ASSIGNMENT HUMANITIES

ROJEN PAISANO
HM 2-1
1. Humanities

A. definition and nature of humanities- Nature is the vague and

elusive subject of millennia of thought. It is the tangible self evident life
found in both backyards and expansive forests. Nature is a container for and
of life, created but uncreatable. It is thought by some to be the creation of
deliberate intention but which is unable to be created by human efforts. Of
all the elusive traits attributable to this vague object of thought, an
important concept may be found behind all of the endless contradictions
Nature so fervently thrusts upon its observers: Nature itself may actually be
a symbol for something greater which poets and authors have alluded to The
nature of Nature is living.
Many descriptions can be attached but dead, lifeless, empty, exanimate are
not among them. Often those words are readily employed to describe a place
where Nature once was found but no longer resides. Reflecting the ever
apparent principle of duality Nature exhibits its closeness to Divinity by
being both the most accepting and the most rejecting of forces. Nature will
accept any outcast and might very well be so rejecting as to kill anything
that dares step into the expansive realm it dominates. Many inhabitants live
in the home Nature creates but those creatures only reflect what Nature has
given them: life Yet the recipients are not Nature.
Nothing in it can be taken and said to be Nature itself but without the
creatures which inhabit it, Nature ceases to live.The closer an object tends
to be to the source of life of all that is living, the more it is subject to
symbolic attribution. It becomes an archetype. In addition Nature is
nebulous, which compounds the capacity for symbolic usage. And the authors
who grasp this concept are only able to describe it in a nebulous manner, as
they see it. The preceding three cardinal examples lead up to the concluding
example of why Nature is so conducive to symbolic attributions.
There is a cornerstone reason, more important than all the others as to why
Nature holds so much meaning to humans, without which nothing else would
matter in our understanding. It is a truth everyone knows but few truly know.
This apparent self contradiction so characteristic of Nature gives another
hint at what it is. If a person looking for red on a rainbow has found yellow
then orange, red is not far off. This leads to the conclusion Nature is an
objectively real, living entity given life by its observers. Nature is living
but apparently not conscious. Nature is objectively real but cannot maintain
its separate existence without the life given to it by both its observers and
inhabitants.

B. Significance of studying humanities- Despite attending a

modern research university, humanities students at the UR suffer relatively
little for their choice of majors. Ribbing from their colleagues in the
sciences, UR students interested in the humanities have a reasonable variety
of programs from which to choose. The unfortunate truth, however, is that as
research universities go, this is far more the exception than the rule.
Though the push to make sure American college graduates are competitive in
the international markets of the hallowed science, technology, engineering
and mathematics industries is nothing new, only in the last two decades or so
has government policy and public opinion turned so sharply against humanistic
education. Basic reading and writing skills are now considered the end-goal
of teaching, and the most viable measures of student progress, rather than a
byproduct of good material combined with equal instruction. Secondary
education is viewed by different segments of the population as preparation
for the job market, preparation for higher education or, for some, a
necessary but barely tolerable institution.

While it is reasonable to demand that education provide benefits to its

students — benefits that then expand across those students’ social contexts
during their lifetimes — it is ridiculous to expect those benefits to be
purely tangible, and it is in providing intangible benefits where the
humanities excel. First, our human artistic endeavors are partly products of
our individual psychologies, but it can be refined and improved by a good
instructor. The aesthetic experience is something modern humans have in
common with their ancient ancestors. Secondly, a democracy requires an
informed citizenry to function properly. Part of the value of education is
the creation and solidification of a common national political culture and
the fostering of familiarity with each nation’s governmental and political
processes.

Both are particularly important in a government system that relies to a high

degree upon citizen participation. Lastly, if the sciences represent the
development of the mind, the humanities, as the name implies, exemplify the
development of the human soul. Proper teaching of the humanities goes beyond
learning the best way to write a sentence or how to draw a comparison between
historical figures. It seeks to make students not only do, but question why
they do, and to find personal meaning in their interaction with their objects
of analysis. The scientific analogues are, more than anything, humanistic
traits shoehorned into a vastly different discipline. The study of arts is
the study of mankind. Humanities, being the study of arts, have always been
concern with the importance of human being, his feelings, and how he
expresses those feelings.

Art is very important in our lives. It constitutes one of the oldest

form and most important means of expression developed by man. It is a
language, which is charged with feelings and significance that has
sprung up among men living together. Art is concerned with the
communication of certain ideas and feelings by means of a sensuous
medium – color, sound, bronze, marble, words and film. This medium is
fashioned through a symbolic language marked by beauty of design and
coherence of form. It appeals to our minds, arouses our emotions, kindles our
imagination, and enchants our senses.

