Chapter 4 WRITTEN REPORT

Republic of the Philippines
EULOGIO “AMANG” RODRIGUEZ INSTITUTE

OF SCIENCE AND TECHNOLOGY
Nagtahan, Sampaloc Manila
COLLEGE OF EDUCATION
A WRITTEN REPORT IN BUILDING AND

ENHANCING NEW LITERACIES ACROSS
THE CURRICULUM
Topic:
CHAPTER 4
D. D. Arts and Creative Literacy

D.1. Seven Habits of Highly Creative People
D.2. Eye-Hand Coordination
D.3. Visual Literacy
D.4. Verbal Creativity
D.5. Aesthetics (Nature and Scope of Aesthetics, Three
Approaches to Aesthetics)
D.6. Integrating Arts and Creativity Literacy Into
The Curriculum
Bachelor of Secondary Education Major in Filipino 3

Submitted by:
Academia, Rhea Joi T.

Africa, Nicole Kycerrie R.
Ariola, Jucelle A.
Avenido, Julio
Barizo, Janet
Barrantes, Jonathan T.
Canamaso, Ginalyn C.
Carandang, Vian Joy V.
Leyretana, Mark Angelo A.
Mejia, Leslie M.
Nepa, Mailie Anne S.
Ranca, Domingo Jr. A.
Salonga, Kristine Joy D.
Sibuan, Diana M.
Submitted to:
Mr. Emmanuel Montoya
April 2023
Learning Outcomes:
At the end of this lesson, students must be able to:
 Define the relationship between of arts and literacy and the link between
creativity and education.

