10

MAPEH (ARTS)
Quarter 2 – Module 3:
Technology from other
Countries and their
Adaptation by Philippine
Artists
MAPEH 10 - ARTS
Self-Instruction Material (SIM)
Quarter 2 – Module3: Technology from other Countries and their Adaptation by
Philippine Artists
First Edition, 2020

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 10
MAPEH (ARTS)
Quarter 2 – Module 3:
Technology from other
Countries and their
Adaptation by Philippine
Artists
 1 TITLE CARD

Topic:
Technology from other Countries and their Adaptation by Philippine
Artists
Competency:
Identify artworks produced by technology from other countries and
their adaptation by Philippine artists
(A10EL-IIa-3)
Objectives:
At the end of the module, the pupils are expected to:
1) Recognize artworks produced by technology from other countries
2) Compares adaptation of technology based artworks and the artworks from other
countries

Number of Days: 3

Background and General Instructions

This Self-instructional Material entitled Technology from other Countries
and their Adaptation by Philippine Artists.
This lesson will Identify artworks produced by technology from other
countries and their adaptation by Philippine artists.

The series of learning exercises are provided as aids for the mastery
of the lesson. Kindly answer the activity cards, assessment card, and
enrichment card properly by reading first the directions given in each
activity.
Write your answer in a separate sheet of paper.
 2 GUIDE CARD

Guide Card 1

Digital artists and digital artworks

1. Peter Beyls is an interdisciplinary artist working on the intersection of computer
science and the arts. He is active in the global domain of Media Art as a
researcher, curator, educator and practicing artist. He published extensively on
various aspects of digital art. Beyls studied music at the Royal Music
Conservatory Brussels, was a student at the pioneering Electronics
Experimental Department, Slade School of Art, University College London and
holds a PhD in computer science from the University of Plymouth, UK. He was
a professor of digital culture at LUCA Brussels and visiting professor at The
School of Arts, University College Ghent, Belgium and various institutions in the
USA, China and Japan.

Peter Beyls, Aladdin v2 nr1 (2016) (42cm x 28cm Digital Drawing)

1. Jean-Pierre Hébert
He pioneered the creation of conceptual drawings based on original
code proofed by computer-driven devices. He produces algorithmic, lyrical and
spiritual works on paper, sand, and water as well as visual music and
installations. His work has been exhibited throughout the U.S. and has achieved
international recognition. Hébert is currently Artist in Residence at the Kavli
Institute for Theoretical Physics at U.C. Santa Barbara and has been awarded
a Pollock-Krasner and a David Bermant grants. He received the 2012 Siggraph
Distinguished Artist Award for Lifetime Achievement in Digital Art
(http://www.jeanpierrehebert.com/docs/nano%20bio.pdf)
 JEAN-PIERRE HÉBERT, Metagonal Galore, JEAN-PIERRE HÉBERT
Vanishing, 2017, Still from digital video, Edition of Blue Wavelets (from Just Enough Chance Series), 2015,
5 + 1 AP Pigments on aluminum, 48 x 24 inches
Credits:http://solwaygallery.com/Illuminated_exhi Credits:http://solwaygallery.com/Illuminated_exhibition.
bition.html html

