Art Appreciation Flashcards

1
Q

The artist of Mona Lisa (La Gioconda)

A

Leonardo da Vinci

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2
Q

The medium used for the painting of Mona Lisa

A

Oil on Wood

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3
Q

The genre of Mona Lisa

A

Renaissance portrait art

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4
Q

The movement which the Mona Lisa painting belongs to.

A

High Renaissance

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5
Q

The Mona Lisa painting was painted ____ and _____.

A

1503 and 1506

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6
Q

No one is sure who the woman in the painting is.

True or False?

A

True

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7
Q

There is a possibility that the Mona Lisa is unfinished.

T/F

A

True

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8
Q

The Mona Lisa was stolen in 1911 and was hidden during _______.

A

World War II

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9
Q

The year that the Mona Lisa traveled to America.

A

1963

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10
Q

It is an extended dot in space.

A

Line

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11
Q

It makes an object stand out against the background, challenge our perception, and arouse our emotions.

A

Line

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12
Q

__________ may enhance or lessen the aesthetic effect of our surroundings.

A

Line

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13
Q

These are straight lines parallel to the horizon that move from left to right.

A

Horizontal Lines

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14
Q

These lines suggest width, distance, calmness and rest.

A

Horizontal Lines

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15
Q

Landscapes and seascapes are primarily horizontal. True or False?

A

True

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16
Q

These are lines that are perpendicular to the horizontal lines.

A

Vertical Lines

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17
Q

Lines that never slant, and are moving up and down.

A

Vertical Lines

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18
Q

These lines suggest strength, balance, and stability because they extend towards the sky and seem unshakeable.

A

Vertical Lines

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19
Q

Monuments of a country’s heroes are usually depicted as verticals.

T/F

A

True

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20
Q

Monuments of a country’s heroes are usually depicted as horizontals.

T/F

A

False.

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21
Q

Lines that are between a vertical and horizontal line.

A

Diagonal Lines

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22
Q

Lines that look either as rising or falling to convey meaning or implications.

A

Diagonal Lines

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23
Q

Lines that indicate stress, frustration, or defeat like the posture of a soldier when defeated.

A

Diagonal Lines

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24
Q

Lines that may indicate movement or action just like the posture of a runner in full run.

A

Diagonal Lines

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25
Q

Lines that are created by connecting diagonal lines together at their point.

A

Zigzag lines

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26
Q

Lines that create excitement and intense movement.

A

Zigzag Lines

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27
Q

Lines that may convey confusion and nervousness as they change direction quickly and frequently implying danger and destruction as they break down.

A

Zigzag lines

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28
Q

Renowned artist Vincent Van Gogh used ________ in his painting Starry night.

A

Curved Lines

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29
Q

Curved lines are technically called _________.

A

Curvilinear

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30
Q

Curvilinear lines are organic and natural, adjusting to direction regularly.

T/F

A

True

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31
Q

The outline of the human body is an example of ________ lines.

A

Curved lines

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32
Q

If a curved line goes around itself, it usually forms a figure of a _________.

A

Seashell

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33
Q

When curved lines continuously move in ______ directions, wavy lines are formed to show graceful movements.

A

Opposite

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34
Q

Lines that can take the form of a zigzag line or a mixture of curves and straight forms.

A

Freeform

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35
Q

The five main types of lines

A
  1. Horizontal lines
  2. Vertical lines
  3. Diagonal Lines
  4. Zigzag lines
  5. Curved lines
    ?. Freeform lines
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36
Q

The five variations of lines

A
  1. Length
  2. Thickness
  3. Texture
  4. Direction
  5. Curvature
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37
Q

Four types of lines

A
  1. Solid
  2. Broken
  3. Psychological
  4. Implied
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38
Q

Uses and Functions of Lines

A
  • Movement
  • Sense of Space
  • Define Objects
  • Sketching
  • Add Depth
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39
Q

It is the most expressive element of art.

A

Color

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40
Q

Color shares a powerful connection with emotions.

T/F

A

True

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41
Q

The object used to separate the colors from the white sunlight.

A

Glass Prism

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42
Q

_____________ are the building blocks of color theory.

A

Primary Colors

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43
Q

The primary hues in light.

A

Red, Blue, Green

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44
Q

The ______ model is concerned with the mixing of light.

A

RGB

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45
Q

The primary colors of ink/printing.

