Explain the functions of art; and 3. Differentiate the functions of art and importance of art. NOTES: 1.1. Art: Its Meaning and Importance A. Definition of Art Art came from the Latin word “ars” or “artis” which means skills. It is defined as the expression or application of human creative skill and imagination. It involves personal experience of an individual accompanied by some intensity of emotions. B. The Importance of Art Arts have a particular significance in our lives. They become much part of our daily living as we surround ourselves with beautiful things we like. All the arts that we see and hear have a purpose as well as expression; they occupy some place in our judgment. It is important because it encompasses all the developmental domains in child development. All arts afford man moments of relaxation and spiritual happiness, which is the reflection of an internal happiness. P a g e 1 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Arts are powerful means to reform man, to change his deviant behaviour into social order and to overcome his feelings of loneliness, uncertainty, and restlessness. Aside from the things mentioned, Art improves your creativity skills. Art gives you joy. Art relieves stress. Art gives you the opportunity to showcase your talents. Art gives you confidence. Art helps you do well academically. Art helps you to communicate with other people. Art helps you learn visually. Art helps you to express your emotions. Art is a different language. 1.2. The Nature of Arts The nature of art has been described by philosopher Richard Wollheim as “one of the most elusive of the traditional problems of human culture.” It has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation. 1.3. Purposes and Functions of Arts A. Purposes of Art Art has had a great number of different functions throughout its history, making its purpose difficult to quantify to any single concept. This does not imply that the purpose of art is “vague” but that it has had many unique, different reasons for being created. Some of the functions of art are provided in the outline below. This is a partial list of purposes as developed by Claude Lévi-Strauss. 1. Expression of the imagination. Art provides a means to express the imagination (things, places, ideas that are unreal or unknowable) in nongrammatic ways. Unlike words, which come in sequences, each of which has a definite meaning, art provides a range of forms, symbols and ideas with meanings that can be determined by the artist. An artist can create visual imagery of mythical animals, religious concepts such as heaven or hell, fictional places, or other things from their creative mind. 2. Ritualistic and symbolic functions. In many cultures, art is used in religion, spiritual or magical rituals, performances and dances as a decoration or symbol of a god or other divine quality. While these often have no specific utilitarian purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change and understanding, and of a cosmological relationship within the culture. 3. Communication. Art, at its simplest, is a form of communication. Most forms of communication have an intent or goal directed toward other people. Illustrative P a g e 2 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] arts, such as scientific illustration, are a form of art as communication. Maps are another example. However, the content need not be scientific. Stories, emotions, and feelings are also communicated through art. 4. Entertainment. Art may seek to bring about a particular emotion or mood, for the purpose of relaxing or entertaining the viewer. This is often the function of the art industries such as Motion Pictures and Video Games. And of course, more traditional art, such as some paintings and sculptures are simply meant to be enjoyable. 5. Political change. One of the defining functions of early twentieth-century art has been to use visual images to bring about political change. Art movements that had this goal—Dadaism, Surrealism, and Futurism, among others—are collectively referred to as the avant-garde arts. This purpose of art continues today in many objects aimed at exposing corruption of the ruling class, including government, the wealthy, and corporations. 6. Social causes. Art can be used to raise awareness for a large variety of causes. A number of art activities are aimed at raising awareness of AIDS, autism, cancer, human trafficking, and a variety of other topics, such as ocean conservation, human rights in Darfur, murdered and missing Aboriginal women, elder abuse, marriage equality, and pollution. Trashion, using trash to make fashion, is one example of using art to raise awareness about pollution. 7. Psychological and healing purposes. Art is also used by art therapists, psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for example, is used to determine the personality and emotional functioning of a patient. The end product (the art object) is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy. 8. Propaganda or commercialism. Art is often utilized as a form of propaganda, and thus can be used to subtly influence popular conceptions or mood (especially regarding political issues). In a similar way, art that tries to sell a product also influences mood and emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a particular emotional or psychological response toward a particular idea or object. These are just one writer’s categorization of purposes for art; there are many other ways to try to organize the diverse and complex ideas of art into artificial categories. In addition, the functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also be commercial or seek to sell a product (i.e. a movie or video game). P a g e 3 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] B. Functions of Art There are five common functions of art: personal, social, spiritual, educational and political. 1. Personal Function: to express personal feelings. Perhaps the artist wanted to remind viewers of personal family tragedy, or perhaps he just wanted to tell them to appreciate what they had, and to live day as if it is their last. 2. Social Function: to reinforce and enhance the shared sense of identity of those in family, community, or civilization, for example, festive occasions, parades, dances, uniforms, important holidays or events. 3. Spiritual Function: to express spiritual beliefs about the destiny of life controlled by the force of a higher power. 4. Educational Function: symbols and signs to illustrate knowledge not given in words. 5. Political Function: to reinforce and enhance a sense of identity and ideological connection to specific political views, parties and or people. 1.4. The Need to be Creative Whether you're a first-time artist, or an expert, there are endless benefits to continually pursuing your inner artist. Below are just seven examples. A. Seven Ways We Benefit from Creativity 1. BECOME A BETTER PROBLEM SOLVER. There isn't a manual to being an artist, and there isn't a manual for being alive. Obstacles and challenges throughout life are inevitable. However, when we make creativity a habit, we continue to learn new, resourceful ways of solving problems in our artwork, and in life. 2. CONNECT WITH YOUR COMMUNITY. When we create, we connect to other people doing the same and an instant sense of community is formed. Whether we're exchanging ideas, providing feedback for our peers, or simply creating next to each other in silence, the sense of connection experienced as artists is undeniable and deeply rewarding. 3. SAVE MONEY. Expressing ourselves can control the urge to buy impulsively. If we trade the activity of consuming for creating, we not only save money, but get a deeper sense of fulfillment. Additionally, the more we learn how to make things ourselves, the less we need to spend money on buying them. 4. EXPANDED SENSE OF TIME. Countless artists have discussed the experience of timelessness that one encounters in the creative zone. Time feels limitless when we are in the creative ‘zone.’ Strangely enough, when we give ourselves time to creative pursuits, we gain time. Who couldn’t use the feeling of more time? 5. SELF AWARENESS & EXPRESSION. Creativity is the route to authenticity. As we create, we plumb the depths of our being, accessing what we think and believe. The more we create, the more we discover and realize our habits, impulses, and desires. When we take the time and energy to develop our own ideas, we respect P a g e 4 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] our inner nature and are better able to express ourselves to the world on a regular basis. 