 Apply some methods and strategies in developing creating ideas.
Rhea Joi T. Academia
D. ARTS AND CREATIVE LITERACY
To formally start the discussion, I, Rhea Joi T. Academia, is the first presenter on
our group. The topic that is presented is about the Arts and Creativity Literacy in which
the discussion started first on giving trivia and asking students about their ideas when
they hear the word Arts, and Creativity. As the students raise their hand button in the
google meet, I called some random names among the class to share what ideas they
have when they hear those words. Then, when they are done sharing, I began to define
what is the topic all about in which it is started to what is Arts and Creativity Literacy
wherein it is define to help students develop design-thinking, creativity and critical
thinking. As I formally defined the topic, I also explained the meaning in which artistic
ability includes skills and talent to create fine works of art particularly on drawing,
sculpting, musical composition and such. While, creativity ability is the skill and talent to
use our imagination to create and solve things. Then, I proceed to the question about
why is arts and creativity literacy important wherein it is important because Creative
literacy can also encourage reluctant readers, build confidence, and help teach practical
skills. Also, children made strong connections between reading, writing and their work in
creative arts. After sharing the importance of arts and creativity literacy, I added some
knowledge that I got about this topic, first, is according to Sun, et. Al, 2019, Creativity is
known as the process of having original ideas that have value. Moreover, creativity is
the ability to see the world in new ways. Also, I let them know about the difference of art
and creativity according to Naiman 2011, in which creativity is the act of turning new and
imaginative ideas into reality. It involves two processes: thinking then producing. While,
Art is the product of creativity. I also asked the students about their opinion, and share
to them the developmental goals of Art from physical development in which its all about
fine-motor development, visual/perceptual development, eye/hand/brain coordination,
and spatial awareness. Then, the social development, from social and oral language
skills, sharing materials and taking turns, respect for own work and work of others and
multicultural awareness. Next, is the cognitive development, all about decision making
skills, problem-solving skills, cause and effect understanding and non-verbal
communication. Lastly, the emotional development, in which independence in making
choices, creative self-expression, the sensory pleasure and satisfaction and self-
esteem. In addition, I also added the five key behaviors that optimize brain for discovery
in which it is to generate creativity and ideas. First, associating or drawing connections
between questions, problems, or ideas from unrelated fields. Second, Questioning or
posing queries that challenge common wisdom. Observing or scrutinizing the behavior
of others to identify new ways of doing things. Networking or meeting people with
different ideas and perspectives. And lastly, experimenting or constructing interactive
experiences and provoking responses to see what insights emerge. When I am done
discussing my topic, I called students to asked if they understand the discussion and let
them answer the question I prepared. Also, let them speak if they have addition or
queries. And before proceeding to the next sub-topic, I formally called the next reporter,
which is Ms. Nicole Kycerrie R. Africa to let her discuss her topics.
Nicole Kycerrie R. Africa
I, Nicole Kycerrie R. Africa, was the next presenter. Our topic was
all about Arts and Creative Literacy, together with Ms. Rhea Joi T. Academia. The first
thing I did was to know the students if they are still listening, I asked them and they
respond by chatting in the Google Meet comment box. As a continuation of our
discussion, I was talked about the four divisions of art. First, the Aesthetics of Art Study.
It is an approach to teaching and learning that engages students in learning about
works of art through hands-on inquiry, questioning, writing, and art making. It is closely
related to the philosophy of art, which is concerned with the nature of art and the
concepts in terms of which individual works of art are interpreted and evaluated. The
next division I've mentioned was Art History. Art History is the study of objects of art
considered within their time period. Art historians analyze visual arts meaning (painting,
sculpture, architecture) at the time they were created. Before I proceed on my
discussion, I asked the students if they understand our reporting to aware if I will
elaborate and explain it more clearly. Proceed, the third one was Art Production. Art
Production is the creation of beautiful or significant things. It states that production is at
the heart of making art. Artists and theorists have ling acknowledged its importance as
both an artistic action and an idea to be explored. I also mentioned that there are three
stages of production; pre-production, production, and post-production. Lastly, the Art
Criticism. Art Criticism is responding to, interpreting meaning, and making critical
judgments about specific works of art. In other words, art critics help viewers perceive,
interpret, and judge artworks. After the discussion of this topic, Arts and Creative
Literacy, the next reporters were presenting the Seven Habits of Highly Creative People.
Julio T. Avenido
D.1. SEVEN HABITS OF HIGHLY CREATIVE PEOPLE
In line with this subject matter, I, Julio T. Avenido Jr. will be disscussing about
the first four (4) of Seven (7) Habits of Highly Creative People. First is, PREPARE THE
GROUND it possess the creativity that requires an absorbed mind, a relaxed state of
focus and attention by giving the self sufficient time and space needed while letting the
desire to create from the pleasure of creative expression and inspiration. Second,
PLANT SEEDS FOR CREATIVITY it is important to put attention on what we want to
create, not on complaints and set an intention to produce the desired results. Because,
we as an individuals needs to be more unique and have originality on ourselves that
brings out the better version of every individuals. Third is, LIVE IN THE QUESTION it
deals with asking questions, instead of trying to find immediate answers and pay
attention to questions that other people ask. We need to ask and get some other
information for us to know and rely with factual evidences that may help in our lives. And
last on my part, the fourth is FEED YOUR BRAIN get interested in something that later
can provide us wisdom and ideas if we learn to make connections between people,
places and things that are not usually connected.
Jucelle A. Ariola
In continuation, I, Jucelle A. Ariola will be tuckle about the last three (3) in the
Seven (7) Habits of Highly Creative People. In the fifth position, it is the EXPERIMENT
AND EXPLORE it follows our curiosity, experiment with ideas, and learn from our
mistakes therefore, the quality of our creativity will improve. It also help us to caught
some experiences that can also help us to improve our self. Next is, REPLENISH
YOUR CREATIVE STOCK we must learn to be self-nourishing and translate hobbies,
talents and skills into wonderful potentials that boost our confidence in life. Lastly, in the
seventh position is LIBERATE YOUR CREATIVITY in this, our child’s play provides the
clue to our creativity, potentials and passion and also in showing ourselves to other that
didn't have hesitation and has a full confidence in facing them. In general, creativity
takes on many forms in business, art, design, education and science. When we express
our creativity in these domains, we have the ability to make life indeed a work of art
according go Naiman year 2011.
Janet Barizo
D.2. EYE-HAND COORDINATION