A

Cyan, Magenta, and Yellow

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46
Q

The primary colors that only apply when mixing paint.

A

Red Yellow Blue

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47
Q

There are no “real” primary colors.

T/F

A

True

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48
Q

What color is created when yellow and magenta are mixed?

A

Red

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49
Q

What color is created when cyan and yellow are blended together?

A

Green

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50
Q

What color is produced when magenta and cyan are mixed?

A

Blue

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51
Q

There are no “real” primary colors, but there are conceptual primary colors that we can rely on to inform our understanding of the world of color.

T/F

A

True

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52
Q

Refers to the name for which the color is known.

A

Hue

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53
Q

______ is identified by the wavelength of light physically given by the color.

A

Hue

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54
Q

These are the colors of the visible spectrum.

A

Hue

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55
Q

If you combine all the colors of light, you get ______ light.

A

White light

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56
Q

The kind of color mixing where the mixing of all the colors would result into white.

A

Additive color mixing

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57
Q

When it comes to _____, mixing all the colors results in black.

A

Pigments

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58
Q

Pigments mix subtractively because they absorb wavelengths.

T/F

A

True

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59
Q

Subtractive color mixing is where mixing all the colors would result in black.

True or False

A

True

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60
Q

The model that has additive color mixing.

A

RGB model

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61
Q

The model that has subtractive color mixing.

A

CMY and RYB model

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62
Q

It is the physical property of color that refers to the lightness and darkness of the color.

A

Value.

Value of a color refers to its lightness and darkness, whether there is an absence of white or black.

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63
Q

Hues can exist in different degrees of values.

True or False.

A

True

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64
Q

_______ is the result of a hue and white being combined.

A

Tint

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65
Q

The result when the hue and grey are mixed.

A

Tone

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66
Q

The result when the hue and black and mixed.

A

Shade

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67
Q

This physical property of color is also referred to as “intensity” or “chroma”.

A

Saturation

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68
Q

It refers to the dominance of hue in the color.

A

Saturation

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69
Q

When the color is desaturated, the color will either be black, white, or grey, depending on the value.

True or False?

A

True

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70
Q

Colors that are on the opposite sides of the color wheel.

A

Complementary colors

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71
Q

Colors that are next to each other, creating a gradient.

A

Analogous colors

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72
Q

Monochromatic color scheme refers to the use of the same hue with different saturations or values in a particular color palette.

True or False

A

True

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73
Q

An example of a painting with monochromatic color scheme by Julian Onderdonk.

A

Bluebonnet Scene

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74
Q

There is a relationship between color and emotions.

Colors can enhance one’s mood.

True or False?

A

True

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75
Q

Warm, bright colors make us happy and excite us.

True or False?

A

True

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76
Q

Cool colors relax us and encourage us to take it slow.

True or False?

A

True

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77
Q

Reds, pinks, and yellows stimulate us, make us fell warm and passionate.

True or False?

A

True

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78
Q

Green and blues are cool colors that suggest calmness and peace.

True or False?

A

True

79
Q

This is the coming together of line enclosing an area and separating it from its surroundings. (Ficher, 2013)

A

Shape

80
Q

These are shapes which have natural appearance and are representing natural objects. They are usually curvilinear and irregular.

A

Organic shapes

81
Q

Shapes that are regular and precise and present an industrial feel to the viewer. These shapes can be rectilinear or curvilinear.

A

Geometric shapes

82
Q

Shapes that manifest some qualities of biological organisms.

A

Biomorphic shapes

83
Q

Shapes that exist without any basis from either nature or geometry.

A

Amorphous shapes

84
Q

Shapes can also suggest and create meaning.

True or False?

A

True

85
Q

Shapes that convey stability, symmetry, independence, and monotony.

A

Squares

86
Q

Shapes that suggest confinement and self-reliance.

A

Circles

87
Q

Shapes that suggest creativity.

A

Ovals

88
Q

Shapes that may mean reaching out.

A

Stars

89
Q

The meanings associated with the different shapes depend on their character, complexity, and how they are used as a part of the whole composition and the perceptive sensitivity of the viewer.

True or False?

A

True

90
Q

It is an element of visual arts that involves both the physiological capability of the visual system and the physical manipulation of the two-dimensional surface to give the viewer an illusion of depth or distance.

A

Space

91
Q

The two processes that are involved in the psychological aspect of space.

