1. Scope & Application (Yuma)
1.1. Mimetic Theory of the Arts
1.1.1. The purpose of the arts is to mimic reality
1.1.1.1. Example: Michelangelo
1.1.1.2. Example: Rodin
1.1.1.3. Form of art: Cameras were developed in the 19th century
1.2. Art as a media for Communication Theory
1.2.1. Art is the language of emotion.
1.2.1.1. Dimensions
1.2.1.1.1. Horizontal: enables the exploration of human experiences
1.2.1.1.2. Vertical: enables the exploration of emotions (and intensity of emotions)
1.3. Arts as Education Theory
1.3.1. Provoking emotion which influences behaviour
1.3.1.1. Offers a range of role models
1.3.2. Provokes the use of question to eliminate assumptions
1.3.3. Ethics`
1.3.3.1. Broaden our awareness, empathy and intuiton
1.3.3.2. Allows an exploration of other perspectives and values
1.4. Does art weaken our ability to lead rational lives?
1.4.1. Arts can be related to all aspects of TOK: History, Maths, Natural Science, Indigenous knowledge, Religion and Human Science
1.4.2. Should there be moral limits to art?
1.4.2.1. Should art ever be censored?
1.5. Perspectives of Art
1.5.1. The Artist and Audience
1.5.2. How do you determine the value of art and whether it is good or bad? Do you rely on perception? Do you rely on the actual cost of the artwork?
1.5.2.1. Aesthetic Value
1.5.2.2. Moral Value
1.5.2.3. Educational Value
1.5.2.4. Monetary Value
1.5.2.5. Historical Value
2. Historical Development (Jong)
2.1. Art vs Craft
2.1.1. 15th century - Renaissance Humanism
2.1.1.1. Value: Individual creativity(Art) > Collective production(Craft)
2.1.2. Difficult to make a clear distinction between the two terms
2.1.2.1. Term Visual Arts composites both productions
2.2. Paradigm shift in the Arts - Kehinde Wiley
2.2.1. represents racial discrimination towards black people in his paintings by imitating famous paintings using black people as models
2.2.1.1. most of the famous paintings that people normally acknowledge are painted using white people as models as art took a big leap in Europe - by this, Wiley breaks the stereotype of art paintings and criticises the racial discrimination occurring in the world simultaneously
2.2.2. Some critics argued that his artworks were exploiting the subjects and were cartoonish
2.2.3. e.g. Painting of Napoleon leading the army - criticising the masculinity by using many features such as changing writings and drawing sperm cells
2.2.4. also includes painting of his partner - act as artistic inspiration combining with personal stories
3. Methodology (Audrey)
3.1. Joan Miro
3.1.1. exponent of Magic Realism and Surrealism; famous for abstract art - highly versatile
3.1.1.1. employs simple dreamy forms floating onf fields of colour
3.1.1.2. known for automatism in art
3.1.1.3. Took up stained glass art at the age of 80
3.1.2. opposed traditional concepts and methods of painting, found them "too bourgeois"
3.1.2.1. sought a new pictorial language, free of conventional forms and appealed to senses
3.1.2.2. a lot of his art is now poster art
3.1.3. 1924: joined group of Surrealist artists
3.1.3.1. depicted objects as signs over broad washes of colour with words and symbols
3.1.3.2. one of the first to develop automatic drawing; a genuine pioneer of Surrealism
3.1.3.2.1. The Tilled Field, (1924, Solomon R. Guggenheim Museum)
3.1.4. remained true to the fundamental Surrealist principle of freeing the creativity of the unconscious mind from all restraints of logic and reason
3.2. `
3.3. What constitutes a recognised Artwork?
3.3.1. Intention of evoking an aesthetic response in the audience
3.3.2. To communicate with their audience
3.3.3. Is a result of a conscious design
3.3.4. Meant to provoke or please people
3.3.5. Not meant to be practical
3.3.6. Technical competence vs originality?
3.3.6.1. Kitsch
3.3.6.2. Forgery
3.3.6.3. Originality combined with simplicity
3.4. Methodology of Dance: how are choreographies preserved?
3.4.1. RLS: Labanotation derived from Laban Movement Analysis (4 concepts: Body, Effort, Shape, Space)
3.4.1.1. Techniques used: Ballet, Graham, Tap Dance technique etc
4. Language & Concepts (Candice)
4.1. Form of Art to communicate through Sound /Colour / Shape / Movement
4.1.1. Pitch and Hue (Newton, Jameson, Castel)
4.1.1.1. Pitch is used to translate or compare visual art and music.
4.1.1.2. Quantifiable by vibrations and wavelengths
4.1.1.3. Difficulties of comparison
4.1.1.3.1. Visible light is only small part of the light spectrum
4.1.1.3.2. The colour do not repeat in octaves the way pitches do
4.1.1.4. Colour wheel
4.1.1.4.1. The finite and non-repeatings scale of hue
4.1.1.4.2. similar to the pitch wheel
4.1.1.5. People made one-to-one correlations between pitch and hue which allows for a literal application of music theory into colour
4.1.1.5.1. For example
4.1.1.6. Disagreement
4.1.1.6.1. With the system of equal temperament, any piece would be performed in any key, hence assigning any specific note to a colour become arbitrary. Therefore, there is no one-to-one correspondence.