What is eye hand coordination ?
Hand-eye coordination refers to the use of the eyes as a means to direct the

hand muscles in performing a task. The brain gathers visual information through the
eyes and uses the information to determine which muscle movements are needed at
the time. Greeting others with a wave of the hand requires hand-eye coordination.
Playing with building blocks and construction a building requires hand-eye coordination
as blocks and tools are maneuvered by the hand muscles.
I think the hand-eye coordination is defined as the use of the eyes to direct
muscles towards a task, such as eating or brushing our hair. I myself do different with
hand-eye coordination for example is grasping objects, catching and throwing a ball,
playing an instrument while reading music, reading and writing, or playing a video
game.
Hand-eye coordination is greatly impacted by the functioning of our visual

system.
Hand-eye coordination, or eye-hand coordination, is our ability to do

activities that require the simultaneous use of our hands and eyes, like an activity that
uses the information our eyes perceive (visual spatial perception) to guide our hands to
carry out a movement.
• We use our eyes to direct attention to a stimulus and help the brain understand where
the body is located in space (self-perception).
• We use our hands to simultaneously carry out a determined task based on the visual
information our eyes receive
Eye-hand coordination is a complex cognitive ability, as it calls for us to unite

our visual and motor skills, allowing for the hand to be guided by the visual stimulation
our eyes receive. Hand-eye coordination is especially important for normal child
development and academic success, but is also an important skill that we use in
countless activities on a daily basis.
Symptoms of poor eye hand coordination
Poor eye hand coordination often presents itself as an avoidance or refusal to

participate in many ordinary, daily activities. Children with poor eye hand coordination,
for example, typically have difficulty learning handwriting skills, such as legibility and
handwriting efficiency, and therefore abstain from writing activities. Other skills like
dressing, taking care of one’s personal hygiene or playing with small objects like blocks,
action figures or dolls may be limited or avoided altogether. Since eye hand coordination
is necessary for many sports, athletic pursuits can often be neglected completely.
It is important to note that a child’s success in or efficiency with playing

computer or video games does not necessarily demonstrate appropriate eye hand
coordination skills. Although these games do require some coordination between eye
and hand movements, the coordination is limited and unnatural, and thus not
representative of a healthy hand eye association.
Jonathan T. Barrantes
I, Jonathan T. Barrantes, was the next reporter after Ms. Barizo’s term.
The first thing I did was to know if they are still up. After they chatted on comment
box for their presence, I continued the reporting. We tackled the examples of eye-
hand coordination and what possible sequence they may encounter. Here are the
facts:
Examples of eye-hand coordination:
1. Writing
When making lines, the eyes send visual information to the brain to toll where the
hand is placed and if handwriting is legible.
2. Typing on a keyboard
Although the types of movement are different. But visual information is used to
tell the brain how to guide the hand or if a mistake needs to be corrected.
3. When driving.
It uses visual information to move the hands on the wheel, keeping the car in the
middle of the lane and avoiding accidents.
4. In sports.
In any sports, the eyes usually coordinate with the movement of some parts of
the body called “motor coordination’. Depending on the sport, either hand-eye
coordination (basketball, tennis, football, etc.) or foot-eye coordination (soccer,
track, etc.) will be more dominant.
It also said that when the motor and visual systems don’t communicate
efficiently, a person may experience symptoms like clumsiness. It can also cause
professional, academic or developmental challenges. For example, poor hand-eye
coordination can interfere with attention, handwriting and typing skills.
After that, I also explained the hand-eye coordination development stages from
birth up to 7-year older.
A. Between birth and three years
1. Between birth and three years of age, infants can accomplish the following
skills and can:
1.1 start to develop vision that allows them to follow slowly moving objects with
their eyes;
1.2 begin to develop basic hand-eye skills, such as reaching, grasping objects,
feeding, dressing;
1.3 begin to recognize concepts of place and direction, such as up, down, in; and
1.4 develop the ability to manipulate objects with fine motor
B. Between three and five years
2. Between three and five years of age, little children can:
2.1 continue to develop hand-eye coordination skills and a preference for left or
right handedness;
2.2 continue to understand and use concepts of place and direction, such as up,
down, under, beside;
2.3 develop the ability to climb, balance, run, gallop, jump, push and pull, and
take stairs one at a time, and
2.4 develop eye/hand/body coordination, eye teaming, and depth perception.

