The Arts: Anna, Juval, Hamza, Katie, Yuval

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The Arts: Anna, Juval, Hamza, Katie, Yuval by Mind Map: The Arts: Anna, Juval, Hamza, Katie, Yuval

1. Language & Concepts (Hamza)

1.1. Visual Arts

1.1.1. RLS: In visual arts, there is uniform usage of a system of names to classify important periods of time. Even though these periods were from different areas and different languages, all of the names have been Romanised and are now part of the English Language (eg Renaissance, Baroque, Medieval)

1.1.2. Types of Art

1.1.2.1. New types of art, people breaking traditions

1.1.2.1.1. New mediums used, new styles of presenting

1.1.2.1.2. New set of language required to express these new styles in words.

1.2. Music

1.2.1. In music, almost all pieces are produced or are converted to use the same note symbols and script for everyone to understand. However, when there are some specialised commands, such as get louder or quieter, faster or slower etc, Italian words are used globally to denote this. These Italian terms are recognised globally and taught in classes all over.

1.2.1.1. Examples

1.2.1.1.1. Dynamics

1.2.1.1.2. Changes

1.2.1.2. Periods of Music

1.2.1.2.1. RLS: As the periods of music progressed and changed, each new period seemed to spark new genres, due to many new conventions and styles of presenting music. For example, the Baroque period is credited with creating Oratorio, Opera and Cantata.

1.2.1.3. New Technology

1.2.1.3.1. New Instruments

1.3. Performing Arts

1.3.1. DIfferent forms of performing arts

1.3.1.1. Film

1.3.1.1.1. Universal language used internationally

1.3.1.2. Theatre

1.3.1.2.1. Staging

1.3.1.2.2. Costume characteristics

1.3.1.3. Dance

1.3.1.3.1. Types of moves

1.3.1.3.2. Staging

1.3.1.3.3. Speed

1.3.1.3.4. Formation of Dancers (Choreography)

2. Scope & Application (Juval)

2.1. Reasons for creating art

2.1.1. Imitation of reality

2.1.1.1. 15th Century artists tried to replicate reality

2.1.1.2. The invention of photography (19th Century) made it easy to replicate reality

2.1.2. Communication

2.1.2.1. Start a conversation about a topic

2.1.2.2. Explore emotions

2.1.3. Education

2.1.3.1. Push people to question assumptions

2.1.3.2. Broaden awareness, empathy, thinking

2.2. Perspectives of art

2.2.1. Artist(s)

2.2.2. Audience

2.2.2.1. General population

2.2.2.2. Critics and experts

2.2.3. Each of these categories is composed of people, who all have unique backgrounds and perspectives

2.3. Beauty Vs. Preference

2.3.1. People often prefer works that look nicer, but that does not always mean that that unattractive works are not "good"

2.3.1.1. Eg. Saturn Devouring his Son by Goya does not look "pretty" but is undoubtedly a skilled piece of work

2.4. How do you determine art's value?

2.4.1. Personal preference

2.4.1.1. Do you like it?

2.4.1.2. Powerful impact on you?

2.4.2. Cost (how much people will pay for it)

2.4.2.1. Age of piece

2.4.2.2. Who the artist is

2.4.3. Collective preference and reputation

2.4.3.1. Popular art movement?

2.4.3.2. Popular/good message?

3. Methodology (Yuval)

3.1. Knowledge and understanding of art

3.1.1. what is art?

3.1.1.1. something that was made by someone with the intention of evoking an aesthetic response in the audience

3.1.1.2. This way artists communicate with their audience

3.1.1.3. Is a result of a conscious design

3.1.1.4. Is meant to provoke or please people

3.1.1.5. Is not meant to be practical

3.1.2. What is beauty?

3.1.2.1. On a piece of paper, write one word that in your view sums up or represents beauty.

3.1.3. Aesthetics

3.1.4. How to distinguish art from non-art?

3.1.4.1. The Intention Criterion

3.1.4.1.1. an artist has an intention to please or provoke

3.1.4.1.2. what are the drawbacks of this criterion?