Manfred Mohr is a German artist – a

pioneer of digital art. In the 60s, Max
Bense’s information aesthetics inspired
Mohr to change the abstract
expressionism for a computer generated
algorithmic geometry – programming a
first computer drawing in 1969.
This work series P2200 shows a
rotating diagonal-path of an n-dimensional
hypercube (between eleven and fifteen
dimensions) and the visual rendering of
the history of that rotation. A diagonal-path
is a multiple-segmented line through an n-
dimensional hypercube, where each
change of direction indicates the passage MANFRED MOHR-ARTIFICA II, traces-
through a dimension. The thick white line capturing the history of n-dimensional
shows a rotated n-dimensional diagonal- rotations
Credits:
path projected into 2-D and the color lines
http://www.emohr.com/ww4_out.html
show the history of that movement restricted to the 2-D rectangular space.
Andreas Gursky (German, b.1955) is a photographer best known for his
colorful, bold, large-format depictions of contemporary life. Gursky was born in
Leipzig, Germany, and grew up in Düsseldorf, where his father worked as a
commercial photographer. In his early 20s, he studied photography at the Folkwang
School, West Germany’s leading establishment for professional photographers. His
early, unadorned compositions are heavily influenced by his years at Folkwang, where
the curriculum was largely focused on the straight-shot techniques of photojournalism.
(http://www.artnet.com/artists/andreas-gursky/biography)
Parliament 1998 is a vertically oriented colour photograph by the German
artist Andreas Gursky that is nearly two and a half metres tall and more than a metre
and a half wide. Taken from an elevated perspective and seemingly through a
window, the photograph depicts the assembly hall of the German parliament
(Bundestag) in Bonn. The gridded pattern of the window frames through which the
scene is captured divides the composition into four horizontal bands. In the bottom
two sections of the image, groups of politicians can be seen standing on the floor of
the hall and among its curving rows of desks with their bright blue seats. The upper
two sections of the scene feature a public gallery overlooking the hall and, at the very
top of the composition, a reflection of the scene below in which the floor, desk and
blue seating areas are inverted.
 Although the photograph is of a very high resolution, blurring and refraction
are evident in places throughout (especially in its lowest section) and the fragmented
impression created by the window bars is heightened by Gursky’s digital
manipulation of the image. For instance, in the centre of the work, one rectangular
area of the public gallery appears to have been overlaid onto a separate image of
the interior, as is suggested by the differences in colour and the number of people
sitting on its benches. Furthermore, it is difficult to see what might be the cause of
the inverted or reflected section at the top of the photograph, which suggests that it
has been added by Gursky digitally. (https://www.tate.org.uk/art/artworks/gursky-
parliament-p11570)

Guide Card 2
Digital Arts and artists in the Philippines
In the Philippines, Filipino artists were likewise influenced by the technology
trend in art. However, this was more in the commercial sphere. From the 1960s to
the 1990s, their computer generated works were primarily geared towards illustrating
for international comic books. In fact, Filipino illustrators earned quite a reputation for
their talents and were highly in demand in the field. They became eventually sought
after as animators for some of the major film production companies in the United
States, as well as animated television series produced in different countries.
Eventually, however, the concept of computer generated works as a means of
serious artistic expression gained among the younger generation of local artists.
Today, even the more established names in the field –artists and critics alike –have
come to accept and recognize digital works as fine art. To view works by Philippine
artists employing digital art techniques, you may visit the more progressive museums
and art organizations. Among these are:
 The Center for Art and Thought—http://www.centerforartand thought.org/
 Deviant Art-http://www.deviantart.com/browse/alldigitalart/
 The Ateneo Art Gallery – http://www.ateneoartgallery.org/
 Yuchengco Museum—http://yuchengcomuseum.org
Digital Filipino Artists
Dex Fernandez is a multi-media graffiti artist from Manila, Philippines.
Through wall murals, illustrated and embroidered photography, and animation videos
his work fully displays the vibrancy of current S.E. Asian contemporary art. He is an
illustrative maximalist. Using acrylic and thread, he alters digital photographs with a
hyperactive mix of comic book-like shapes, patterns, lines, and characters. In his
current show show, “310E44R822,” at Owen James Gallery in Greenpoint,
Fernandez, who lives and works in the Philippines, presents a new body of
psychedelic abstractions in a candy-colored palette reflective of his street-art roots.
However, rather than spreading his motifs across walls alone, he has taken to faces,
transforming anonymous portraits with fantastical designs.
Martha Atienza (1981-present)
Born to a Dutch mother and Filipino father, Atienza continues to live both in
the Philippines and Holland. After receiving her Bachelor in Fine Arts from the
Academy of Visual Arts and Design in the Netherlands, she accepted residency
grants from England, Australia, New York and Singapore. Her video art reflects
snapshots of reality and the environment drawn from her Filipino and Dutch roots.
She is currently interested in using contemporary art as an aid to bring about
social change. In 2017, she won the Baloise Art Prize at Art Basel International Fair
for her video installation Our Islands, 11°16`58.4” 123°45`07.0”E., which shows a
traditional Catholic procession from the Philippines under waters.

Ronnie del Carmen

Filipino digital artist, he joined Pixar Animation Studios in the summer of 2000
during the production of "Finding Nemo" and became a story supervisor on the film.
He did production design on the Academy Award®-nominated short film, "One Man
Band" and story work on Oscar®-winning, "Ratatouille." Del Carmen was Head of
Story on Disney/Pixar's Academy Award winning feature, "Up" and is the co-director
of Disney/Pixar's "Inside Out.".
del Carmen served as the co-director of the animated film Inside Out, Ronnie del
Carmen shared that he had to use his own life experiences to create this
masterpiece. He also landed a job as an animator in Warner Bros and became a
storyboard artist for Batman: The Animated Series.