C. Five to seven years
3. Children between five and seven years old can:
3.1 improve fine motor skills, such as handling writing tools, using scissors, etc.;
3.2 continue to develop climbing, balancing, running, galloping and jumping

abilities,
3.3 continue to improve hand-eye coordination and handedness preference; and
3.4 learn to focus vision on school work for hours every day
VIan Joy V. Carandang
D.3. VISUAL LITERACY
VISUAL LITERACY
In the advent of the Internet, students must develop the necessary visual
literacy skills to navigate the image-intense world. Therefore, visual literacy refers to
interpreting and creating visual images and usually about communication and interaction.
The basic definition of visual literacy is the ability to read, write and create
visual images. It is a concept that relates to art and design but it also has much wider
applications. Visual literacy is about language, communication and interaction. Visual media is a
linguistic tool with which we communicate, exchange ideas and navigate our complex world.
The term “visual literacy” was defined in 1969 by John Debes, the founder of
the International Visual Literacy Association, as:
 Visual Literacy refers to a group of vision-competencies a human being can develop by

seeing and at the same time having and integrating other sensory experiences.
 The development of these competencies is fundamental to normal human learning.
When developed, they enable a visually literate person to discriminate and interpret the
visible actions, objects, symbols, natural or man-made, that he encounters in his
environment.
 Through the creative use of these competencies, he is able to communicate with others.
 Through the appreciative use of these competencies, he is able to comprehend and
enjoy the masterworks of visual communication.”
Visual literacy is also the ability to read, write, create visual images. It is a
concept that relates to art and design that has much wider applications. It deals with
language, communication, and at the same time with interaction. In conclusion it is a
linguistic tool, with which we communicate, exchange ideas and navigate our highly visual
digital world.
According to Oxford Research Encyclopedia, visual literacy is the ability to

interpret, negotiate and make meaning from information presented in the form of an image,
extending the meaning of literacy, which commonly signifies interpretation of a written or
printed text. It is therefore, based on the idea that pictures can be read and the meaning
can be through a process of reading.
Teaching visual literacy requires students and teachers to have a shared

visual metalanguage (a shared, specialized terminology) that describes meaning. Access to a
visual metalanguage will enable students and teachers to accurately and consistently talk about
how meaning is made in visual texts, in the same way that we use a commonly understood
grammar of language to talk about meaning making in written and spoken texts.
Visual comprehension requires a focused, carefully sequenced approach to develop

analytical thinking and semiotically informed observational skills. A close analysis of how visual
texts make meaning can be framed around three graduated levels. This is approached as LIE:
Literal, Inferential, and Evaluative comprehension.
Level 1: Literal: Locate, Recall, Connect. What do you see? The answer is in the image. Justify
answers with evidence from the text. (Students search for the information within the text.)
Level 2: Inferential: Infer and Interpret. What do you think this means? Why? What evidence in
the text supports your answer? (Students use the literal information and combine it with other
information from the image or context, and prior knowledge to make inferences based on this
information. This requires close analysis of the text and deeper thinking about this.)
Level 3: Evaluative/Applied: Evaluate, Generalise, Hypothesise, Synthesize, think critically, think

creatively, and apply to other contexts. What do you think about this? (Students combine the
literal and inferential information from the text with other ideas and knowledge to extend
thinking beyond the text.)
Ginalyn C. Canamaso
According to Serafini (2017) asserted that visual literacy is a set of visual

competencies or cognitive skills and strategies one needs to make sense of visual images. These
visual competencies were seen as universal cognitive abilities that were used for understanding
visual images regardless of the contexts of production, reception, and dissemination.
Serafini (2017) argues that the

original definition of visual
literacy as “a set of visual
competencies
or cognitive skills and strategies
one needs to make sense of visual
images” (p. 1) does not consider
the
contexts of image production,
dissemination and reception, or
individual cognitive abilities, and
should
therefore be reformulated to
provide a more comprehensive
definition of visual literacy “as a

process of
generating meanings in transaction
with multimodal ensembles that
include written text, visual images,
and design elements from a variety
of perspectives to meet the
requirements of particular social
contexts”
(p. 1). Becoming visually literate
does not mean “simply learning a
set of fixed skills or grammars”
(Bamford, 2003, p. 4), but rather
practicing it socially in different
contexts and for a variety of