6. FREEDOM. There is no right or wrong way to be an artist. When we create, we are given the opportunity to engage with the world without judging ourselves. We have permission to take risks, try new things, and strip away inhibitions in a healthy way. 7. STRESS RELIEF. Making art is meditative. Taking the time to use our hands, minds, and energy doing something we love is of uptmost importance in life. Being creative makes us happy. Art is FUN, and doing anything that brings joy reduces our stress levels and improves our quality of life. What could be more important than that? EXERCISES Direction: Answer the following questions. Write your answer is the spaces provided. 1. In your own understanding, what is the significance of art to the lives of the people? _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ 2. Describe the functions of art in one-word. Personal- ______________ Social - _______________ Spiritual- ______________ Educational - _______________ Political- ______________ END OF TOPIC 1 P a g e 5 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Topic 2: THE SUBJECT OF ARTS LEARNING OBJECTIVES: At the end of this topic, the students are expected to: 1. Define subject of art; 2. Explain the difference of the subject of art; 3. Learn the ways of representing the subject; 4. Understand the kinds of subject; and 5. Know what artist means. NOTES: 2.1. Define Subject of Art The subject of art refers to any person, object, scene or event described or represented in a work of art. An artwork’s subject matter is what the images or object literally means. The term subjects in art refers to the main idea that is represented in the artwork. The subject in art is basically the essence of the piece. 2.2. Subject and Content A. Representational/Objective These types of art have subjects that refer to objects or events occurring in the real world. Often, it is also termed figurative art because as the name suggests the figures depicted are easy to make out and decipher. Examples: Painting, sculpture, graphic arts, literature and theater arts B. Non-Representational/Non-Objective Arts that do not have subject. They do not present descriptions stories, or references to identifiable objects/symbols. Rather they, appeal directly to the senses primarily because of the satisfying organization of their sensuous and expressive elements. C. The Content of Art Content refers to what the artist expresses or communicates on the whole of his work. It reveals the artist’s attitude towards his subject. It is the meaning of the art. 2.3. Kinds of Subject In general, subject may be thought of as the “what” in a piece of art: the topic, focus, or image. P a g e 6 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Landscapes, seascapes, and Everyday life cityscapes History and legend Still life (a collection of Religion and mythology inanimate objects arranged Dreams and together in a specific way) Portraiture (an image of a Animals particular person or animal, Portraits or group thereof) Figures Fantasies Nature (a focused view or interpretation of specific natural elements) 2.4. Ways of Representing the Subject 1. REALISM – This is the attempt to portray the subject as it is. The artist want to describe accurately and honestly as possible what is observed through the senses. Gustave Courbet, “Young Ladies of the Village”. 1852 P a g e 7 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Thomas Eakins’ “The Gross Clinic” (1875) 2. ABSTRACTION – abstract art moves away from showing things as they really are. They ignored the exact form of a real-life object but only the artist’s idea, or his feeling about it. P a g e 8 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Wassily Kandinsky, Cossacks (1910–1) WAYS OF REPRESENTING ABSTRACT OBJECTS a. DISTORTION- when the subject is in misshapen condition, or the regular shape is twisted. P a g e 9 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Paul Klee, Senecio (Old Man) ‘Fountain of Youth’, 2014 P a g e 10 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] b. ELONGATION – the subject is lengthened, protracted or extended. Amedeo Modigliani, "Portrait of Lunia Czechowska" c. CUBISM - has an abstract form through the use of a cone, cylinder, or sphere. P a g e 11 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Picasso, Les Demoiselles d’Avignon, 1907 Pablo Picasso, Bottle of Vieux Marc, Glass, Guitar and Newspaper, 1913 P a g e 12 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Georges Braque, Mandora, 1909-10 d. MANGLING – subjects or objects are cut, lacerated, mutilated, or hacked with blows. P a g e 13 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] e. ABSTRACT EXPRESSIONISM – uses large canvasses, and lack of refinement in applying the paint. It has strong color, heavy impasto, uneven brush strokes, and rough textures. The art departs completely from the subject, from the studied precision, and form any kind of preconceived design. Jackson Pollock, “Birth” 3. SYMBOLISM – a symbol/sign of something invisible such as an idea or a quality. P a g e 14 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897-1898 Odilon Redon, Woman With a Veil, 1895-1899 P a g e 15 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] 4. FAUVISM – it is a kind of style or movement in painting that is characterized by a thick pigment. It is usually used to express a feeling of comfort, joy and pleasure through bright color. Henri Matisse, The Joy of Life (Bonheur de Vivre), 1905 P a g e 16 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] André Derain, Charing Cross Bridge, London, 1905-06 Maurice de Vlaminck, The River Seine at Chatou, 1906 5. DADAISM – The word “dada” is a French word meaning hobby horse. It embraced elements of art, music, poetry, theater, dance, and politics. It is a protest movement in the arts was formed in 1916 against the traditional outworn art and evil of society. Dadaism art was playful and highly experimental. P a g e 17 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Marcel Duchamp’s Fountain (1917) P a g e 18 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Marcel Duchamp’s Bicycle Wheel (1913) 6. FUTURISM - was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city. Subjects are anything that relate to the importance of modernization. P a g e 19 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Umberto Boccioni, Unique Forms of Continuity in Space (1913) 7. SURREALISM - is an invented world which means “super realism”. Subjects of these kind attempt to show what is inside man’s mins as well as the appearance of his outside world. In other words, surrealism pictures out image in the form of dream. P a g e 20 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] 2.5. The Artist and His Choice of Subject A. Artist An artist is a person who performs any of the creative arts. This captures all forms of arts. In modern world, the term artist is also used for musicians as well. This is why people often tend to hear the words “young artist”, through media to refer to emerging musicians. The term artist is not only attributed for those who create art as an occupation, but also for those who are skilled in a particular activity such as drawing, designing, composing, etc. The specialty of an artist is that he is able to create art for the sake of art itself without needing any ulterior motives. Here are some points to bear in mind when choosing a subject: The subject should be one you are interested in – genuinely interested and engaged in, not merely something of passing curiosity that happened to catch your attention for a few minutes in a newspaper or on TV. Give new stories or ideas a little time and thought before deciding to make them the subject of a work of art. Only your own sustained spark of interest will give the finished work that absorbing, enticing quality. Make sure it offers scope for investigation, discovery and thought. Even in a still life or landscape which you intend to be an accurate representation of the scene which was before you, you are still infusing your own perception and perspective into the art. Therefore, it’s important to make sure that the subject gives you room to develop, as an artist and perhaps even as a person. It’ll give the end result that much more richness and depth. Choose something you can be honest about. There may be some areas where you feel your true reaction is too personal, or even too controversial, for you to set it out for others to share. These topics might be appropriate for a piece of work you never intend to show to anyone else, but don’t try to tackle them in a way that you think is more generally acceptable, but further from your own real feelings. Remember that an attentive viewer will feel your integrity – or its lack – in the finished work, and that this is a quality which gives it considerable added attraction and power. Think about your main purpose. Are you aiming to convey the mood of a particular time and place? Or were you captivated by the expression on someone’s face? Are you exploring an idea through art? Whatever it is, make sure that your subject reflects and works well with this driving motivation. P a g e 21 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] EXERCISES Directions: Match Column A with Column B. Write your answers in the spaces provided. Column A Column B ______________1. a. Surrealism ______________2. b. Mangling ___________3. c. Dadaism __________4. d. Realism __________5. e. Futurism END OF TOPIC 2 P a g e 22 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] TOPIC 3: AWARENESS, CREATIVITY AND COMMUNICATION LEARNING OBJECTIVES: At the end of this topic, the students are expected to: 1. Explain what visual thinking is. 2. Differentiate looking from seeing. 