C. University and importance of art- The arts have long been

perceived as a desirable add-on to teaching and learning, but not central to
curriculum or schooling. All too often arts education is cut during economic
hard times. What has led to this "dis-integration" of the arts from schools?
When I was a child in Chicago in the 1950s every classroom had a piano, and
every teacher knew how to play it. Including the arts in teaching and
learning was assumed and even taken for granted; but budget cuts, a "back-to-
basics" movement, and a mania for reducing all education to maths and reading
test scores has eviscerated arts education in public schools across
Australia, and all over the United States. Why should we care? There are the
usual reasons: arts education is necessary for educating the whole child as
part of a well-rounded education.
The arts form the enduring legacies of all civilizations, The arts provide
insight into the cultures of other periods and geographies. Arts education
introduces talented students to career options The arts bring beauty and joy.
While all these are true, in an information age dependent on innovation,
creativity and a constantly changing body of knowledge, there is much more at
stake. We live in a world of radical shifts in populations, identities, and
cultures, of massive amounts of ever evolving, hyperlinked information, and
of distributed means of cultural production. Learners are not only consumers
of culture they are producers of culture.
The arts are one of the few places where a wide range of learners can make
meaningful choices about their own learning. The arts are essential arenas
for young people to develop their capacities to manage change, to collaborate
with others, and to participate in and make contributions to their
communities. We live in an image-based world where the ability to shoot and
edit video is as powerful a force in global communication as the ability to
write and edit text. Young people are not, as is commonly assumed, disengaged
from the arts. They are deeply involved in the arts - just not in our
educational institutions.
It is our schools that have become disengaged - and they will need to catch
up with our students if we don't want to see our children's hunger for
learning and expression continue flowing out of our schools like water
through a sieve. And while young people may be endlessly resilient and
resourceful, there are inequities in who gets access to the arts. This is
simply unjust. This is aesthetic apartheid. And our access needs to be about
more than young people becoming audiences to the arts. We need to move from
narrow concepts of arts access to broader concepts of democratic
participation in the arts - in which our students not only become informed
audiences, but also, as Harvard scholar Howard Gardner has suggested,
critics, composers, and performers.

D. related views about art- In a fascinating series of case

studies, this book looks at the ways in which European colonizers interpreted
the arts of the people they colonized, as well the ways in which they have
tended to view art produced by the colonized and their descendants in post-
colonial times. In the European colonial past, the dominant view of
"difference" represented the culture of the colonized as inferior and
inalterable or slow to change. This book discusses perspectives on pre-
colonial Indian art expressed in the mid-nineteenth century, the early
twentieth century, and the present day. It also considers the effects of
imperialist ways of looking even in places without direct European colonial
control. European colonizers tended to see their own artistic traditions as
continually progressing but the art of colonized or non-European peoples as
traditional and incapable of generating its own modernity.

All of the great ancient civilizations, such as

Ancient Egypt, India, China, Greece, Rome or Arabia had works and styles of
art. In the Middle Ages, most of the art in Europe showed people from
the Bible in paintings, stained glass windows, and mosaic tile floors and
walls. Islamic art includes geometric patterns, Islamic calligraphy,
and architecture. In India and Tibet, painted sculptures, dance, and
religious painting were done. In China, arts included jade carving,
bronzework, pottery, poetry, calligraphy, music, painting, drama, and
fiction. There are many Chinese artistic styles, which are usually named
after the ruling dynasty.
In Europe, after the Middle Ages, there was a "Renaissance" which means
"rebirth". People rediscovered science and artists were allowed to paint
subjects other than religious subjects. People like Michelangelo and Leonardo
da Vinci still painted religious pictures, but they also now could paint
mythological pictures too. These artists also invented perspective where
things in the distance look smaller than things close up in the picture. This
was new because in the Middle Ages people would paint all the figures close
up and just overlapping each other.
Art is a diverse range of human activities in creating visual, auditory or
performing artifacts (artworks), expressing the author's imaginative or
technical skill, intended to be appreciated for their beauty or emotional
power.[1][2] In their most general form these activities include the production
of works of art, the criticism of art, the study of the history of art, and
the aesthetic dissemination of art. The oldest documented forms of art
are visual arts, which include creation of images or objects in fields
including today painting, sculpture, printmaking, photography, and other
visual media. Architecture is often included as one of the visual arts;
however, like the decorative arts, or advertising,[3] it involves the creation
of objects where the practical considerations of use are essential—in a way
that they usually are not in a painting, for example. Music, theatre, film,
dance, and other performing arts, as well as literature and other media such
as interactive media, are included in a broader definition of art or the
arts.[1][4] Until the 17th century, art referred to any skill or mastery and was
not differentiated from crafts or sciences.

E. DIVISION OF ART- The Arts and Humanities Division engages students

in the exploration and discovery of what it means to be human through
scholarly examination of art, theatre arts, music, philosophy, religion,
literature, language and communication. Our faculty guide students as they
develop empathy and experience the interconnectedness of our world, and
mentor students as they practice rational thought, skepticism, creative
expression and diverse modes of communication. Our vision is that our
students become engaged artists, citizens and scholars, prepared for a future
in which they understand who they are and how they can contribute to the
world around them.