purposes.
Visual literacy, thus, is determined
by its use. It further differs
depending on the form of media
used, as
video, film, magazines, or
interactive media have their own
characteristics and literacies.
Finally, visual
literacy and the use of images
depends on the users’ age,
ethnicity, and gender. Hence,
children should
be given ample opportunities to

develop the ability to understand
and use visual grammar in
classroom
activities designed to promote
learners’ understanding of visual
language (see also Thørnby in this
volu
More contemporary definitions stress that visual literacy is a contextualized, social
practice as much as an individualized, cognitively based set of competencies. It is also a process
of generating meanings in transaction with multimodal ensembles that include written text,
visual images, and design elements from a variety of perspectives to meet the requirements of
particular social context.
Theories of visual literacy can be integrated across disciplines. Therefore, visual

literacy now incorporates sociocultural, semiotic, critical and multimodal perspectives to
understand the meaning that are potential of the visual and verbal ensembles encountered in
social environments (Serafin, 2017).
Digital technology has greatly impacted our understanding of visual literacy as we now
see children growing up with tablets and computers and appears to be highly developed visual
literacy instincts
Mark Angelo A. Leyretana
I, Mark Angelo A. Leyretana, was one of the presenters in the topic of Verbal
Thinking. The first thing I did was to reassure my students that if they were still awake
and listening, I would immediately begin to continue the discussion. I provided a list of
some specific terms and their definitions that they will come upon during my discussion.
Dimensions, ramifications, PISA, and curriculum are the words.
To continue the last discussion, I discussed first, what is the meaning of

Divergent Thinking according to the internet It is about the ability to find many different
and new responses or solutions to open-ended problems. The ability to think divergently
has been associated with different cognitive processes, including intuitive and rational
thinking styles. However, research has not specifically addressed the extent to which
divergent thinking is associated to decision-making styles, which involve habits to react
in a certain way in specific decisional contexts. The present study was devoted to
exploring the relationships between verbal and visual divergent thinking, assessed
using the Torrance Test of Creative Thinking, and decision-making styles (e.g., rational,
intuitive, dependent, avoidant, and spontaneous), assessed
using the General Decision-Making Style inventory. The
scores of both verbal and visual divergent thinking (e.g.,
fluency, flexibility, originality; elaboration only for visual
divergent thinking) were converted in z-scores and summed
separately in order to get verbal and visual composite
creative indices. Results revealed that only and rational
decision-making style predicted both creative indices. This
finding confirms the key role of rationality during the creative process. Possible
explanations for the lack of significance of intuitive decision-making style are presented.
Future research directions are also discussed.
In addition to my topic, I discussed “Torrance Tests of Creative Thinking”

(TTCT) in my research it is about assessing how creatively a student's mind works and
are often given to students in order to determine advanced placement or as a part of an
entrance examination.
 TTCT uses six word-based exercises to assess the three mental characteristics:
 Fluency - It is the ability to generate many ideas which are appropriate to
the task instruction.
 Flexibility- It is the ability to process information or items in different ways

given the same stimulus.
 Originality- It is the ability to generate novel ideas.
These exercises present the examinee with a situation and give the examinee the
opportunity to ask questions, to improve products, and to “just suppose”.
This topic that I’m discussing is help the school and educators because according to
Torrance, with the end results in hand, educators may be able to achieve the following:
 Enabling teachers, psychologists, students, and parents to be aware of the most

important creative abilities/skills that needs to be developed;
 Enabling them to be aware of the students’ strengths for creative learning and
problem solving;
 Enabling them to be aware of gaps/inconsistencies in the student’s repertoire of
creative abilities/skills;
 Providing a basis for generating learning activities and planning instruction;
 Providing a basis for generating evaluation procedures that assess not only the
traditionally tested outcomes but also some of the more elusive objectives of
education.
Creativity should be assessed with multiple methods in order to recognise and