3. Distinguish aesthetic from beauty. 4. Elaborate untrained artists. 5. Explain the term Iconography. 6. Appreciate the importance of creativity in appreciating and producing art. NOTES: 3.1. Visual Thinking Visual thinking is the phenomenon of cognition through visual processing. Visual thinking is often described as seeing words as a series of pictures. Nearly 60 percent of people learn best through visualizations. For these types of learners, a visual image can yield a much more powerful and memorable learning experience than spoken words or written text. Visual thinking refers to a way for learners to externalize their internal thinking processes, making them more explicit and actionable. It can also be a way to organize thoughts and improve on critical thinking and communication skills. Visual thinking is carried on by three kinds of visual imagery: 1. The kinds that we see, people see images, not things, 2. The kinds that we imagine in our mind’s eye, as when we dream, 3. The kind that we draw, doodle, sketch, or paint” The word “draw” can also mean “create” when applying this visual diagram to other media. 3.2. Perception and Awareness: Looking and Seeing Visual information – images from media and the environment around us – dominates our perception. Our eyes literally navigate us through a visual landscape all our lives, and we all make decisions based on how and what we see. Separating the subjective and objective ways we see helps us become more visually aware of our surroundings. Scientifically, the process of seeing is the result of light passing through the lens in our eye, then concentrating it on the retina at the back of the eye. The retina has nerve cells that act like sponges, soaking up the information and sending it to the visual cortex of our brain. Here the light is converted to an image that we can perceive – the ‘truth’ – as we understand it to be. We are exposed to so much visual information every day, especially with the advent of mass media, that it’s hard to process all of it into specific meaning. Being visually aware is more complicated than just the physical act of seeing because our perceptions are influenced by exterior factors, including our own prejudices, desires and ideas about what the ‘truth’ really is. Moreover, P a g e 23 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] cultural ties to perception are many. Art is a resource for questioning our perceptions about how objects and ideas present themselves. There is a difference between looking and seeing. To look is to glance back and forth, aware of surface qualities in the things that come into our line of sight. To see is more about comprehending. After all, when we say “I see” we really mean that we understand. Seeing goes beyond appearances. So, as we confront the huge amounts of visual information coming at us we start to make choices about what we keep and what we edit out. We concentrate on that which has the most meaning for us: a street sign that helps us get home, a view of the mountains that lets us enjoy a part of nature’s spectacle, or the computer screen that allows us to gather information, whether it’s reading the content in this course or catching up on the day’s news or emails. Our gaze becomes more specific, and with that comes specific meaning. At this point what we see becomes part of what we know. It’s when we stop to contemplate what we see – the view of the mountain mentioned above, a portrait or simple visual composition that catches our eye – that we make reference to an aesthetic perception. That is, when something is considered for its visual properties alone and their relation to our ideas of what is beautiful, as a vehicle for meaning. 3.3. Aesthetics, Arts and Beauty A. Definitions Beauty is something we perceive and respond to. It may be a response of awe and amazement, wonder and joy, or something else. It might resemble a “peak experience” or an epiphany. It might happen while watching a sunset or taking in the view from a mountaintop—the list goes on. The subfield of philosophy called aesthetics is devoted to the study and theory of this experience of the beautiful; in the field of psychology, aesthetics is studied in relation to the physiology and psychology of perception. Aesthetic analysis is a careful investigation of the qualities which belong to objects and events that evoke an aesthetic response. The aesthetic response is the thoughts and feelings initiated because of the character of these qualities and the particular ways they are organized and experienced perceptually (Silverman). The aesthetic experience that we get from the world at large is different than the art- based aesthetic experience. It is important to recognize that we are not saying that the natural wonder experience is bad or lesser than the art world experience; we are saying it is different. What is different is the constructed nature of the art experience. The art experience is a type of aesthetic experience that also includes aspects, content, and context of our humanness. When something is made by a human– we know that there is some level of commonality and/or communal experience. 3.4. Art and Experience In "Art as Experience," John Dewey explains that art is a dynamic human experience that involves both the artist and the audience. When the audience encounters art, they are P a g e 24 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] connecting with the artist's experiences and transforming the meaning of the art with their own. Dewey claims that art is thus a powerful form of communication and expression. Art as Experience has had a high influence on trends in aesthetic research, which have sought to broaden the scope of the field from the traditional arts to popular culture (Shusterman 1992, 2nd edition 2000), the natural environment (Berleant 1997), and the everyday (Kupfer 1983, Saito 2007, Stroud 2011, Leddy 2012). Its account can be regarded as a form of “internalism”, in that it seeks to separate aesthetic experience from other types of experience by looking at its internal qualities, that is, at what aesthetic experience feels like from the inside (Shelley 2009 ). Aesthetic experience is something that develops and attains specific qualities as the experience proceeds. It is in this sense “dynamic because it takes time to complete”. To qualify as an aesthetic experience: 1. Accumulation between the different phases of the experience: aesthetic experience includes a sense that the later phases build on earlier ones and carry them further rather than just mechanically following them 2. Intensive; they condense 3. Feeling of resistance. These resistances are not obstacles: they feed the experience’s development and accumulation and are converted into movement toward a close. 