Lecture 4: Visual Art Part I Flashcards

1
Q

Performing art vs Visual art

A

Performing: dynamic and synchronous

Visual: static and asynchronous

The visual arts are characterized by their static nature as fixed objects.
Staticism in both 2D (painting) and 3D (sculpture).
The visual arts are the static components of the performing arts.
- Sets, lighting, costumes, makeup

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2
Q

Trade-off in performing/visual art

A

Visual arts is not good for interpersonal coordination.
However, visual art is enduring, whereas performance is not

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3
Q

Core Features of the Visual Arts (4)

A

1) The perception of objects and spaces
- In both 2D and 3D
2) Object creation, production, and use
- Conceiving of objects (graphics design)
- Tool creation; tool use to make objects
3) Ornamentation (aesthetic sense)
- Artification of objects and spaces
4) Narrative content (communication)
- Visual symbols (does not need to resemble) and icons (resembles something)
EX:
Cat =symbolic (does not describe a cat)
Drinking motion with finger and thumb =icon

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4
Q

Two ways of displaying

A

Performing Arts: Performance as display (dynamic)
Visual Arts: Exhibition as display (static)

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5
Q

Some functions of static displays

A

Artify a person (individual display): make-up
Self-promotion (individual display): selfie
Artify of object/space: home of king/queen (display of wealth/power)
Function as a deity/religious symbol: pray to statues, wearing a cross
Capture a dynamic expression/action: wearing masks (facial expression very fixed)
Signify social functions within a culture: uniforms (police/doctors) –signifies diff social roles
Signify group identity: textile patterns can signify which tribe you are from, diff sports team wear diff colours
Signify nation identity: Canada flag
Signify intuitional identity: logos (golden M=McDonalds)
Commemorate event/person: statue of famous individuals, tombstones, photographs

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6
Q

Classification of visual art (body/non-body)

A

BODY
2D: images on skin/body surface (tattoos, henna)
3D: objects attached to body (clothing, shoes, jewelry)

NON-BODY
2D: images on non-body surfaces (paintings, photographs)
3D: functional, decorative, artistic objects

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7
Q

2D/3D duality example

A

Purse in the shape of a guitar
As a 3D object, it is a purse (holds belongings, shaped like a purse); however for 2D, it is a guitar (guitar design on bag)

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8
Q

Graphical Cognition

A

Our graphic design sense
1) Conceive: idea formation
2) Produce: tool creation
3) Ornament
4) Display
First 2 =functional creativity
Last 2 =display creativity

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9
Q

The Globular Brain Theory

A

Expansion and rounding of parietal bone of skull
Parietal bone globularity is associated w/ parietal lobe expansion in the brain
The parietal lobe mediates visuomotor integration
Tool use has been proposed as a selection pressure that expanded the parietal lobe

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10
Q

Objects vs Spaces

A

Objects (ornamentation): shape (pattern ON objects)

Spaces (display): layout (patterns OF objects)

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11
Q

Visual rhythms

A

Spatial patterns of repetition
- Rhythm in space
Architecture as frozen music

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12
Q

Geometric Cognition vs Numerical Cognition Definition

A

perceiving object shapes and locations in space

counting objects

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13
Q

2 modules of core geometry

A

OBJECTS
Shape
Length => size
Angle => shape (rectilinear—sharp corners, curvilinear—curved)
- People like curvilinear more (curved corners, arches, etc.)

SPACES
Layout
Distance (distance from myself or b/w 2 objects)
Sense (right/left)

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14
Q

2 core numerical systems

A

Approximate Number system:
Relative: more vs less
Ratios
Large or small numbers

Specific Number system:
Absolute: specific counts
Absolute numbers
Small numbers only

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15
Q

The reciprocal challenges of vision and drawing

A

The challenge of vision: construct a 3D percept from a 2D retinal image
The challenge of drawing: create 2D representation from a 3D percept

2D Retinal surface=>[Depth perception]=>3D visual percept=>[Drawing]=>2D drawing surface

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16
Q

Images Breakdown (3)

A

1) Pictures: figurative, geometric, abstract –composed (painting) vs capture (photograph)
2) Emblems: pictorial (road sign), linguistic (logos)
3) Notations (symbol systems): language writing (pictographic –signs resembles pictures, phonetic—sign represents sounds), musical notation, dance notation

17
Q

Classifying Gesture

A

Gestural Focus
SPATIAL
Standard representational content: instrumental
Narrative: pantomime

AFFECTIVE
Standard: affective
Narrative: acting, mime

18
Q

Instrumental vs Pantomime

A

Instrumental =object-directed gestures =transitive actions
Some instrumental gestures are joint actions (EX: moving a couch –not just 1 person, acting on the couch)

Pantomime: iconic gesturing, i.e., gesturing that spatially resembles the action or object being represented
Pantomime is the empty-handed version of an instrumental (transitive) gesture
It is done for narrative (communicative) purposes

18
Q

2 major ways of doing a pantomime

A

1) Egocentric: body parts maintain their identity
- “imaginary object” pantomime
E.g., a tennis serve –hand is doing the action it would in situation (hand is a hand)

2) Allocentric: body part replaced by some other object
- “body-part-as-object” pantomime
E.g., “call me” –hand is no longer a hand but a telephone

19
Q

Emanation

A

Emergence of an image as drawing occurs on a surface
Defining feature of drawing as a motor behaviour

Pantomime, by contrast, is “drawing in the air” without emanation
Footprints=example of emanation

20
Q

Distorted Realism

A

Goal of artists to achieve figurative realism, but to do so in a manner that is completely photographic
Instead, some type of distortion is present

21
Q

Possible reasons for distortion

A

1) Media limitations (blue pigment took a while to develop)
2) Some perspectives of objects are distorting (side view vs aerial view for example)
3) Altered states of consciousness (shamans took hallucinogens b/f producing art)
4) Distortion is used to comment on the subject of the art work (caricatures highlight distinctive features of a person)
5) Distortion is used as part of an artist’s creative style