A

Stereoscopic vision and Kinesthetic vision.

92
Q

It is an illusion of space where the grouped, but not all parts of some objects will be seen because some parts are covered by the objects in front of them.

A

Overlapping

93
Q

Objects that are big will be perceived as near compared with objects that are far. The premise is: the farther the object is from the viewer, the smaller is the size of the object.

A

Relative Space and Linear Perspective

94
Q

Atmospheric Perspective is also known as ___________.

A

Aerial perspective

95
Q

The technique of using light and shadow in painting.

A

Chiaroscuro

96
Q

A technique introduced by Leonardo da Vinci where the gradual blending of light and shadow that gives the figures a more realistic form and depth.

A

Sfumato

97
Q

[Italian]
Chiaro: light
Scuro: _____

A

Dark

98
Q

It is the exaggeration of chiaroscuro or the exaggerated use of shadows.

A

“Dark manner” or Tenebrism

99
Q

Renaissance: Soft light
Baroque period: _______.

A

Baroque period: Harsh light

100
Q

During the _______ period, artists developed the chiaroscuro style by using harsh light to evoke drama and intensity.

A

Baroque period

101
Q

Texture is derived from Latin for __________.

A

“weaving”

102
Q

It refers to the feel of the surface of materials.

A

Texture

103
Q

Seeing texture without touching is known as _______.

A

Visual texture

104
Q

Refers to the real feel and look of the surface of the object. Usually is a characteristic of three-dimensional artworks.

A

Actual Texture

105
Q

It is an imitation of another texture. It is an illusion created by the artist to make a surface appear different to how it actually is.

A

Simulated texture

106
Q

It is an artist’s simplified representation of a real texture. It is not realistic effect, but it will appear real long enough for the viewer to know what they are looking at.

A

Abstract texture

107
Q

It is a texture on an artwork that has been completely made up by artist. It does not represent anything in reality and is purely for decoration or visual impact.

A

Invented Texture

108
Q

Artwork analysis that involves the meaning of the work, symbols, ideas, and concepts.

The work of art may contain references and allusions, direct or indirect, to historical figures and events, as well as to religious, literary and philosophical ideas and values, which are part of the meanig of the work.

A

Contextual

109
Q

Artwork analysis that involves the subject-type kind, source, and how the artists describes the subject.

A

Iconic

110
Q

The artwork analysis that involves the name of the artist, title of the work, year the work was created, dimension or size, medium or technique, location of the work, and whose collection or gallery.

This is the credit line, which lists important facts about a work of art.

A

Semiotic

111
Q

Enumerate the principles of art

A

Balance
Proportion
Emphasis
Harmony
Variety
Movement
Rhythm

112
Q

This principle of art refers to how the elements of art (line, shape, color, value, space, form, texture) relate to each other within the composition in terms of their visual weight to create visual equilibrium. That is, one side does not seem heavier than the other.

A

Balance

113
Q

Kinds of balance

A
  1. Symmetrical
  2. Asymmetrical
  3. Radial
114
Q

This principle of art can be described as the sameness, the belonging of one thing with another.

A

Harmony

115
Q

This is the size relationship of forms and shapes.

A

Proportion

116
Q

____________ can cause a sense of unity and harmony.

A

Good proportion

117
Q

How to create good proportions.

A

Create proportionate focal points

118
Q

This involves the drawing attention to a particular area of object in a piece of art.

A

Emphasis

119
Q

This principle of art refers to the elements of a composition that differ from one another. This creates visual interest and energy.

A

Variety

120
Q

A lot of variety can make an artwork look busy or overwhelming. When paired with unity, variety offers the viewer points of interest.

True or False

A

True

121
Q

This principle of art refers to how an artist depicts movement using the elements.

A

Movement

122
Q

This principle of art refers to the visual flow of an artwork, indicated by the path a viewer’s eyes take as they look at the artwork.

A

Movement

123
Q

This principle of art suggests movement or action. This is usually achieved through repetition of lines, shapes, colors, and more.

A

Rhythm

124
Q

This creates a visual tempo in artworks and provides a path for the viewer’s eye to follow.

A

Rhythm

125
Q

Describes an artwork that contains repeating elements without a specified order or arrangement.

A

Random Rhythm

126
Q

Describes an artwork that contains a repetition of two or more components that are used interchangeably.