4. In aesthetic experience, the experiencer is also overcome by a sense of rhythm. Aesthetic experience has an internal momentum and, already from the initial phases, the experiencer can feel a sense of direction in it. In other words, in an aesthetic experience “every successive part flows freely, without seam and without unfilled blanks, into what ensues”. Moreover, aesthetic experience also does not terminate at some random point. Rather, its close is a summation of its earlier phases, either in the sense that the energy that has gathered up during the experience is released or the experience reaches a fulfillment in some other sense. In short, aesthetic experience involves “inception, development, and fulfillment” 3.5. Creativity Creativity focuses on the process of forming original ideas through exploration and discovery. Creativity develops from experiences with the process, rather than concern for the finished product. Creativity is not to be confused with talent, skill, or intelligence. Creativity is not about doing something better than others, it is about thinking, exploring, discovering, and imagining. Creativity is found in the obvious art and music, but can also be found in science and play. Because we think of art, music, dance, and drama as examples of creative ideas, we may have forgotten that creative thought is found in all aspects of a growing child’s life and can be learned from daily. Just look at how creativity shows itself when a scientist discovers a cure for a disease, how a business owner decides to increase sales, how the grocery clerk bags the groceries, or how a parent finds a way to entice a reluctant child to head off to bed. “The role of art as a creative work is to depict the world in a completely different light and perspective” – Jean-Paul Sartre P a g e 25 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] 3.6. Untrained Folk Artist 8 Famous Artists Who Were Self-Taught: The untrained art-makers that follow, all from the last 150 years, succeeded in making their mark with little or no art school guidance. A. Henri Rousseau An artist who grew up in the era of the French Impressionists and Post-Impressionists, Henri Rousseau lacked those artists’ formal training. He only began to paint in earnest in 1884, at age 40. For most of his adult life, he worked as a clerk, earning the nickname “Le Douanier” (“the customs officer”) from critics who sought to discredit the naïve, unschooled painter. Yet it is rumored that the undemanding nature of Rousseau’s job (he never actually made it to the ranking of customs officer) is precisely what gave him the time to teach himself painting; when he wasn’t moving paper, he made trips to the Louvre to sketch from its collection. Rousseau developed a following, particularly among artists, for what his advocates saw as the directness and lack of pretension in his work, qualities that broke the mold of academic standards. Best known for his vivid, exotic landscapes, Rousseau created dreamlike scenes defined by crystal-clear outlines, and he would come to be loved by the Surrealists. Kasper König, co-curator of the 2015 exhibition “The Shadow of the Avant- Garde: Rousseau and the Forgotten Masters” at Museum Folkwang in Essen, Germany, has noted that Rousseau’s genius lay in his ability to avoid the pitfalls of academic P a g e 26 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] composition and naturalistic rendering. “Rousseau wasn’t interested in false illusion,” König stated. “It was about art, not illusion––and that was radical.” The 20th-century avant-garde recognized Rousseau’s value. By the end of his life, he was exhibiting alongside van Gogh and Paul Gauguin; Henri Matisse and André Derain—and his work was collected by Pablo Picasso, who later bequeathed several of Rousseau’s paintings to the Louvre. Henri Rousseau, The Dream,1910 B. Vincent van Gogh One of the most influential artists of the modern era, Vincent van Gogh was almost entirely self-taught. A complicated, taciturn character, van Gogh did not have an appetite for the classroom. He was taught from a young age by his mother and his family’s governess, after his attempts at education outside of the home met with failure. First was an abortive stint at a boarding school, then an unhappy two years in intermediary school before he entered the workforce as an art dealer’s assistant at the age of 16. When van Gogh eventually soured on that, he attempted to enter seminary to become a pastor, but failed his entrance exam. He then undertook (and also failed) a semester at a missionary school, though he still landed a job as a missionary in 1879. When his brother, Theo, eyed some of his sketches of his impoverished peasant congregation, he implored Vincent to pursue art, resulting in an extremely short attempt at Brussels’s Académie Royale des Beaux-Arts in 1880. For the rest of his tragically short life, van Gogh focused almost solely on painting, looking to examples of Japanese woodblock printmaking and the formal innovations of his colleagues, among other influences. But he ultimately developed an intensely personal P a g e 27 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] style that fueled a large body of work. While van Gogh fans are quick to point to his emotional turmoil as the analog to his idiosyncratic style, his swirling, energetic brushstrokes and bold, expressive tones are also the hallmarks of a fiercely independent style forged through self-education. STARRY NIGHT C. Frida Kahlo Frida Kahlo’s father, a German photographer, recognized his daughter’s artistic promise when she was a young girl, teaching her photography and recruiting his friend, a printmaker, to give her informal instruction in the graphic arts. When she exceeded the local artist’s expectations, he went so far as to give her a paid position as his engraving apprentice. The young Kahlo, however, had her sights set on medical school. Tragically, both her apprenticeship and her education were cut short when she fell victim to a near-fatal automobile accident at the age of 18. During her time convalescing, the pragmatic Kahlo considered a career as a medical illustrator that would turn her artistic hobby into something more. She had an easel custom made with a mirror so she could watch herself paint despite her limited mobility, which led to self-portraits and the observation of her own anatomy. Fittingly, as she developed her style, Kahlo found herself drawn not to methods of illustration, but of personal expression. She began to fuse modern formal devices with Mexican folk traditions and the sort of vernacular Catholic imagery produced by untrained artists. Kahlo’s interest—both personal and intellectual—in questions of Mexican identity led her to wear local garments and to fashion herself as a Mexican-German mestiza in ways P a g e 28 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] that are reflected in the numerous self-portraits she produced during her life. Her techniques, however, and the folk arts she cherished, were also intimately linked to her understanding of what constituted avant-garde art—namely, a resistance and alternative to academic art training that could be found in local art practices. Frida Kahlo, The two Fridas, 1939 D. Bill Traylor Writing about the self-taught artist Bill Traylor in 2013, New York Times art critic Roberta Smith painted a somewhat grim picture: “Bill Traylor’s talent surfaced suddenly in 1939 when he was 85 and had 10 years to live.” Born into slavery on an Alabama plantation in 1854, Traylor didn’t receive a formal education in anything, let alone an embrace from an art world he was never expected to inhabit. Even after being emancipated at the end of the Civil War, he was forced to remain a sharecropper in the Jim Crow South. He only moved to another farm in 1935 because, as he put it, “My white folks had died, and my children had scattered.” Forced into retirement by rheumatoid arthritis, Traylor wound up homeless and sleeping in the back room of a funeral parlor by the 1930s. Lacking the means to support himself, he began creating small drawings and paintings with whatever materials he was able to scrounge. When a young artist named Charles Shannon came upon Traylor’s work by chance in 1939, he supplied him with fresh materials, appreciation, and encouragement—fuel for Traylor, who became incredibly prolific, filling image after image with simplified figures of people, places, and other symbols connected to his personal experiences. The body of work he would create in a limited time with extremely limited P a g e 29 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] means is celebrated for its innovative, untutored aesthetic, as well as the artistic window it created into the strictures of black life in the South during the Reconstruction era. E. Grandma Moses Discovered at the age of 78, Anna Mary Robertson “Grandma” Moses made art throughout her life, though she received no formal education. A small-town housekeeper-turned-homemaker, she was, according to her New York Times obituary from 1961, “a self- taught ‘primitive,’ who in childhood began painting what she called ‘lambscapes’ by squeezing out grape juice or lemon juice to get colors.” In her young adulthood, she copied scenes from images produced by the American printmaking firm Currier and Ives. As her family developed, Moses’s art grew more domestic, or at least what one might call decorative: a painted scene on her family’s fireboard; embroidered images made from yarn; large quilts; dolls for her granddaughters. In fact, had Moses not developed arthritis in her later years, she may not have switched from her sewing needles back to the easier paintbrush of her