Foundational. Transferable. Enduring. These words describe an arts and

humanities education at UC San Diego. Our students’ fundamental education
includes critical thinking, clear communication and creative expression—all
skills sought by today’s employers. These skills nimbly apply to the 21st-
century global marketplace (see arts and humanities jobs). Importantly, the
benefits of these skills last throughout students’ lifetimes.
"We want students to not only explore technologies across the arts and
humanities, but also how these new technologies transform traditional ways of
knowing and representing the world in which we live." – Dean Cristina Della
Coletta
Our undergraduate students engage in courses that explore the study of Music,
Theatre, Film, Literature, Creative Writing, Art, Advertising, Graphic
Design, History, Philosophy, Foreign Languages, Black Studies, Journalism,
Jewish Studies, and Asian Studies at one of the most historic campuses in New
York City. Our division also offers a handful of CORE courses to students
outside our division to equip them with skills to better understand our ever-
changing society from a humanities perspective. Our graduate students connect
with a diverse faculty who teach courses for specialized programs in Art, Art
Education, Museum Studies, Literature, Creative Writing, Language and
Literacy, Media Arts Production (film and video), History, Music, BIC
(branding & integrated communications), and Spanish. After students
complete their degrees, many of them move on to careers in publishing, media
production, advertising, education, and Ph.D. programs. A few notable
graduates with degrees in Humanities and Arts were Upton Sinclair (author
of The Jungle), Oscar Hijuelos (Pulitzer Prize recipient & author of The
Mambo Kings), Walter Mosley (Novelist best known for crime fiction), Ernest
Lehman (Acclaimed screenwriter) Mario Puzo (American author and screenwriter
of “The God Father”), and Luis Guzman (Accomplished actor).
The Division offers degree programs in Art, Asian Studies, Classics,
Communication and Digital Media, English, Great Ideas, History, Modern
Languages, Music, Philosophy, Religion, and Theatre; as well as a minor in
Women's and Gender Studies. These words describe
an arts and humanities education at UC San Diego. Our students' fundamental
education includes critical thinking, clear communication and creative
expression—all skills sought by today's employers. These skills nimbly apply
to the 21st-century global marketplace (see arts andhumanities jobs).
ART WORLDS AND COLLECTIVE ACTIVITY THE DIVISION
OF LABOR Given that all these things must be done for an art work to occur as
it
actually does, who will do them? Imagine, as one extreme …

F. ART THEORIES- Aesthetic response or functional theories of art are

in many ways the most intuitive theories of art. At its base, the term
"aesthetic" refers to a type of phenomenal experience and aesthetic
definitions identify artworks with artifacts intended to produce aesthetic
experiences. Nature can be beautiful and it can produce aesthetic
experiences, but nature does not possess the function of producing those
experiences. For such a function, an intention is necessary, and thus agency
– the artist. The formalist theory of art asserts that we should focus only on
the formal properties of art--the "form" not the "content". Those formal
properties might include, for the visual arts, color, shape, and line, and,
for the musical arts, rhythm and harmony.
Monroe Beardsley is commonly associated with aesthetic definitions of art. In
Beardsley’s words, something is art just in case it is “either an arrangement
of conditions intended to be capable of affording an experience with marked
aesthetic character or (incidentally) an arrangement belonging to a class or
type of arrangements that is typically intended to have this capacity” (The
aesthetic point of view: selected essays, 1982, 299). Painters arrange
“conditions” in the paint/canvas medium, and dancers arrange the “conditions”
of their bodily medium, for example. According to Beardsley’s first disjunct,
art has an intended aesthetic function, but not all artworks succeed in
producing aesthetic experiences. The second disjunct allows for artworks that
were intended to have this capacity, but failed at it (bad art).
Marcel Duchamp's Fountain is the paradigmatic counterexample to aesthetic
definitions of art. Such works are said to be counterexamples because they
are artworks that don't possess an intended aesthetic function. Beardsley
replies that either such works are not art or they are “comments on art”
(1983): “To classify them [Fountain and the like] as artworks just because
they make comments on art would be to classify a lot of dull and sometimes
unintelligible magazine articles and newspaper reviews as artworks” (p.25).
This response has been widely considered inadequate (REF). It is either
question-begging or it relies on an arbitrary distinction between artworks
and commentaries on artworks. A great many art theorists today consider
aesthetic definitions of art to be extensionally inadequate, primarily
because of artworks in the style of Duchamp.
Historical theories of art hold that for something to be art, it must bear some
relation to existing works of art. The correct extension of ‘art’ at time t (the
present) includes all the works at time t-1 and additionally any works created in
the elapsed time. For these additional works to be art, they must be similar or
relate to those previously established artworks. Such a definition begs the
question of where this inherited status originated. That is why historical
definitions of art must also include a disjunct for first art: something is art if
it possesses a historical relation to previous artworks, or is first art.
 ART
APREPICIATION
A. Three languages of the art- It is a truth universally
acknowledged that the public funding of arts and culture will cause political
strife. Reasonable people just do not agree on this, and can be surprisingly
quick to accuse others of ideological warmongering. That’s code of course for
your own views being sound and sensible, while those of the other side are
naïve, selfish, tyrannical, philistine, or just flat-out wrong in a way that
is impervious to logic and evidence. It’s almost as if they’re speaking
another language. Now these are obviously almost cartoonish simplifications of
actually complex and subtle positions, but I think that these axes can help
make sense of the level of heat in so many debates about arts and cultural
funding.

The Three Languages of Politics is a short e-book by Arnold Kling, a US

economist and blogger. It will take perhaps an hour to read, and costs just
A$2. Or you can listen to a podcast here. The book is about why intelligent,
well-meaning people disagree so much, and so bitterly, about politics.
Kling’s thesis is that they are, in effect, speaking different languages.
Kling frames his essay about three political tribes: the left (known in the
US as liberals), the right (conservatives), and libertarians.

