1. Scope & Application - Shahmeer
1.1. What makes something an artwork?
1.1.1. Classifying if an object can be considered art highly subjective to the individual.
1.1.1.1. Part of art is that it should be something that is created from human emotion, however, art can only be considered art in the mind of the audience.
1.1.1.2. There is something metaphysical with art that must be considered for us to consider an object as art
1.1.1.2.1. Art isn't only considered art from the physical standpoint.
1.2. Art as imitation
1.2.1. The mimetic theory of art
1.2.1.1. The purpose of art is to copy reality
1.2.1.1.1. This brings up other questions such as: Do I interpret reality the same as an individual.
1.2.1.2. An attempt to achieve perfect likeness
1.3. Art as communication
1.3.1. Is art the language of emotions?
1.3.2. The communication theory
1.3.2.1. A horizontal dimension - enables us to explore the depth of human experience
1.3.2.2. A vertical dimension - enables us to explore the depth of emotions
1.3.2.3. How can arts such as music, that don't have any visual representations, communicate something to us?
1.4. Art as education
1.4.1. Moral and educational role
1.4.1.1. Art provokes emotion
1.4.1.1.1. Influences our behaviour
1.4.1.2. Art offers a range of role models
1.4.1.3. Art challenges us to question our assumptions
1.4.2. Ethics
1.4.2.1. Broadens our awareness, empathy and sharpens our intution
1.4.2.2. We'll have the ability to explore other perspectives
1.5. How should we value art?
1.5.1. Intrinsic Value of art
1.5.1.1. Art for art's sake
1.5.1.1.1. This is to value art solely at an aesthetic level.
1.5.2. Extrinsic Value of art
1.5.2.1. Art serving a greater purpose than itself
1.5.2.1.1. This to value art at a moral and educational level.
1.5.2.1.2. Art has a greater value than just it's appearance
1.5.2.1.3. An art's history and story all add up to the extrinsic value of itself
1.6. Art and perspective
1.6.1. Artists
1.6.1.1. The producers of the artwork
1.6.2. Audience
1.6.2.1. Expert and non-expert consumers
1.6.3. The Art world
1.6.3.1. Artists, producers, museum directors, gallery owners, critics, art historians, art journalists, patrons supporting the arts, art dealers, curators, art collectors etc.
1.6.4. As these are all human perspectives we can further sub class this list into culture, gender, race, age etc.
1.6.4.1. As mentioned before, art is highly subjective
1.6.4.1.1. Our own views of art can develop over time. A piece that we may have enjoyed in the past, may be of no value to us today.
1.6.4.1.2. Art is dependent on the person because of their own experiences. Therefore, our perception of art is dependent on human experience.
2. Language & Concepts (Tiana)
2.1. Art forms communicate in different ways: shape, sound, colour, movement
2.1.1. eg. Music - language used: 'pitch', 'timbre', 'harmony', 'melody', 'rhythm'
2.1.1.1. Concept in Music - Interrupted Cadence: a progression which seems to tend towards the final Tonic chord through the usual Dominant harmony, but is abruptly deflected; so that the promised conclusion is deferred by the substitution of another harmony than that of the Tonic.
2.1.2. eg. Visual Arts - hue, colour, form
2.1.3. eg. Literature - themes, symbols, figurative language (metaphor, similie, imagery, hyperbole, etc), sounds of words
2.1.3.1. Different to Scientific writing not only in tone created - less official - but because of purpose: rather than to just report objectively on factual information, writers want to bring about certain emotions / feelings / understandings in readers
2.2. What is similar - all the choices in the different 'language' of the arts are chosen to evoke certain emotions or aesthetic appreciations in the audience
2.3. What is the significance of "breaking the rules/traditions" in the knowledge production in the Arts?
2.3.1. Creates new periods and conventions of art. Eg. renaissance period - connects changes in music, visual arts, literature, philosophy and history.