4.1.1.7. Pitch is used to translate or compare visual art and music.
4.1.2. Timbre is equivalent to colour (J.L. Hoffman)
4.1.2.1. Every instrument producing a different colour
4.1.2.2. Colour harmony would be a matter of harmony of timbre and orchestration
4.1.2.3. An experiment weaken the theory
4.1.2.3.1. If you record the sound of various instruments producing the same pitch, but cut the sound of the articulation, distinguishing the instruments becomes nearly impossible.
4.1.2.3.2. The difference in timber of instruments should be as stark as the different between the colour red and colour blue.
4.1.3. Colour is considered to be analogous to harmony (David WardSteinman)
4.1.3.1. Line and shapes without colour could be equivalent to melodies and separate voices
4.1.3.1.1. For example
4.1.3.2. A single pitch is only a line of black
4.1.3.2.1. Hence, two black lines equivalent to two pitches
4.1.3.3. In reality
4.1.3.3.1. Two black lines do not produce colour
4.1.3.3.2. A line of melody/ voices would produce polyphonic work which would like a fugue without harmony
4.1.3.3.3. Hence harmony cannot be colour
4.1.4. A lack of colour can be compared to a lack of definite pitch or non-pitched instrument
4.1.4.1. For example
4.1.4.1.1. Black and grays in arts is equivalent to a piece of music with only rhythm and the timbre of non-pitched instruments
4.1.5. Form is inseparable from music as well as in visual arts
4.1.5.1. Musical forms (binary, ternary and others) can be represented as grouped subject matter in visual art
4.1.5.1.1. Michaelanglo’s Creation of Adam (1511)
4.2. Vermeer's "Girl with the Pearl Earring" considered a masterpiece
4.2.1. Vemeer’s treatment of light and shadow uses a dark, flat background to further spotlight her three-dimensionality.
4.2.2. She becomes a psychological subject, her eye contact and slightly parted lips as if she is about to say something.
4.2.3. It emphasises the worldliness of the merchant class, the pearl itself, a symbol of wealth is actually an exaggeration
4.2.4. This mirage of wealth is mirrored in the painting itself
4.2.5. In greater context, the pearl appears round and heavy. A detailed view shows that it’s just a floating smudge of paint
4.2.6. Vermeer’s power as an illusion maker.
4.2.7. She represents the birth of a modern perspective on economics, politics and love
5. Personal Knowledge (Iris)
5.1. Knowledge production
5.1.1. Music
5.1.1.1. Different 'methods', which nowadays need to be followed very closely, without any mistakes or errors in order to have a successful musical future
5.1.1.1.1. Music is about your way of interpreting it, which is what makes it so unique and beautiful, and what made the greatest musicians so great
5.1.1.1.2. With no space to interpret the music, all violinists are 'cloned', they sound exactly the same, which takes the excitement out of performances
5.1.1.1.3. Nigel Kennedy, a very famous violinist, believes that music professors should be less lazy; instead of imposing one system for all, they should listen and cater for the individual
5.1.2. Visual art (Paintings and movies)
5.1.2.1. Visual art can be easily inspired off of other pieces and/or forms of art
5.1.2.1.1. Movies being made out of paintings
5.1.2.1.2. Movies inspired by paintings
5.1.2.1.3. Movie scenes replicating paintings
5.1.2.2. Can be interpreted in different ways, due to past experiences in one's own life, thus being used as different types of inspiration
5.2. Knowledge aquisition
5.2.1. There is no proper definition for art
5.2.1.1. Room of people would not be able to fully on what is art, what isn't and what is good art and what isn't
5.2.1.2. New art is often hard to understand and accept because we cannot relate to it, and it is a new concept, a new 'side' of art
5.2.1.3. Sometimes we only know of something being art because it is in a gallery, with a tag; if it had been in somebody's backyard, it would have been recognised as leftover trash
5.2.2. Poetry
5.2.2.1. Repetitions in songs and poems are a form of art
5.2.2.1.1. Put emphasis on certain words and phrases, which are more important or, which they artist wants to raw attention to
5.2.2.1.2. Repetitions are paterns, patterns occur in our bodies, everywhere around us on a daily basis - automatically can relate to the poetry