Each views the political world along its own axis of discourse and
understanding. For the left, the political world is viewed in terms of:
oppressor – oppressed. For the right, the worldview is on an axis of:
civilisation – barbarism. For libertarians, the relevant axis is: freedom –
coercion. These axes are largely incommensurable.

When one groups sees an issue – say, refugees – through the lens of
civilisation–barbarism, and thus as about border protection, other groups do
not even register that framework, seeing it instead as about freedom of
movement, as libertarians might, or as an issue of oppression, as the left
does. The result is that political discussions become polarised and ill-
tempered. Kling offers these three axes as a kind of translation service that
he hopes might enable each group to better understand how other groups see
and discuss the world. I think the same claim can be made about arts and
cultural funding, which is equally dyspeptic in a similar three-languages
way. Following Kling, it may be useful, especially in the shadow of the
upcoming budget, to attempt to put one’s self in the mind of how the other
side(s) thinks about these issues.

B. The work of the artist- A work of art, artwork, art piece, piece
of art or art object is an aesthetic physical item or artistic creation.
Apart from "work of art", which may be used of any work regarded as art in
its widest sense, including works from literature and music, these terms
apply principally to tangible, portable forms of visual art: This article is
concerned with the terms and concept as used in and applied to the visual
arts, although other fields such as aural-music and written word-
literature have similar issues and philosophies. The term objet d'art is
reserved to describe works of art that are not paintings, prints, drawings or
large or medium-sized sculptures, or architecture (e.g. household goods,
figurines, etc., some purely aesthetic, some also practical). The
term oeuvre is used to describe the complete body of work completed by an
artist throughout a career. A work of art in the visual arts is a physical
two- or three- dimensional object that is professionally determined or
otherwise considered to fulfill a primarily independent aesthetic function. A
singular art object is often seen in the context of a larger art movement or
artistic era, such as: a genre, aesthetic convention, culture, or regional-
national distinction.[3] It can also be seen as an item within an artist's
"body of work" or oeuvre. The term is commonly used by: museum and cultural
heritage curators, the interested public, the art patron-private art
collector community, and art galleries.

Some art theorists and writers have long made a distinction between
the physical qualities of an art objectand its identity-status as an
artwork.[7] For example, a painting by Rembrandt has a physical existence as an
"oil painting on canvas" that is separate from its identity as
a masterpiece "work of art" or the artist's magnum opus.[8] Many works of art
are initially denied "museum quality" or artistic merit, and later become
accepted and valued in museum and private collections. Works by
the Impressionists and non-representational abstract artists are examples.
Some, such as the "Readymades" of Marcel Duchamp including his infamous
urinal Fountain, are later reproduced as museum quality replicas.
There is an indefinite distinction, for current or historical aesthetic
items: between "fine art" objects made by "artists"; and folk art, craft-
work, or "applied art" objects made by "first, second, or third-
world" designers, artisans and craftspeople. Contemporary and
archeological indigenous art, industrial design items in limited or mass
production, and places created by environmental designers and cultural
landscapes, are some examples. The term has been consistently available for
debate, reconsideration, and redefinition. The Next Great Artist is an
American reality competition show that airs on the cable television
network Bravo, in which up-and-coming artists compete for a solo exhibition
at the Brooklyn Museum and a cash prize of $100,000. The show is produced by
Pretty Matches Productions and Magical Elves Productions, the same company
that created Project Runway and Top Chef. The series premiered on June 9,
2010. Work of Art was renewed for a second season in September 2010 which
began on October 12, 2011.
Art literally means effort, or attempt, so we have words like artful,
artisan, artistic, etc. All of these imply that in some way, humans have
intended or planned something. Most dictionary definitions of art, like this
one, involve words like production, expression, arrangement and effort. That
means that there is a difference between a rock we happen to sit on and a
rock we have dragged out of the woods and arranged in our garden with four
other rocks, to make a circle of seats. The latter is a kind of art because
we have chosen materials and assembled them in a way not merely useful but
also somehow satisfying to us, the artists. So in many ways, art has as much
to do with the artist's intentions as with the art itself.

C.SOURCE OF SUBJECT OF ART- The term subjects in art refers to

the main idea that is represented in the artwork. The subject in art is
basically the essenceof the piece. To determine subject matter in a
particular piece of art, ask yourself: What is actually depicted in this
artwork? What is the artist trying to express to the world... what is his
or her message? And how are they conveying that message?

In this section, we'll learn about 6 main subjects that artists have been
exploring in art for centuries:
 still life- a collection of inanimate objects arranged together in a
specific way

 landscape - natural scenery such as mountains, cliffs, rivers, etc

 nature - a focused view or interpretation of specific natural elements

 portraiture - an image of a particular person or animal, or group thereof

 abstract - a non-representational work of art

 day of the dead - a Mexican holiday with a vibrant artistic tradition

Click on a subject matter above to read an in-depth description and see

examples of artwork focusing on that subject. You will also find a
depiction of what specific mediums can achieve within that subject matter.
If you want to paint or draw, but you need some ideas and inspiration,
remember that subjects in art can be anything you want them to be -
whatever your imagination conjures up. The most important thing is to
choose a subject matter that interests you - something that you can happily
immerse yourself in while working on your piece.