3. Methodology - Krishna
3.1. What constiutes as a recognised Artwork?
3.1.1. What is a piece of art?
3.1.1.1. Is something that was made by someone with the intention of evoking an aesthetic response in the audience
3.1.1.2. Is the 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. Not meant to be practical
3.1.2. What is beauty?
3.1.2.1. Are there universal standards of beauty?
3.1.2.2. Can a culture determine what is beautiful?
3.1.2.3. Is art always beautiful?
3.1.3. Aesthetics
3.1.3.1. A branch of philosophy that studies beauty in the arts
3.1.3.2. Why is it important for everyday objects to have an aesthetic element?
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. Form and content
3.1.4.3. Response of spectators
3.1.4.3.1. Art is supposed to be appreciated yet can we trust the taste of the general public?
3.1.4.3.2. Is good art always appreciated?
3.1.4.3.3. What is the importance of an 'expert opinion'?
3.1.4.3.4. Factors to take into account when assessing the response of the audience
3.1.5. Technical competence vs originality
3.1.5.1. Kitsch
3.1.5.2. Forgery
3.1.5.3. Originality combined with simplicity
3.1.6. The inexhaustibility of art
3.1.6.1. Will stars that are deemed popular now still be admired 100 years from now? By who?
3.1.7. Aesthetic judgement vs personal taste
3.1.7.1. Can art be judged objectively? How/Why not?
3.1.7.1.1. Immanuel Kant's philosophy of art
3.1.7.2. Are there universal standards in art?
3.1.7.2.1. Consider psychological factors
3.1.7.2.2. Is one's cultural tradition under threat?
3.1.8. Art and knowledge
3.1.8.1. The nature of art: Should art be a mere reproduction of reality or a creative reinterpretation of reality
3.1.8.1.1. Art as a limitation
3.1.8.1.2. Art as a communication
3.1.8.1.3. Art as education
3.1.9. Should there be moral limits on art?
3.1.9.1. Why do kitsch and propoganda work together?
3.1.9.2. Should artists engage with political issues of the day?
3.1.9.3. Should a work of art ever be censored?
3.2. Production of knowledge in the Art form Dance
3.2.1. Language and concepts
3.2.1.1. How does dance use mathematical language?
3.2.1.1.1. To count the beats to communicate with each other to keep in time
3.2.1.1.2. Symbols, logic, patterns, shapes,, variations
3.2.1.1.3. Spacial awareness
3.2.1.2. Don't need a specific language to interpret a dance
3.2.1.3. Space, size, level, shape, direction, pathway, relationship, focus and gravity
3.2.1.4. Language and paradigm shifts in dance
3.2.1.4.1. French terminology
3.2.1.4.2. Inclusion of english terminology
3.2.2. Shared and personal knowledge
3.2.2.1. How does knowledge in the Arts accumulate?
3.2.2.2. How does knowledge production in the Arts actually happen?
3.2.2.3. Why do music and dance teachers sometimes get offended by the question how much does one need to practice?
3.2.3. Knowledge production and methods
3.2.3.1. How are choreographies preserved?
3.2.3.1.1. Notation
3.2.4. Deduction and induction
3.2.4.1. The are set choreographies that one learns through notation/vides/etc (choreographers) and through observation and reflection (dancer, choreographer)
3.2.4.1.1. Choreographers use both induction and deduction when creating new choreographies
3.2.5. Precision in Dance
3.2.5.1. Is there accuracy in dance?
3.2.5.1.1. To what extent is the mastery in dance comparable with the precision in NS?
3.2.5.1.2. What role does imagination play in dance when it comes to precision?
3.2.5.1.3. Could you think of the difference in the performance of a sportsman and of a dancer?
3.3. What is the relationship between indigenous/cultural knowledge and inspiration for production of knowledge in the Arts/Applied Arts?
3.3.1. Islamic art has inspired stretchy, switchable materials
3.3.1.1. Through the use of the patterns created by Islamic art, Canadian scientist created metamaterials using the patterns found in Islamic art.
3.3.1.1.1. Metamaterials are engineered to have properties that don't occur naturally
3.4. How valuable are the Arts in making predictions?
3.4.1. How science fiction can help predict the future
3.4.1.1. Futurist
3.4.1.1.1. A person who studies the future and makes predictions about it based on current trends
3.4.1.2. Prolific thinkers explored fantastic scenarios, depicting new frontiers of human endeavor
3.4.1.3. 2001 Space Odyessey described a portable flat-screen news pad in 1968
3.4.1.4. When it combines entertainment and social commentary, we are invited to suspend our disbelief and consider the consequences of radial shifts in familiar and deeply engraved institutions.