Ricky Nierva joined Pixar Animation Studios in May 1997. He began with the
animation team as a visual development artist and did additional storyboarding on
“Toy Story 2.” He was the lead character designer for “Monster's Inc.” and was
awarded an Annie Award as the character art director for the Academy Award®
winning feature “Finding Nemo.” Nierva was the production designer for another
Oscar® winner, and Best Picture nominee, “Up” and most recently worked as the
production designer “Monsters University.” He is currently working on an upcoming
project.

Nierva has illustrated a children's book published by Random House, titled “‘M’ is
for Monster,” and his artwork is also featured in the books, “The Art of Monster's,
Inc.,” “The Art of Finding Nemo,” and “The Art of Monsters University” by Chronicle
Books.
 3 ACTIVITY CARD

ACTIVITY 1
Directions: Label the each of the artworks presented and the person to whom it is accounted.

1. 3.

2. 4.

5
ACTIVITY 2
Directions: List at least five Filipino digital artists and provide one of their respective
artwork/ specific digital art discipline.
 4 ASSESSMENT CARD

Directions: Choose the letter of the correct answer.

1. True or False, in digital technology, it is possible to download videos via
computer
a. True B. false C. Both A and B
2. He shifted from abstract expressionism for computer generated algorithmic
geometry – programming a first computer drawing in 1969.
a. Jean-Pierre Hebert c. Manfred Mohr
b. Pablo Picasso d. Andreas Gursky
3. True or False, some Filipino digital artists are animators in the film industry.
a. True B. False c. undefined
4. True or False, Our Islands, 11°16`58.4” 123°45`07.0”E., is a work of Ronnie del
Carmen.
a. True B. False c. undefined
5. Some Filipino digital artists work as animators of some internationally recognized
productions. The following are some of the digital Filipino artists in the All of the
above
a. True B. False c. undefined
 5 ENRICHMENT CARD

. Directions: Research at least 10 features or tools of Adobe Photoshop and provide the
function of each tool or feature.
 6 REFERENCE CARD

REFERENCES

Taylor, G.D. 2019. Curating the American Algorists. Accessed may 3, 2020.
www.bing.com/images/search?q=peter+beyls+artist&form=hdrsc2.

Taylor, G.D. (2019). Curating The American Algorists: Digital Art and National Identity. Arts 2019, 8,
106; doi:10.3390/arts8030106

https://www.bing.com/images/ search?q=peter+beyls+artist&FORM=HDRSC2

https://www.artsy.net/article/artsy-editorial-at-owen-james-gallery-dex-fernandez-expands-
portraiture-s-borders

https://www.ciit.edu.ph/filipino-digital-artists/
 7 ANSWER KEY

Activities
Activity 1 1 and 3 are dependent Activity 2- Possible answers
1. the
upon Aladdin v2 nr1
scoring (2016)
of the by
instructor
Peterthe
considering Beyls
given rubric.  Ronnie del Carmen-he did
2. Metagonal Galore, production design in the
Vanishing, 2017 by Jean- following films: ‘One Man
Pierre Hébert Band’’, Up’’, and
3. Blue Wavelets by Jean- "Ratatouille.",
Pierre Hébert
4. ARTIFICA II, traces-  Ricky Nierva- character art
capturing the history of n- director for the Academy
dimensional rotations by
Manfred Mohr Award® winning feature
5. Polygon Drawings, 1965 by “Finding Nemo.”
Frieder Nake  Martha Atienza, Our Islands,
11°16`58.4” 123°45`07.0”E.

 Dex Fernandez, He is an
ASSESSMENT illustrative maximalist. Using
acrylic and thread, he alters
1. A digital photographs with a
2. C hyperactive mix of comic
book-like shapes, patterns,
3. A lines, and characters

4. B Note: Other artists and

descriptions maybe included
5. A provided there is a valid
reference.
 DISCLAIMER
This Self-Instructional Material (SIM) was developed by the Schools Division of
Cotabato. It aims to provide learners with materials that could be used in the new
normal and is based on the modality preferred by most parents and learners. It is
hoped that through this, the education of the children in the Province of Cotabato shall
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division beginning SY 2020-2021. Furthermore, the process of LR development was
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