Primary sources are original records created at the time historical events
occurred or well after events in the form of memoirs and oral histories.
Primary sources include manuscripts, diaries, letters, rare books, historical
photographs, first-hand accounts or documentary sources on a subject, person,
event or issue. These sources serve as the raw material to interpret the
past, and when they are used along with previous interpretations by
historians, they provide the resources necessary for historical research.
Archives and Manuscripts consist of original unpublished, historical and
contemporary material. The University of Minnesota is home to many archives
and manuscripts (mss) collections containing rare and unique research
materials including documents, photos, videos, and other primary sources on a
range of sources from science and medicine to performing arts, children's
literature, immigration and computing.
Primary sources in reproduction For some levels of research it is acceptable
and appropriate to use primary sources that have been reproduced and
published. A few examples include microfilmed newspaper articles, published
diaries, and scanned images of original documents published in book form. You
can search MNCAT to locate this type of material in our libraries. Electronic
versions of primary sources are being added to the web at an increasing rate.
They may be freely accessible, or available via Libraries with licensed
subscription access. If your assignment or research allows for use of
original materials in facsimile or reproduction, it's acceptable to use
qualified online resources.
"An electronic version of a primary source can be either a scanned image of
the original document (a facsimile) or an ASCII text or word processed
version, created by re-keying the content of the document or by using optical
character recognition (OCR) to convert the image of the document into text.
art of today, produced in the late 20th century or in the 21st century.
Contemporary artists work in a globally influenced, culturally diverse, and
technologically advancing world. Their art is a dynamic combination of
materials, methods, concepts, and subjects that challenge traditional
boundaries and defy easy definition. Diverse and eclectic, contemporary art
as a whole is distinguished by the very lack of a uniform, organising
principle, ideology, or ‘ism.’ Contemporary art is part of a cultural
dialogue that concerns larger contextual frameworks such as personal and
cultural identity, family, community, and nationality. In vernacular English,
"modern" and "contemporary" are synonyms, resulting in some conflation of the
terms "modern art" and "contemporary art" by non-specialists.[1]

D. APPROACHES TO ART CRITICISM- Art criticism is the discussion or evaluation of

visual art.[1][2][3] Art critics usually criticise art in the context
of aesthetics or the theory of beauty.[2][3] A goal of art criticism is the
pursuit of a rational basis for art appreciation[1][2][3] but it is questionable
whether such criticism can transcend prevailing socio-political
circumstances.[4] The variety of artistic movements has resulted in a division
of art criticism into different disciplines which may each use different
criteria for their judgements.[3][5] The most common division in the field of
criticism is between historical criticism and evaluation, a form of art
history, and contemporary criticism of work by living artists.[1][2][3] Despite
perceptions that art criticism is a much lower risk activity than making art,
opinions of current art are always liable to drastic corrections with the
passage of time.[2]
Critics of the past are often ridiculed for either favouring artists now
derided (like the academic painters of the late 19th century)[citation needed] or
dismissing artists now venerated (like the early work of
the Impressionists).[3][6][7] Some art movements themselves were named
disparagingly by critics, with the name later adopted as a sort of badge of
honour by the artists of the style (e.g., Impressionism, Cubism), with the
original negative meaning forgotten.[6][8][9] Artists have often had an uneasy
relationship with their critics. Artists usually need positive opinions from
critics for their work to be viewed and purchased; unfortunately for the
artists, only later generations may understand it.[2][10] Art is an important
part of being human and can be found through all aspects of our lives,
regardless of the culture or times. There are many different variables that
determine one's judgment of art such as aesthetics, cognition or perception.
Art can be objective or subjective based on personal preference toward
aesthetics and form.
It can be based on the elements and principle of design and by social and
cultural acceptance. Art is a basic human instinct with a diverse range of
form and expression. Art can stand-alone with an instantaneous judgment or
can be viewed with a deeper more educated knowledge. Aesthetic, pragmatic,
expressive, formalist, relativist, processional, imitation, ritual,
cognition, mimetic and postmodern theories are some of many theories to
criticize and appreciate art. Art criticism and appreciation can be
subjective based on personal preference toward aesthetics and form, or it can
be based on the elements and principle of design and by social and cultural
acceptance. Art criticism has many and often numerous subjective viewpoints
which are nearly as varied as there are people practising it.[2][3] It is
difficult to come by a more stable definition than the activity being related
to the discussion and interpretation of art and its value.
Art criticism as a genre of writing, obtained its modern form in the 18th
century.[3] The earliest use of the term art criticism was by the English
painter Jonathan Richardson in his 1719 publication An Essay on the Whole Art
of Criticism. In this work, he attempted to create an objective system for
the ranking of works of art. Seven categories, including drawing,
composition, invention and colouring, were given a score from 0 to 18, which
were combined to give a final score. The term he introduced quickly caught
on, especially as the English middle class began to be more discerning in
their art acquisitions, as symbols of their flaunted social status.[16] In
France and England in the mid 1700s, public interest in art began to become
widespread, and art was regularly exhibited at the Salons in Paris and
the Summer Exhibitions of London. The first writers to acquire an individual
reputation as art critics in 18th-century France were Jean-Baptiste
Dubos with his Réflexions critiques sur la poésie et sur la
peinture (1718)[17] which garnered the acclaim of Voltaire for the sagacity of
his approach to aesthetic theory;[18] and Étienne La Font de Saint-
Yenne with Reflexions sur quelques causes de l'état présent de la peinture en
France who wrote about the Salon of 1746,[19] commenting on the socioeconomic
framework of the production of the then popular Baroque art style,[20] which
led to a perception of anti-monarchist sentiments in the text.
MEDIUM OF ART
A. Shape, form, space, texture- The form of a work is its shape,
including its volume or perceived volume. A three-dimensional artwork has
depth as well as width and height. Three-dimensional form is the basis
of sculpture.[1] However, two-dimensional artwork can achieve the illusion of
form with the use of perspective and/or shading or modelling
techniques.[2][3] Formalism is the analysis of works by their form or shapes
in art history or archeology. Lines and curves are marks that span a distance
between two points (or the path of a moving point). As an element of visual
art, line is the use of various marks, outlines, and implied lines in artwork
and design. A line has a width, direction, and length.[1] A line's width is
sometimes called its "thickness". Lines are sometimes called "strokes",
especially when referring to lines in digital artwork. Color is the element
of art that is produced when light, striking an object, is reflected back to
the eye.[1] 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 a color.
Space is an area that an artist provides for a particular purpose.[1] Space
includes the background, foreground and middle ground, and refers to the
distances or area(s) around, between, and within things. There are two kinds
of space: negative space and positive space.[5] Negative space is the area in
between, around, through or within an object. Positive spaces are the areas
that are occupied by an object and/or form. Value is the degree of lightness
and darkness in a color. The difference in values is called contrast. Value
can relate to shades, where a color gets darker by adding black to it, or
tints, where a color gets lighter by adding white to it.