youth. Nevertheless, she became extremely prolific, and is said to have produced over 1,500 works representing the simplicities of a bygone era in direct, bright, and realistic imagery. Her rise to fame occurred when an art collector found a handful of her works in a drugstore window, playing the unassuming backdrop for baked goods and jams that she also made for sale. The following year, in 1939, three of those paintings were included in the Museum of Modern Art’s “Contemporary Unknown American Painters” exhibition, and just one year after that, Moses had her own successful solo show. By the time of her death in 1961, she had become the self-taught grandmother of American folk art and was awarded two honorary doctoral degrees, including (ironically enough) one from a college of art and design. F. Henry Darger From 1930 until his death in 1973, Chicago hospital custodian Henry Darger spent the majority of his leisure time in his apartment, laboriously and lovingly writing and illustrating what would become his magnum opus. Comprising 15,145 pages and hundreds of illustrations, In the Realms of the Unreal tells the story of the Vivian Girls: child princesses of a Christian nation who help engineer a revolt against a system of slavery imposed by an evil empire. Working with a blend of watercolor and collage made from popular magazines and coloring books, he obsessively portrayed the deeds of his heroines, whose actions are interposed with tragic suffering and torture at the hands of their exploiters. In his fantastic narrative, the Vivian Girls recall the gruesome stories of early Catholic saints, but are rendered like comic book characters or young girls from advertising images. Darger did not receive formal art training; his style was influenced visually by popular culture, and thematically by his troubled upbringing. Sent to a Catholic orphanage at age 8 and institutionalized at age 13 in the Illinois Asylum for Feeble-Minded Children, Darger self-identified as both an artist and a “protector of children.” When he passed away at age 81, both designations were carved onto his tombstone. Against the odds, Darger produced a modern epic and is celebrated for his innate talent, his often-transgressive subject matter, and his dogged determination to pursue his vision. P a g e 30 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] What is Known as the Realms of the Unreal G. Yoko Ono While Yoko Ono’s musical father ensured that his daughter received classical training at the piano, she didn’t receive any tutelage in the visual arts. After graduating high school, Ono applied to study philosophy at Gakushuin, a prestigious private university in Tokyo. After two years, she left the school to join her family, who had moved to New York. She enrolled at Sarah Lawrence College in the 1950s to pursue her considerable talent in musical composition, which afforded her the opportunity to enter the city and rub elbows with artists at a time when poets, visual artists, musicians, choreographers, and other performers were feverishly collaborating on multimedia, cross-disciplinary works of art. Enrolling in John Cage’s experimental composition course at the New School for Social Research, Ono discovered that her musical background was more than enough to recommend her to the avant-garde community there, which included composer-poet La Monte Young, Conceptual artist George Brecht, and performance artist Allan Kaprow. It was an environment in which Ono thrived. Despite (or, perhaps, because of) her lack of a formal art education, Ono’s work nimbly synthesizes a wide array of visual components and theoretical ideas, most notably in her performances. And while her art and music career certainly received a signal boost from marrying one of the world’s most famous musicians in 1969, Ono never required his assistance any more than she required formal training in an art academy to become a groundbreaking and world-renowned self- taught artist. P a g e 31 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Yoko Ono, Cut Piece (performance, 1964. Dilmed by the Maysles Brothers, at Carnegie Recital Hall, March 21, 1965. H. Thornton Dial Thornton Dial was born in 1928, the heir to a family of impoverished black sharecroppers in Alabama. He didn’t attend a proper school until he was 13 years old, and even then, he was embarrassed to be placed at the second-grade level. Large for his age and conditioned to hard physical labor, Dial began skipping school to work and make money. In his adult life, he worked in a factory making railroad cars until it closed in 1981, at which point he began making art as a hobby. This early experience in manual labor formed a basis for Dial’s self-education in materials and techniques, which he deployed in semi-figurative, semi-abstract work that would later evolve into large, often-monumental assemblages, which can be considered of a piece with the Southern bricolage tradition. “My art is the evidence of my freedom,” Dial said in an interview in the mid-1990s. “When I start any piece of art I can pick up anything I want to pick up. I start with whatever fits with my idea, things I will find anywhere.” Dial was a keen diagnostician of the systematic ills he saw in American society. Themes of racism, sexism, and poverty surface regularly in his work through materials that evoke harsh living conditions, and titles that reference political events, historic places, and Christian scripture. He is remembered for his formal ingenuity and the emotional power of his vivid, sometimes-towering forms, which sucked everyday objects from his life into their orbit, and turned them into something extraordinary. P a g e 32 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] “Little Buck” 3.7. Form and Content Two basic considerations we need to be acquainted with are form: the physical and visible characteristics inherent in works of art, and content: the meaning we derive from them. Formal distinctions include a work’s size, medium (painting, drawing, sculpture or other kind of work) and descriptions of compositional elements such as the lines, shapes and colors involved. Issues of content include any visual clues that provide an understanding of what the art tells us. Sometimes an artwork’s content is vague or hidden and needs more information than is present in the work itself. Ultimately these two terms are roped together in the climb to understand what art has to offer us. Art is a combination of form and content. 1. Form is the physical manifestation of the artwork. It answers these types of questions: What is it made out of (the medium)? What techniques are used? How were the design elements and principles used? What is the style (abstract, impressionistic, etc)? 2. Content is the essence of the artwork. It answers these types of questions: What is the subject/theme? What is the context? P a g e 33 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] What is the meaning/intention? Why was this artwork created? 3.8. Iconography The iconography of an artwork is the imagery within it. The term comes from the Greek word ikon meaning “image.” An icon was originally a picture of Christ on a panel used as an object of devotion in the orthodox Greek Church from at least the seventh century on. Hence the term icon has come to be attached to any object or image that is outstanding or has a special meaning attached to it. An iconography is a particular range or system of types of image used by an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. In the iconography of classical myth however, the presence of a dove would suggest that any woman also present would be the goddess Aphrodite or Venus, so the meanings of particular images can depend on context. In the eighteenth century William Blake invented a complex personal iconography to illustrate his vision of man and God, and much scholarship has been devoted to interpreting it. In the twentieth century the iconography of Pablo Picasso’s work is mostly autobiographical, while Joseph Beuys developed an iconography of substances such as felt, fat and honey, to express his ideas about life and society. Iconography (or iconology) is also the academic discipline of the study of images in art and their meanings. EXERCISES DIRECTIONS: Identify the following. Write your answers in the spaces provided. ___________1. It is a particular range or system of types of image used by an artist or artists to convey particular meanings. ___________2. It is the physical manifestation of the artwork. ___________3. He is one of the most influential modern artist of the modern era. ___________4. An artist who grew up in the era of the French Impressionists and Post- Impressionists. ___________5. He