3.1.4.2. Quality of the work

3.1.4.2.1. skill

3.1.4.2.2. technical competence

3.1.5. Technical competence and Originality

3.1.5.1. Kitsch

3.1.5.2. Forgery

3.1.5.3. Originality combined with simplicity

3.1.6. Response of the Audience

3.1.6.1. Art is supposed to be appreciated yet can we trust the taste of general public?

3.1.6.2. Is good art always appreciated?

3.1.6.3. The importance of ‘expert opinion’

3.1.6.4. Is the idea of expert opinion more problematic in the arts than in the sciences?

3.1.6.5. In arts, Is there an equivalent to theories and laws that are in sciences?

3.1.7. Aesthetic judgment

3.1.7.1. aesthetic judgments are disinterested

3.1.7.2. “beauty is not a concept of the object” (Kritik der Urteilskraft, 1902)

3.1.8. art and knowledge

3.1.8.1. The nature of art

3.1.8.1.1. Should Art be a mere reproduction of reality or a creative reinterpretation of reality?

4. Historical Development (Anna)

4.1. Art Movements

4.1.1. Italian Renaissance

4.1.1.1. Naturalism

4.1.1.2. Humanism

4.1.1.3. Fresco Painting

4.1.1.4. Tempera Painting

4.1.1.5. Oil painting

4.1.2. What is an Art Movement?

4.1.2.1. collective titles that are given to artworks

4.1.2.2. no fixed rule that determines what constitutes an art movement.

4.1.2.3. a historical convenience for grouping together artists of a certain period or style

4.1.2.4. are usually named retrospectively

4.1.2.5. Grouping artists into Art Movements is mainly a characteristic of Western Art.

4.1.2.6. essentially a 20th century development

4.2. Art styles

4.2.1. Impressionism

4.2.2. Post-Impressionism

4.2.3. Cubism

4.2.4. Fauvism

4.2.5. Expressionism

4.2.6. Dadaism

4.2.7. Surrealism

4.2.8. Pop art

5. Personal Knowledge (Katie)

5.1. Poetry

5.1.1. Humans are creatures of rhythm and repetition

5.1.2. There are rhythmic patterns in nature and all around us

5.1.3. Central to our experiences in our surroundings

5.1.4. Delight in these aspects everyday

5.1.4.1. Patterns can and are seen to be pleasure

5.1.4.1.1. Indulge in the experience

5.2. Art

5.2.1. Patterns and our understanding of how we interpret them

5.2.2. We can use art to depict the way we think forces look

5.2.2.1. Vincent van Gogh’s starry night, circular brush strokes, represented light in another way to how painters at the time were painting, shows the way light moves

5.2.2.1.1. His intense suffering showed how we think he was able to perceive and represent turbulent flow to astronomical proportions close to that of the real equation

5.2.2.2. This ties to maths and the way we interpret forces that cannot be seen with the naked eye

5.3. Music

5.3.1. Repetition is a feature that music from around the world share

5.3.1.1. An example of this is 'The mere exposure effect’

5.3.1.1.1. Doesn’t just work for songs but everything else

5.3.1.1.2. Studies showing the effects of repetition in composures of pieces rating were higher the more repetition the song had in it.

5.3.1.2. Repetition invites us into music as participants rather than passive listeners

5.3.1.2.1. Shift attention across the whole musical repetition on different aspects of a sound each listen

5.3.1.2.2. Opens up new worlds of sound not heard on the initial hearing

5.3.1.2.3. The sentence to song illusion

5.3.1.2.4. This thinking ahead of musical notes ties in with our susceptibility to musical ear worms where sequences of music are burrowed and stuck in our heads again and again

5.4. Language

5.4.1. Rhythm

5.4.1.1. Rhythm crates by syllables and their empathise

5.4.1.1.1. Rhythm in itself is a form of repetition

5.4.2. Repetition

5.4.2.1. Repetition at multiple levels, sounds words letters

5.4.2.1.1. It can lift or lull, amplify or diminish the line, unify or diversify the ideas

5.4.2.2. Also happens in language called semantic satiation (Relating to repetition in music)