ELEMENTS OF ART (Color, Line, Shape, Form, Space, Value, Texture) and
PRINCIPLES OF DESIGN (Balance, Variety, Harmony, Emphasis, Proportion,
Movement, Rhythm, Unity) Space Space refers to the distance or area between,
around, above or within things. It can be positive or negative. Line Line is
an element of art which refers to the continuos mark made on some surface by
a moving point. It may be two dimensional, like a pencil mark on a paper or
it may be three dimensional(wire) or implied( the edge of a shape or form)
often it is a outline,contour or silhouette. Color Color Is an element of art
with three properties1) Hue, the name of the color, e.g. red, yellow, etc. 2)
Intensity or the purity and strength of the color such as bright ness or
dullness. And 3) value, or the lightness or darkness of the color. Shape
Shape is an enclosed space defined by other elements of art. shapes may take
on the appearance of two-d or three- objects.

Texture Texture refers to the surface quality or "feel" of an object, such as

roughness, smoothness, or softness. Actual texture can be felt while
simulated textures are implied by the way the artist renders areas of the
picture. Form Form is an element of art that is three-dimensional and
encloses volume. Cubes,spheres,and cylinders are examples of various forms.
Value Value describes the lightness or darkness of a color. Value is needed
to express Volume. Emphasis Emphasis in a composition refers to developing
points of interest to pull the viewer's eye to important parts of the body of
the work. Balance Balance is a sense of stability in the body of work.
Balance can be created by repeating same shapes and by creating a feeling of
equal weight. Harmony Harmony is achieved in a body of work by using similar
elements throughout the work, harmony gives an uncomplicated look to your
work. Variety Variety refers to the differences in the work, You can achieve
variety by using difference shapes, textures, colors and values in your work.

Movement Movement adds excitement to your work by showing action and

directing the viewers eye throughout the picture plane. Rhythm Rhythm is a
type of movement in drawing and painting. It is seen in repeating of shapes
and colors. Alternating lights and darks also give a sense of rhythm.
Proportion Proportion or scale refers to the relationships of the size of
objects in a body of work. Proportions gives a sense of size seen as a
relationship of objects. such as smallness or largeness. Unity Unity is seen
in a painting or drawing when all the parts equal a whole. Your work should
not appear disjointed or confusing. Color, Values, forms and Shapes, space
lines, and textures are called the elements of design. These elements are
known as the fundamentals for all works of art. Without these elements art
could not be created. All of these elements exist in the world around us in
nature and in the environments we create for ourselves.

B. Balance variety harmony- The “principles of design” are

mechanisms of arrangement and organization for the various elements of design
in artwork. Please note that different sources might list slightly different
versions of the “Principles of Design,” but the core fundamentals are
essentially the same. Harmony in art and design is the visually satisfying
effect of combining similar, related elements. For instance: adjacent colors
on the color wheel, similar shapes etc. A feeling of equality in weight,
attention, or attraction of the various visual elements within the pictorial
field as a means of accomplishing organic unity.

Proportion is the comparison of dimensions or distribution of forms. It is

the relationship in scale between one element and another, or between a whole
object and one of its parts. Differing proportions within a composition can
relate to different kinds of balance or symmetry, and can help establish
visual weight and depth. The principle of visual organization that suggests
that certain elements should assume more importance than others in the same
composition. It contributes to organic unity by emphasizing the fact that
there is one main feature and that other elements are subordinate to it.