explains that art is a dynamic human experience that involves both the artist and the audience. ___________6. It focuses on the process of forming original ideas through exploration and discovery. ___________7. A careful investigation of the qualities which belong to objects and events that evoke an aesthetic response. ___________8. It often described as seeing words as a series of pictures. ___________9. A combination of form and content. ___________10. The essence of the artwork. P a g e 34 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] END OF TOPIC 3 P a g e 35 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Topic 4: THE ELEMENTS AND ORGANIZATION LEARNING OBJECTIVES: At the end of this topic, the students are expected to: 1. Define artwork analysis; 2. Differentiate elements of art and principles of art; and 3. Understand the elements of music. NOTES: 4.1. Elements of Visual Arts A. Introduction In order to understand any field, it’s important to have a solid foundation from to grow. For visual art, this means understanding the elements of art. These creative building blocks are essential and having a grasp on how they work is important both for artists and for lovers of art. By gaining a deeper understanding of the elements of art, it’s easier to analyze, unravel, and create any type of artwork from painting and photography to sculpture and architecture. Line, color, shape, form, value, space, and texture are the seven core elements of art and they often overlap and inform one another. Whether talking about drawing, painting, sculpture, or design, these components of art all need to be taken into consideration. B. Seven Elements of Art 1. LINE. These marks span a distance between two points and can be straight or curved. In visual art, lines don’t only need to be made with marks and outlines. They can also be implied or abstract. Whether two-dimensional or three dimensional, there’s no denying that lines have a huge impact on the rest of the elements of art. They can be used to create shape and form, as well as give a sense of depth and structure. Lines are foundation of drawing and are a powerful tool unto themselves. 2. COLOR. By working with hue, value, and intensity-three building blocks of color- artists can tap into a wide range of emotions. There’s nothing that changes an artwork’s emotional impact more than color. Masters like Van Gogh, Monet, Toulouse-Lautrec all expertly manipulated color in their art to provoke different feelings. Color can be used symbolically or to create a pattern. 3. SHAPE. The result of closed lines, shapes are two-dimensional, flat, and only have height and width. Geometric shapes like circles and squares are mathematical and precise, while organic shapes take cues from nature and tend to be curved and abstract. Shapes can be used to control how we perceive a composition. 4. FORM. When a shape acquires depth and becomes three-dimensional, then it takes on form. Cylinders, pyramids, and spheres are some of the common forms, though P a g e 36 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] they can also be amorphous. In sculpture, form is of the utmost importance, though it can easily be introduced into drawing and painting using 3D art technique. 5. VALUE. Related to color, value is the lightness and darkness of a color. The lightest value is white and the darkest value is black, with the difference between them defined as the contrast. Playing with value can not only change certain forms, but also influence the mood of the artwork. 6. SPACE. This element of art can be manipulated based on how an artist places lines, shapes, forms, and color. The placement of these other elements creates space. Space can be either positive or negative. Positive space is an area occupied by an object or form, while negative space is an area that runs between, though, around, or within objects. 7. TEXTURE. Texture is an element of art that also plays to our sense of touch. It’s defined as a description of the way something feels or looks like it would feel. Other times, the texture is an implied visual texture that is two-dimensional. Smooth, rough, hard, soft, furry, fluffy, and bumpy are just some different textures that evoke different responses. 4.2. Elements of Music A. Music P a g e 37 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Music, art concerned with combining vocal or instrumental sounds for beauty of form or emotional expression, usually according to cultural standards of rhythm, melody, and harmony. B. Elements of Music 1. Melody. The pitch of a note refers to its highness or lowness on the musical scale; the melody of a song is the manner in which notes of varying pitches are put together in sequence. The melody is often the element that most people remember after hearing a song. A conjunct melody is smooth and easy to play, while a disjunct melody is disjointed or jumpy and more difficult to play. 2. Harmony. Harmony refers to notes of different pitches played at the same time, as in musical chords. Consonance describes a smooth-sounding combination of notes and dissonance describes a combination of notes that sounds harsher. 3. Rhythm. Rhythm refers to how the time is observed and controlled in music. It includes things such as meter, which is how the beats are organized into accent patterns of strong and weak beats, and tempo, which is the speed of the beats. It also includes the duration of the notes and the slowing or speeding of the tempo during a song. 4. Dynamics. Dynamics describe the loudness or quietness of a song and the transition between the two. Dynamics includes a number of musical terms, such as the directions "piano" and "forte," which are used in music to mean "soft" and "loud," respectively. A musician can also accent a note, emphasizing it by hitting it harder than the surrounding notes. Dynamics (volumes) are described in music with Italian words: FORTISSIMO (ff) - very loud FORTE (f) - loud MEZZO FORTE (mf) - medium loud MEZZO PIANO (mp) - medium soft PIANO (p) - soft PIANISSIMO (pp) - very soft 5. Tone Color. Tone color, also called timbre, refers to the way the same note can have different sound qualities on different instruments. For instance, a singer will produce a note that sounds very different from the same note played on a piano or a violin, even when they're the same pitch. Similarly, a note played in the upper register of an instrument can have different sound qualities than the same note played in the lower register. 6. Texture. The texture of a piece of music refers to the number of different musical lines it has. A common song construction has a melody line and an accompaniment. This is known as a homophonic texture. Playing multiple melodies at the same time is known as a polyphonic texture. MONOPHONY: a single line of music occurring at a given time. This may be a SOLO (single performer) or performed in UNISON (multiple performers on the same line of music). HETEROPHONY: almost like unison - except one voice will do a little more than the others P a g e 38 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] HOMOPHONY: two or more voices - one voice is the melody and the other voice(s) serve in support roles. CHORDAL: all voices move with the same rhythm (like in church hymns) MELODY-ACCOMPANIMENT: melody usually has most interesting rhythm, other voices perform backgrounds with more simple/repetitive rhythm (like in pop songs) POLYPHONY: two or more voices moving independently from one another at the same time; also known as COUNTERPOINT. 7. Form. The form of a song describes how the larger parts of it are put together; this is sometimes described as the “architecture” of the song. For instance, a single musical verse repeated over and over with different lyrics is known as strophic form. Ternary form describes a three-part piece of music in which the first and third parts are the same, but the middle part is different. 4.3. Literary Types or Genre A. Fiction One of the most popular genres of literature, fiction, features imaginary characters and events. This genre is often broken up into five subgenres: fantasy, historical fiction, contemporary fiction, mystery, and science fiction. Nonetheless, there are more than just five types of fiction, ranging from romance to graphic novels. 1. In fantasy, the characters or settings could not exist in the world as we know it because they require a sort of “magical” element. The Harry Potter and Twilight series are popular examples. 2. Historical fiction, however, features made-up stories that accurately portray life during a particular period in history. Examples include books such as The Da Vinci Code or The Boy in the Striped Pajamas. 