4. Historical Development - Kate
4.1. Art
4.1.1. Artist
4.1.1.1. Individual creativity
4.1.2. The definition of art is in the eye of the beholder
4.2. Craft
4.2.1. Artisan
4.2.1.1. Collective production
4.2.1.2. Are not seeking to innovate; are for preserving visual traditions rather than changing them
4.2.2. Primitive art - the works of art have not changed for centuries and thousands of years
4.3. Art movements and styles
4.3.1. Art Movements are the collective titles that are given to artworks which share the same artistic ideals, style, technical approach or timeframe
4.3.2. No fixed rule that determines what constitutes an art movement
4.3.3. Grouping together artists of a certain period or style so that they may be understood within a specific context; is mainly a characteristic of Western Art
4.3.4. The Italian Renaissance
4.3.4.1. Key elements
4.3.4.1.1. Naturalism
4.3.4.1.2. Classical Humanism
4.3.4.1.3. Perspective drawing
4.3.4.1.4. Development of oil painting
4.3.4.2. Main painting techniques
4.3.4.2.1. Fresco
4.3.4.2.2. Tempera
4.3.4.3. Main stages
4.3.4.3.1. The Proto Renaissance
4.3.4.3.2. The Early Renaissance
4.3.4.3.3. The High Ranaissance
4.3.4.3.4. The Venetian Ranaissance
4.3.5. Modern Art Movements
4.3.5.1. Impressionism
4.3.5.1.1. A style of painting that used a more scientific analysis of colour to capture the effects of light in nature
4.3.5.1.2. Accurate lines and details were sacrificed in favour of atmospheric effect
4.3.5.1.3. Small strokes of pure colours mixed in the eye of the spectator when viewed from a distance
4.3.5.2. Post-impressionism
4.3.5.2.1. Artists rebelled against the limitations of Impressionism to develop a range of personal styles
4.3.5.3. Cubism
4.3.5.3.1. First abstract style of modern art
4.3.5.3.2. iInores the traditions of perspective drawing and shows you many views of a subject at one time
4.3.5.3.3. Phases
4.3.5.4. Fauvism
4.3.5.4.1. The artists were known as 'Les Fauves' (the wild beasts)
4.3.5.4.2. Colour should be used to express the artist's feelings about a subject, rather than simply to describe what it looks like
4.3.5.4.3. Main characteristics
4.3.5.5. Expressionism
4.3.5.5.1. German Expressionism
4.3.5.6. Dadaism
4.3.5.6.1. A form of artistic anarchy that challenged the social, political and cultural values of the time
4.3.5.6.2. Elements
4.3.5.6.3. Aimed to create a climate in which art was unrestricted by established values
4.3.5.6.4. Anti-establishment and anti-art
4.3.5.6.5. Tconcept that an artwork could be a temporary installation
4.3.5.6.6. The Dadaists expanded the boundaries and context of what was considered acceptable as art
4.3.5.6.7. Techniques
4.3.5.7. Surrealism
4.3.5.7.1. Sought to liberate creativity from the limitations of rational thought
4.3.5.7.2. Explored the hidden depths of the 'unconscious mind'
4.3.5.7.3. Automatism was the first Surrealist technique to be developed; the artworks are mostly abstract in form
4.3.5.7.4. Source of inspiration: interpretation of dreams
4.3.5.7.5. One of the techniques used: The juxtaposition of disassociated images
4.3.5.8. Pop Art
4.3.5.8.1. A brash, young and fun art movement of the 1960's
4.3.5.8.2. Coincided with the globalisation of Pop Music and youth culture
4.3.5.8.3. Was strongly influenced by the ideas of the Dada movement
4.3.5.8.4. Pop Art in America was a reaction against Abstract Expressionism
5. Personal Knowledge (Kenneth)
5.1. Questions
5.1.1. How do "great jazz players" and musicians nowadays differ
5.1.1.1. They are all so similiar
5.1.1.2. Lack of personal knowledge applied
5.1.1.3. All shared knowledge
5.1.1.4. Defeats the purpose of art (your won perception of a art piece)
5.1.2. 20th century violists
5.1.2.1. They have variation, they all play the same piece differently
5.1.2.2. Without variation there is no real "art"
5.1.2.3. It is the interpretation of the song which is important
5.1.3. Problem with nowadays musicians
5.1.3.1. Too scared to make a mistake
5.1.3.2. Causing them to not play it, but to "repeat it"
5.1.3.3. Too much perfection causes destroys purpose of art
5.2. Inspiration
5.2.1. Gives you a base (template) which you can manipulate to how you see it being played