In the below examples, notice how the smaller elements seem to recede into
the background while the larger elements come to the front. Pay attention to
both scale and value of the objects that recede and advance. Variety is the
complement to unity and harmony, and is needed to create visual interest.
Without unity and harmony, an image is chaotic and “unreadable;” without
variety it is dull and uninteresting. Good design is achieved through the
balance of unity and variety; the elements need to be alike enough so we
perceive them as belonging together and different enough to be interesting.
Movement is the path our eyes follow when we look at a work of art, and it is
generally very important to keep a viewer’s eyes engaged in the work. Without
movement, artwork becomes stagnant. A few good strategies to evoke a sense of
movement (among many others) are using diagonal lines, placing shapes so that
the extend beyond the boundaries of the picture plane, and using changing
values.
You can see how these two principles of design go hand-in-hand. Harmony and
unity are two words that designers often use to describe the feeling of a
space. We will also use these terms in relation to your project and the
finishes, fixtures and furniture we are proposing. They can provide a sense
of calmness, or at least play a role in limiting chaos in our workplaces, and
can also add to the comfort level of a room; especially when balance is also
considered and effectively realized. If you read last week’s post
on variety you may be saying to yourself, “Hey, didn’t they just tell us that
the world becomes a boring place when everything is all matchy-matchy? Isn’t
variety the spice of life?”. To that we say, “Yes!”. As interior designers we
tend to want harmony and unity with pops of variety to add interest and liven
up a potentially static, dull space. Furthermore, all of the elements and
principles of design should be considered and used where appropriate in your
project. They are the tools that we, designers, keep in our bag of tricks to
imagine and execute interiors that are as unique as you are.

C. Proportion movement rhythm- Graphic design are definitions,

rules and considerations of design applied to the visual medium, for
communication by the use of visual objects that may include words, lights,
graphs and shapes to pass information to the viewer. Graphic design can be
used for advertising, or just for entertainment intended for the mind. From
clarification or expansion of information via visual aids to the arousal of
emotional and aesthetic feelings in an artistic way. It may be a contributor
to many other forms of art and craft, for example the elaboration of
typefaces used in print and media, the order and flow of presentation of a
cartoon, to the creation of road signs or even emoji. Graphic design
considerations influence all visual aspects of our technological society and
is an intrinsic part the shared human culture.

Alignment is the act of keeping design objects in line, not only vertically
or horizontally but across any linear plane. Alignment also be done
respectively, i.e one design element is positioned with respect a another
element within same frame. Designs in balance (or equilibrium) have their
parts arrangement planned, keeping a coherent visual pattern (color, shape,
space). "Balance" is a concept based on human perception and the complex
nature of the human senses of weight and proportion. Humans can evaluate
these visual elements in several situations to find a sense of balance.

A design composition does not have to be symmetrical or linear to be

considered balanced, the balance is global to all elements even the absence
of content. In this context perfectly symmetrical and linear compositions are
not necessarily balanced and so asymmetrical or radial distributions of text
and graphic elements can achieve balance in a composition. Distinguishing by
comparing/creating differences. Some ways of creating contrast among elements
in the design include using contrasting colors, sizes, shapes, locations, or
relationships. For text, contrast is achieved by mixing serif and sans-serif
on the page, by using very different type styles, or by using type in
surprising or unusual ways. Another way to describe contrast, is to say "a
small object next to a large object will look smaller". As contrast in size
diminishes, monotony is approached.

Making a specific element stand out or draw attention to the eye. Emphasis
can be achieved in graphic design by placing elements on the page in
positions where the eye is naturally drawn, by using other principles such as
contrast, repetition, or movement. Bold and italic type provides emphasis for
text. Graphic elements gain emphasis through size, visual weight, color,
complexity, uniqueness, placement on the page, and other features. Sometimes
considered a distinct principle of design, gestalt is the concept that "the
whole is greater than the sum of its parts." Gestalt is a concept from
psychology, where theorists note the propensity of humans to conceptually
group things together to make a meaningful whole. When viewing designs,
humans apply this principle unconsciously by seeing connections and
relationships among and between the elements in the design. The overall
perception of gestalt in a design is created through harmony, unity, balance,
proportion, proximity, and other visual cues. Designers can use this
principle to create visual connections and relationships that clarify and
strengthen the overall "feel" and meaning of the design. As with music,
graphical elements can be said to be working in harmony - the individual
parts come together as visually compelling and a meaningful whole. Disharmony
can also be used just as it is in musical compositions: to enhance the
emotional complexity, to challenge the viewer, and to give a contrast within
the overall composition.
MUSIC
A. Properties of music- Sounds may be perceived as pleasant or
unpleasant. What are these sounds that we hear? What is "sound"? What causes
it, and how do we hear it? Sound begins with the vibration of an object, such
as a table that is pounded or a string that is plucked. The vibrations are
transmitted to our ears by a medium, which is usually air As a result of the
vibrations, our eardrums start vibrating too, and impulses, or signals, are
transmitted to the brain. There the impulses are selected, organized, and
interpreted. Music is part of this world of sound, an art based on the
organization of sounds in time. We distinguish music from other sounds by
recognizing the four main properties of musical sounds: pitch,
dynamics (loudness or softness), tone color, and duration.