nurture it. Testing may be most valuable with certain subgroups of individuals, especially
those whose creativity is not yet actualised. Creativity testing is suggested in addition to
product and performance evaluations in order to ensure that creative potential, as well
as creative productivity is assessed. Translated into over 50 languages, the TTCT is a
test anyone could respond to – regardless of previous experiences. The TTCT is
recommended as the best standardised measures to use because of the

preponderance of evidence of their reliability and validity over time and in different
cultures. These tests can be used not only for identifying the gifted, but also for
discovering and encouraging everyday life creativity in the general population.
 7 subsets of Verbal Test:
1. Asking
2. Guessing causes
3. Guessing consequences
4. Product improvement
5. Unusual uses
6. Unusual questions
7. Just suppose
In order the understand my topic I

will give some situational examples about
Verbal Creativity Tasks.
 Asks the participant to suppose that

he or she could walk on air or fly,
and then to identify the troubles he
or she might encounter.
 Presents two incomplete figures and asks the participant to draw a picture with
these figures and attempt to make the pictures as unusual as possible.
In sum it up, Verbal responses include richness and colorfulness of imagery,

emotion/feelings, future orientation, humor (conceptual incongruity), and provocative
questions. I will end my presentation by asking some guided questions to assure that
the class understand and attain my learning objectives.
Mailie Anne S. Nepa
D.5. AESTHETIC (NATURE AND SCOPE OF AESTHETICS TO AESTHETICS)
Aesthetics
Aesthetics, also spelled esthetics, the philosophical study of beauty and

taste. It is closely related to the philosophy of art, which is concerned with the
nature of art and the concepts in terms of which individual works of art are
interpreted and evaluated.
To provide more than a general definition of the subject matter

of aesthetics is immensely difficult. Indeed, it could be said that self-definition has
been the major task of modern aesthetics. We are acquainted with an interesting
and puzzling realm of experience: the realm of the beautiful, the ugly,
the sublime, and the elegant; of taste, criticism, and fine art; and of
contemplation, sensuous enjoyment, and charm. In all these phenomena we
believe that similar principles are operative and that similar interests are
engaged. If we are mistaken in this impression, we will have to dismiss such

ideas as beauty and taste as having only peripheral philosophical interest.
Alternatively, if our impression is correct and philosophy corroborates it, we will
have discovered the basis for a philosophical aesthetics.
This article seeks to clarify the nature of modern aesthetics and

to delineate its underlying principles and concerns. Although the article focuses
on Western aesthetic thought and its development, it surveys some of
the seminal features of Marxist and Eastern aesthetics.
The nature and scope of aesthetics
Aesthetics is broader in scope than the philosophy of art,

which comprises one of its branches. It deals not only with the nature and value
of the arts but also with those responses to natural objects that find expression in
the language of the beautiful and the ugly. A problem is encountered at the
outset, however, for terms such as beautiful and ugly seem too vague in their
application and too subjective in their meaning to divide the world successfully
into those things that do, and those that do not, exemplify them. Almost anything
might be seen as beautiful by someone or from some point of view, and different
people apply the word to quite disparate objects for reasons that often seem to
have little or nothing in common. It may be that there is some single underlying
belief that motivates all of their judgments. It may also be, however, that the
term beautiful has no sense except as the expression of an attitude, which is in
turn attached by different people to quite different states of affairs.
Moreover, in spite of the emphasis laid by philosophers on the