3. Similar to historical fiction is the subgenre of contemporary fiction. In this category, stories take place in the present day and characters encounter modern day difficulties and issues. The Hate U Give and Sisterhood of the Traveling Pants are popular contemporary fiction novels. 4. Another popular subgenre of fiction is mystery. In these suspense-filled stories, characters use various clues to solve crimes or uncover a culprit. The Nancy Drew and Sherlock Holmes novels are prime examples of the mystery genre. 5. The last subgenre of fiction is science fiction. In these types of stories, authors and readers explore new and exciting realities made possible by imagined technologies or social changes. Star Wars is one of the most famous examples. P a g e 39 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] B. Nonfiction Unlike fiction, nonfiction tells the story of real people and events. Examples include biographies, autobiographies, or memoirs. C. Drama Another popular category of literature, known as drama or play, is a story created specifically for a stage performance. The most renowned author of drama was William Shakespeare—the writer of Macbeth, Hamlet, and Romeo and Juliet. More modern plays include A Streetcar Named Desire and A Raisin in the Sun. D. Poetry The fourth genre of literature is poetry. In this style of writing, words are arranged in a metrical pattern and often (though not always) in rhymed verse. Renowned poets include e.e. cummings, Robert Frost, and Maya Angelou. E. Folktale Another beloved genre of literature is folktale. Folktale, which is also referred to as mythology, tells stories of originally oral literature and are meant to pass on particular moral lessons. These tales often have a timeless quality, dealing with common concerns that are relevant despite the time period. 4.4. Elements of Dance A. Body In dance, the body is the mobile figure or shape, felt by the dancer, seen by others. The body is sometimes relatively still and sometimes changing as the dancer moves in place or travels through the dance area. Dancers may emphasize specific parts of their body in a dance phrase or use their whole body all at once. When we look at a dancer's whole body we might consider the overall shape design; is it symmetrical? twisted? What part of the body initiates movement? Another way to describe the body in dance is to consider the body systems—muscles, bones, organs, breath, balance, reflexes. We could describe how the skeletal system or breath is used, for example. The body is the conduit between the inner realm of Intentions, ideas, emotions and identity and the outer realm of expression and communication. Whether watching dance or dancing ourselves, we shift back and forth between the inner/outer sense of body B. Action It is any human movement included in the act of dancing— it can include dance steps, facial movements, partner lifts, gestures, and even everyday movements such as walking. Dance is made up of streams of movement and pauses, so action refers not only to steps P a g e 40 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] and sequences, but also to pauses and moments of relative stillness. Dancers may use movements that have been choreographed or traditional dances taught by others who know the dances. Depending on the dance style or the choreographer's decision, dancers may also revise or embellish movement they have learned from others. Movement can also be improvised, meaning that the dancers make it up "on the spot" as they spontaneously dance. Movement that travels through space is broadly called locomotor movement in contrast to axial movement, which occurs in one spot. C. Space Dancers interact with space in myriad ways. They may stay in one place or they may travel from one place to another. They may alter the direction, level, size, and pathways of their movements. The relationships of the dancers to each other may be based on geometric designs or rapidly change as they move close together, then apart. Even when a dancer is dancing alone in a solo, the dancer is dynamically involved in the space of the performing area so that space might almost be considered a partner in the dance. Dancers may focus their movement and attention outwardly to the space or inwardly, into themselves. The line of travel may be quite direct towards one or more points in space or indefinite and meandering. Dancers may also orient their movement towards objects or in relation to natural settings. Sometimes dances are created for specific locations such as an elevator or on a raft in a lake for site-based performances. Spatial relationships between dancers or between dancers and objects are the basis for design concepts such as beside, in front of, over, through, around, near or far. D. Time The keyword for the element of time is When? Human movement is naturally rhythmic in the broad sense that we alternate activity and rest. Breath and waves are examples of rhythms in nature that repeat, but not as consistently as in a metered rhythm. Spoken word and conversation also have rhythm and dynamics, but these timing patterns are characteristically more inconsistent and unpredictable. Rhythmic patterns may be metered or free rhythm. Much of western music uses repeating patterns (2/4 or 3/4 for example), but concepts of time and meter are used very differently throughout the world. Dance movements may also show different timing relationships such as simultaneous or sequential timing, brief to long duration, fast to slow speed, or accents in predictable or unpredictable intervals. Time may also be organized in other ways including Clock time: The dance is based on units of seconds, minutes, and/or hours. For example, a certain section of a dance may be assigned a time such as 30 seconds into which all the choreographed movement must fit. A performance in a public setting may be set up to repeat continuously between 12:00 Noon and 1:00 PM. P a g e 41 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] Sensed time: Dancers pick up on each other's timing such as gradually increasing from a walking tempo to a running tempo by cueing off each other rather than a music score. Another example happens when dancers hold a group shape then spontaneously move out of it based on the group's organic impulse. Event-sequence: An internal or external event signals a change such as repeating a traveling phrase over and over until everyone arrives at a corner of the stage. You also see this at sports events when a touchdown triggers a dance cheer. E. Energy Energy is about how the movement happens. Choices about energy include variations in movement flow and the use of force, tension, and weight. An arm gesture might be free flowing or easily stopped, and it may be powerful or gentle, tight or loose, heavy or light. A dancer may step into an arabesque position with a sharp, percussive attack or with light, flowing ease. Energy may change in an instant, and several types of energy may be concurrently in play. Saying that a dance "has a lot of energy" is misleading. ALL dances use the element of energy, though in some instances it may be slow, supple, indirect energy - not the punchy, high speed energy of a fast tempo dance. Energy choices may also reveal emotional states. For example, a powerful push might be aggressive or playfully boisterous depending on the intent and situation. Some types of energy can be easily expressed in words, others spring from the movement itself and are difficult to label with language. Sometimes differences in the use of energy are easy to perceive; other times these differences can be quite subtle and ambiguous. Perhaps more so than the other elements, energy taps into the nonverbal yet deeply communicative realm of dance. 