Pitch is the relative highness or lowness that we hear in a sound

The pitch of a sound is determined by the frequency of its vibrations. The
faster the vibrations, the higher the pitch; the slower the vibrations, the
lower the pitch. Vibration frequency is measured in cycles per second. On a
piano the highest-frequency tone is 4,186 cycles per second, and the lowest
is about 27 cycles per second. In general, the smaller the vibrating object,
the faster its vibrations and the higher its pitch.

All other things being equal, plucking a short string produces a higher pitch
than plucking a long string. The relatively short strings of a violin produce
higher pitches than do the longer strings of a double bass.In music, a sound
that has a definite pitch is called a tone. It has a specific frequency, such
as 440 cycles per second. The vibrations of a tone are regular and reach the
ear at equal time intervals.like sounds (squeaking brakes or clashing
cymbals) have an indefinite pitch because they are produced by irregular
vibrations. Two tones will sound different when they have different pitches.

The distance between the lowest and highest tones that a voice or instrument
can produce is called its pitch range, or simply its range. The range of the
average untrained voice is between 1 and 2 octaves; A pianos range is over 7
octaves. When men and women sing the same melody, they usually sing it an
octave apart. Though most music we know is based on definite pitches,
indefinite pitches such as those made by a bass drum or by cymbalsare
important as well. Some percussion instruments, such as gongs, cowbells, and
wood-blocks, come in different sizes and therefore produce higher or lower
indefinite pitches. Contrasts between higher and lower indefinite pitches
play a vital role in twentieth-century western music and in musical cultures
around the world.

B. FASHION DISCORD AND MELODY- Listening to Cage: Non intentional

Philosophy and Music threads together the writings of ordinary language
philosophy and the music of John Cage, responding specifically to requests
made by Cage and Stanley Cavell. While many texts downplay or ignore the
philosophical demands in Cage’s music and other texts find grandiose
spiritual and philosophical material tied to his work, this text rejects both
efforts. It challenges the basic directions of the growing secondary source
material on Cage, finding it largely contrary to what Cage himself and his
music teaches. That secondary material constantly offers an intentional
approach to the music which is to make Cage understandable or easier to
understand. The present text makes him appropriately difficult and basically
unapproachable, asking the reader for serious acknowledgment of what Cage
says he does, namely, “I have nothing to say and I am saying it.” While there
is little hope of stopping the Cage industry that academia and publishers
have grown, this text wishes at least to try to slow it down.

The footnotes of this text include direct conversation material with Cage
from the 1980s and 1990s regarding many subjects—his own compositions, our
life struggles, remarks on Wittgenstein, Thoreau, philosophy, and music—all
with a new context for their hearing. John Cage. Listen then talk. While it
might seem obvious that listening to music should come before talking about
it, strangely that is often not the case with the music of John Cage. This
text bases its discussion of Cage’s music on listening to some of his more
prominent pieces, including the famous “silent piece”: 4′33″. The context for
the discussion is philosophical reflections on sound and silence, emphasizing
that Cage’s music demands a reflection on the conditions that make any piece
of music and music itself possible. Listening to Cage’s music awakens our
needs and interests in how we talk about music and our lives. This text finds
affinities in Cage’s musical efforts in the writings of Thoreau and the
philosophical investigations of Wittgenstein.

It interweaves the work of these three individuals providing a constant

variation in how we might talk about Cage and non intentional philosophy and
music. Cage creates compositions and occasions of listening where our staying
or leaving has already been prepared and given place, constructions that are
independent of our expectations and intentions or desirous needs. Works that
are thereby unapproachable. Herein discussed is “listening to …”. The
ellipsis is filled first with a specific piece of music by John Cage and then
by “Cage.” These crossing threads are followed by the question “why listen to
this?” (We might ask that question of many kinds and people of music. Some
answers are: “It takes one away.” “It is enjoyable.” “It was on the program.”
“There is no reason.” “She is important.” “He teaches me things.”) To talk
about Cage’s music and to try to answer the “why” questions, I ask two other
entwined questions: “what do we hear?” “what do we say about it?” I do not,
in any primary way, concentrate on “how or why did Cage write it?”, “what was
supposed to happen when?”, or “what did Cage want us to hear or do?” Each of
these further purposeful questions is likely rather different from the first
set, which alone have been enough to keep me preoccupied, and to which I
shall stick.

(Although admittedly the latter concerns do arise here-and-there—especially

in the second part of the second section—and play a role not to be denied—
particularly as the rungs on a ladder, as the dominant metaphor goes, but
rungs and ladder that here are finally thrown aside.) I feel ruefully sure,
also, that one must be at least one sort of fool to rush in over ground so
well trodden by the musicians. At best, I can only hope to make a
contribution to one part of the musical interest, where it seems that a
little more patient industry still might be of service. Some will only wish
it was a more central part. Reservations might also be voiced of the opening
and founding expressions of nonintentional philosophy, “how could there even
be such a thing?”, “is this all it comes to?”, “why not give such reflective
energy to more traditional problems and work?”, but here at least the
conditions of ordinary language philosophy, and my earlier efforts in
“Threads of Philosophy,” provide direction and rough ground for what I say
and do. to me, convincingly, that “because of its fame we are no longer these
days quite so engaged or embattled by its listening.”)
c. MUSIC LYRICS AND YOU-