terms beautiful and ugly, it is far from evident that they are the most important or
the most useful either in the discussion and criticism of art or in the description of
that which appeals to us in nature. To convey what is significant in a poem, we
might describe it as ironic, moving, expressive, balanced, and harmonious.
Likewise, in characterizing a favourite stretch of countryside, we may prefer to
describe it as peaceful, soft, atmospheric, harsh, and evocative, rather than
beautiful. The least that should be said is that beautiful belongs to a class of
terms from which it has been chosen as much for convenience’ sake as for any
sense that it captures what is distinctive of the class.
At the same time, there seems to be no clear way of delimiting the class in
question—not at least in advance of theory. Aesthetics must therefore cast its net
more widely than the study either of beauty or of other aesthetic concepts if it is
to discover the principles whereby it is to be defined. We are at once returned,
therefore, to the vexing question of our subject matter: What should a
philosopher study in order to understand such ideas as beauty and taste?
Domingo A. Ranca Jr.
THREE APPROACHES TO AESTHETICS
Three broad approaches have been proposed in answer to that question, each
intuitively reasonable:
1. The study of the aesthetic concepts, or, more specifically, the analysis of the
“language of criticism,” in which particular judgments are singled out and their
logic and justification displayed. In his famous treatise On the Sublime and
Beautiful (1757), Edmund Burke attempted to draw a distinction between two
aesthetic concepts and, by studying the qualities they denoted, to analyze the
separate human attitudes directed toward them. Burke’s distinction between the
sublime and the beautiful was extremely influential, reflecting as it did the
prevailing style of contemporary criticism. In more recent times, philosophers have
tended to concentrate on the concepts of modern literary theory namely, those such
as representation, expression, form, style, and sentimentality. The study
invariably has a dual purpose: to show how (if at all) these descriptions might be
justified and to show what is distinctive in the human experiences that are expressed
in them.
2. A philosophical study of certain states of mind

responses, attitudes, and emotions that are held to be
involved in aesthetic experience. Thus, in the seminal
work of modern aesthetics Kritik der Urteilskraft
(1790; The Critique of Judgment), Immanuel Kant
located the distinctive features of the aesthetic in
the faculty of “judgment,” whereby we take up a
certain stance toward objects, separating them from
our scientific interests and our practical concerns. The key to the aesthetic
realm lies therefore in a certain “disinterested” attitude, which we may assume
toward any object and which can be expressed in many contrasting ways.
More recently, philosophers distrustful of Kant’s

theory of the faculties have tried to express the notions of
an “aesthetic attitude” and “aesthetic experience” in
other ways, relying upon developments in philosophical
psychology that owe much to Georg Wilhelm Friedrich Hegel, the

phenomenologists, and Ludwig Wittgenstein (more precisely, the Wittgenstein
of the Philosophical Investigations, 1953). In considering these theories (some of
which are discussed below), a crucial distinction must be borne in mind: that
between philosophy of mind and empirical psychology. Philosophy is not a science,
because it does not investigate the causes of phenomena.
It is an a priori or conceptual investigation, the underlying concern of which is

to identify rather than to explain. In effect, the aim of the philosopher is to give the
broadest possible description of the things themselves, to show how we must
understand them and how we ought to value them. The two most prominent current
philosophical methods phenomenology and conceptual analysis tend to regard this
aim as distinct from, and (at least in part) prior to, the aim of science. How can we
begin to explain what we have yet to identify? While there have been empirical
studies of aesthetic experience (exercises in the psychology of beauty), these form
no part of aesthetics as considered in this article. Indeed, the remarkable paucity of
their conclusions may reasonably be attributed to their attempt to provide a theory of
phenomena that have yet to be properly defined.
3. The philosophical study of the aesthetic object. This approach reflects the view that
the problems of aesthetics exist primarily because the world contains a special class
of objects toward which we react selectively and which we describe in aesthetic
terms. The usual class singled out as prime aesthetic objects is that comprising
works of art. All other aesthetic objects (landscapes, faces, objets trouvés, and
the like) tend to be included in this class only because, and to the extent that, they
can be seen as art (or so it is claimed).
If we adopt such an approach, then there ceases to be a real distinction

between aesthetics and the philosophy of art; and aesthetic concepts and aesthetic
experience deserve their names through being, respectively, the concepts
required in understanding works of art and the experience provoked by
confronting them. Thus Georg Wilhelm Friedrich Hegel, a German philosopher. He
is one of the most important figures in German idealism and one of the founding
figures of modern Western philosophy. Perhaps the major philosophical influence on
modern aesthetics, considered the main task of aesthetics to reside in the study of
the various forms of art and of the spiritual content peculiar to each. Much of recent
aesthetics has been similarly focused on artistic problems, and it could be said that it
is now orthodox to consider aesthetics entirely through the study of art.
The third approach to aesthetics does not require this concentration on art.
Even someone who considered art to be no more than one manifestation of
aesthetic value perhaps even a comparatively insignificant manifestation may
believe that the first concern of aesthetics is to study the objects of aesthetic
experience and to find in them the truly distinguishing features of the
aesthetic realm. Unless we restrict the domain of aesthetic objects, however, it
becomes extremely difficult to maintain that they have anything significant in
common beyond the fact of inspiring a similar interest. This means that we
should be compelled to adopt the second approach to aesthetics after all. And there
seems no more plausible way of restricting the domain of aesthetic objects than
through the concept of art.
The three approaches may lead to incompatible results. Alternatively, they