4.5. Elements of Cinema A. Plot “A good story well told” includes 8 core elements. In this article, I tried to summaries this core elements in my own way. Hope you enjoy your reading. This is only an introduction to the world of cinematic storytelling. So here are the eight narrative elements of a motion film: Plot defines the narrative summary or story synopsis of a film. Here sequence of events are arranged. According to Forster, “The king died, and then the queen died, is a story, while The king died, and then the queen died of grief, is a plot.” This wonderful quote refers that plot does not include only memorable scenes but also major events that move the action in a narrative. These major events give us the feeling of the forward motion of the story. We came to know by these major events rest of the story and move ahead. B. Structure “A story should have a beginning, a middle, and an end, but not necessarily in that order.” This great quote from Jean-Luc Godard is probably the easiest way to understand the importance of structure. Also, the pleasures of structure in the movie are more vivid and effective than the descriptions of any other form. From Citizen Kane to Psycho, Bicycle P a g e 42 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] thieves to Pulp Fiction, Memento to Fight Club directors have played with time, the plot takes a turn and the audience is constantly challenged. The filmmakers of these films involve a great game by following a proper structure. Determining the correct structure for your story is like deciding on how to dress yourself for a certain ceremony. So, structure is important. It is not like that only non-linear structure is creative one to tell a story. According to my personal opinion, I like simple linear narrative like Satyajit’s ‘Pather Panchali’ How simply and beautifully the story line moves ahead. Detail and descriptive scenes and story structure make this film worthy to win international recognition. C. Characterization The purpose of different characters determines the trajectory of events and the key to understanding the characters and their behavior. We are obsessed to create heroes we can look for, heroes we can admire, care for, whose victories are important to us, whose losses we hate to endure. The most common tactics for several great stories about creating an unforgettable, related, desirable hero and building him or her face as a ruthless, mean, unforgiving attitude towards antagonist. It is a unbreakable common practice while characterization of a film. It’s not about just the protagonist of a story that has a certain purpose. The other major characters have their own desires. You need to add a perfect blend and interesting ensemble of supporting characters. So proper characterization is one of the key elements of a film. D. Scenes Scenes from great movies create unforgettable moments that have earned the status of iconography in movie history. Scene is the building block of the screenplay, the most basic unit of which has its own independent, whole existence. Everything that happens in one place in the film is a scene. The moment you change the position or location, jump time then you enter a new scene. This great power of a scene can actually make you feel that “you were there” is what makes the movie a “live” emotional experience. Do you remember the memorable scene of Rose and Jack in Titanic? Standing together with wide arms on the bow of the ship as it pierces the heart of the mighty ocean is a scene that will live forever. There are many remarkable scenes of many famous films. These scenes are as powerful as a movie can be one of the biggest inspirations for the creative genius involved in the tedious filming process. E. Visuals Among all the above described elements, probably visual is the most unique one that is highly integral to motion pictures. Visual is another aspect of the screenplay that must be dealt with-what the audience sees, and how they see it. In addition to the story being seen as real and inviting, movie visuals transcend time and cultural boundaries. It is important to mention ‘Visuals’ as one of the narratives of the movie, although its portrayal depends largely on the shooting of the film. At first film writer needs to understand the visual potential of this medium. Great and unforgettable visuals can never be created unless the film writer imagines it first. The starting point of how a film story is P a g e 43 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] shown to the audience is in the script. Then a wise director looks there first for clues on how to compose individual shots, or for the overall visual design. F. Dialogue Dialogue carries a tremendous burden as an element of a film. There is endless variety in the dialogue of different periods and different screen writers. Two screenwriters never write exactly the same kind of dialogue. But there are certain features that are common to any good conversation from any writer. Good, effective dialogue arises from character, situation and conflict. It reveals the character and takes the story ahead. In a film, dialogue must reflect the speaker’s mood, convey his or her emotion, or provide some window into his or her inner life. It must often reveal the speaker’s motivation or an attempt to hide his or her motivation. Furthermore, it must reflect the relationship of the speaker to the other characters. Last but not the least, dialogue as a film element should be clear and comprehensible to the audience. G. Conflict Conflict is an element that seems to be a necessary element of every powerful dramatic work on stage or in screen. Without conflict we don’t have a story that will hold the audience. Conflict is that engine that drives one story forward. It provides the power and movement of the story. Without conflict the listener remains indifferent to the events depicted on the screen. No film story can come to life without conflict. The conflict is the bread and butter of any film. The more audiences you can engage with in the conflicting situations of your characters, the more problems you can create for your heroes and overcome them one by one, the more successfully your storytelling will be. Just think once in ‘Bicycle Thieves’ film if the bicycle wasn’t stolen, in ‘Titanic’ if the ship reached its destination smoothly, in ‘Citizen Kane’ if Charles Foster Kane wasn’t stubborn and arrogant, if he was so sophisticated and emotional the stories would be so dull! The audience would not keep in mind these films. So, the need of conflict in a film can’t be denied. H. Resolution Particularly in a film the ending is very important because hundreds of people react instantly coming out of the theater. At the beginning screenwriters often make confusion with the culmination and make audience think that there is only one “climax” to a film story. But the main tension is the conflict solely of the second act. When it is resolved at the culmination, this creates a new tension, which, can be stated simply as “What will happen next?” which leads directly toward the resolution of the whole story. For example, in Chinatown, the main tension is not “Will lake help Evelyn and her daughter escape the clutches of Noah Cross?” At the time the main tension is established, we don’t know enough to hope or fear about that. The main tension is more “Will lake be able to find out who and what are behind the trick played on him, which led to his embarrassment?” This is what lake spends the second act trying to unravel; obstacles to this quest to solve the mystery create the bulk of the story. Once the mystery is completely solved and he knows all about Evelyn, Noah, the daughter, and who killed Hollis Mulwray, then a new tension is created: “Will Jake be able to help Evelyn and her daughter escape from the clutches of Noah?” The resolution of that third act tension is that he is not able, Evelyn dies, and Noah takes his daughter. P a g e 44 | 45  ST. VINCENT COLLEGE OF SCIENCE AND TECHNOLOGY Cagamutan Norte, Leganes, Iloilo - 5003 Tel. # (033) 396-2291 ; Fax : (033) 5248081 Email Address : [email protected] There is no hard and fast rules of filmmaking. But presence of some essential elements in a film can make the masterpiece. Above described are the basic ones. There are more tools and elements while telling a story on screen. I personally believe that every story that is well told carries a moral or theme even if the script writer wants to express it or not. EXERCISES DIRECTIONS: Arrange the jumbled letters to create a word. Write your answers in the spaces provided. ________________ 1. I O N U R S L E O T ______________2. F O N T L I C C ______________3. S L A U S I V ______________4. T E Z A R I N O I T A CARHC ______________5. C U R E S U T T R ______________6. I N O A C T ______________7. E L A T L O K F ______________8. C I F I O N T O N N ______________9. Y N S A T A F ______________10. T T U E R X E END OF PRELIM MODULE References BOOKS: Eristain, T. et al, (2003). Art: Perception and Appreciation. Goodwill Trading Inc. Boongaling, C.C. et al, (2018). Art Appreciation. Mutya Publishing House Inc. ONLINE: https://courses.lumenlearning.com/sac-artappreciation/chapter/oer-1-2/ https://filmask.com/what-are-the-8-elements-of-film/ https://www.elementsofdance.org/energy.htm https://www.makebigart.com/form-and-content/ https://tophat.com/glossary/v/visual-thinking/ http://vjic.org/vjic2/?page_id=2793 https://courses.lumenlearning.com/masteryart1/chapter/oer-1-11/ https://www.enotes.com/homework-help/what-is-the-meaning-of-art-as-experience- 91283 https://www.artsy.net/article/artsy-editorial-8-famous-artists-self-taught https://www.tate.org.uk/art/art-terms/i/iconography P a g e 45 | 45