may be in harmony. Once again, it can only be at the end point of our philosophy
that we shall be able to decide. Initially, it must be assumed that the three
approaches may differ substantially, or merely in emphasis, and thus that each
question in aesthetics has a tripartite form.
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Creativity-Literacy
 Naiman, L. (2021). Seven Habits of Highly Creative People | Creativity at Work.
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%20involves%20closely%20examining,%2C%20web%20pages%2C%20and
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Chapter 4 WRITTEN REPORT

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Republic of the Philippines

EULOGIO “AMANG” RODRIGUEZ INSTITUTE

A WRITTEN REPORT IN BUILDING AND

D. D. Arts and Creative Literacy

Bachelor of Secondary Education Major in Filipino 3

Academia, Rhea Joi T.

Mr. Emmanuel Montoya

Rhea Joi T. Academia

D. ARTS AND CREATIVE LITERACY

Nicole Kycerrie R. Africa

D.1. SEVEN HABITS OF HIGHLY CREATIVE PEOPLE

D.2. EYE-HAND COORDINATION

What is eye hand coordination ?

Hand-eye coordination refers to the use of the eyes as a means to direct the

Hand-eye coordination is greatly impacted by the functioning of our visual

Hand-eye coordination, or eye-hand coordination, is our ability to do

Eye-hand coordination is a complex cognitive ability, as it calls for us to unite

Symptoms of poor eye hand coordination

Poor eye hand coordination often presents itself as an avoidance or refusal to

It is important to note that a child’s success in or efficiency with playing

Examples of eye-hand coordination:

A. Between birth and three years

1.4 develop the ability to manipulate objects with fine motor

B. Between three and five years

2. Between three and five years of age, little children can:

2.4 develop eye/hand/body coordination, eye teaming, and depth perception.

C. Five to seven years

3. Children between five and seven years old can:

3.2 continue to develop climbing, balancing, running, galloping and jumping

3.3 continue to improve hand-eye coordination and handedness preference; and

VIan Joy V. Carandang

D.3. VISUAL LITERACY

 Visual Literacy refers to a group of vision-competencies a human being can develop by

According to Oxford Research Encyclopedia, visual literacy is the ability to

Teaching visual literacy requires students and teachers to have a shared

Visual comprehension requires a focused, carefully sequenced approach to develop

Level 3: Evaluative/Applied: Evaluate, Generalise, Hypothesise, Synthesize, think critically, think

According to Serafini (2017) asserted that visual literacy is a set of visual

Serafini (2017) argues that the

definition of visual literacy “as a

contexts and for a variety of

be given ample opportunities to

Theories of visual literacy can be integrated across disciplines. Therefore, visual

Mark Angelo A. Leyretana

To continue the last discussion, I discussed first, what is the meaning of

In addition to my topic, I discussed “Torrance Tests of Creative Thinking”

 Flexibility- It is the ability to process information or items in different ways

 Enabling teachers, psychologists, students, and parents to be aware of the most

Creativity should be assessed with multiple methods in order to recognise and

recommended as the best standardised measures to use because of the

 7 subsets of Verbal Test:

In order the understand my topic I

 Asks the participant to suppose that

In sum it up, Verbal responses include richness and colorfulness of imagery,

Mailie Anne S. Nepa

D.5. AESTHETIC (NATURE AND SCOPE OF AESTHETICS TO AESTHETICS)

Aesthetics, also spelled esthetics, the philosophical study of beauty and

To provide more than a general definition of the subject matter

engaged. If we are mistaken in this impression, we will have to dismiss such

This article seeks to clarify the nature of modern aesthetics and

The nature and scope of aesthetics

Aesthetics is broader in scope than the philosophy of art,