A

Alternating Rhythm

127
Q

Describes an artwork that contains curved or circular elements that give the art movement.

A

Flowing rhythm

128
Q

Describes an artwork that contains repeating elements with a specified order or arrangement that can be measured.

A

Regular rhythm

129
Q

Describes an artwork that contains repeating elements in a pattern that change either in size or color as they repeat.

A

Progressive rhythm

130
Q

Among all forms of art, it is considered to be the least tangible.

A

Music

131
Q

It can be defined as the arrangement of sounds to create a continuous and unified composition.

A

Music

132
Q

Two dominant musical tradition:

A

Classical and popular music

133
Q

It is the combination of fast or slow notes to make the music “move”

A

Rhythm

134
Q

It is the speed of the beat/pulse of a piece of music.

A

Tempo

135
Q

Tempo has a big impact on the feel or style of a piece. A slow tempo with simple rhythm might sound sad and a fast tempo with complex rhythm might sound happy or exciting

True or False

A

True

136
Q

It is the measurement of a song’s tempo

A

Beats per minute

137
Q

The internal clock of the music. They are organized into sections which are called measures - and those are separated by bar lines.

A

Beat

138
Q

It is an arrangement of strong and weak beats.

A

Meter

139
Q

It occurs when you play the notes one at a time. Usually, it’s the catchy part of the song that a singer will sing.

A

Melody

140
Q

It is the sounding of many motes at the same time.

A

Harmony

141
Q

This principle of art is always read vertically (meaning the notes will appear on top of the other)

A

Harmony

142
Q

It is the sonic quality of sound.

A

Timbre / color

143
Q

Each instrument has its own timbre [T/F]

A

True

144
Q

This refers to the relationship of the melodic and harmonic lines in music.

A

Textures

145
Q

Music is considered to have a thicker texture if it has more melodic lines. Music can be monophonic, homophonic, or polyphonic.

TF

A

True

146
Q

Refers to the degree of softness and loudness of music. This may also include the way of changing from soft to loud or vice versa.

A

Dynamics

147
Q

A change in dynamic that refers to the gradual increase of loudness of the sound.

A

Crescendo

148
Q

A change in dynamics that refers to the gradual quietness of the sound.

A

Decrescendo

149
Q

Classification of Musical Instruments

A
  • Idiophones
  • Membranophones
  • Chordophones
  • Aerophones
  • Electrophones
150
Q

Instruments that produce sound when the body of the instrument itself vibrates.

A

Idiophones

151
Q

Instruments the produce sound by the membranes that are tightly stretched over a part of the instrument.

A

Membranophones

152
Q

These instruments involve the use of stretched strings to produce sound.

A

Chordophones

153
Q

Two-stringed bowed fiddle from China

A

Erhu

154
Q

An irregular hourglass shaped drum from Western Africa played with the hands.

A

Djembe

155
Q

Instruments that produce sound when the air vibrates inside a column, or when the reed vibrates by a flow of air.

A

Aerophones

156
Q

Panpipe instruments that consist of pipes of different length, and pitches, fixed together.

A

Andean Panpines (Siku)

157
Q

Instruments that generate sound through materials or sources sound through materials or sources that produce electrical signals that are transmitted to a loudspeaker to release sound.

A

Electrophones

158
Q

An electronic instruments where there is no physical contact between the performer and the instrument itself.

A

Theremin

159
Q

Enumerate the forms of music

A

Unitary (A)
Strophic (A-A-A-A)
Binary (A-B, A-A-B)
Ternary (A-B-A)

160
Q

A_______ in music is an instrumental form characterized by the initial statement and subsequent restatement of particular melody or section.

A

Rondo
example: Fur Elise - Beethoven

161
Q

Enumerate the historical genres of classical music

A
  1. Middle ages
  2. Renaissance
  3. Baroque
  4. Classical Period
  5. Romantic Period
  6. Impressionism
  7. Modern Music
  8. Postmodern Music
162
Q

The Renaissance was marked by a change in the relationship between the music and the text.

A

Renaissance (1450-1600)

163
Q

Baroque music had melodic patterns specifically written for certain musical instrument, with string instruments usually dominating the sonority. Dramatic

A

Baroque Period (1600-1710)

164
Q

Romantic music is associated with love, idealism, nature, and expressiveness. Added brass wind instruments but piano was still bigger and more powerful.

A

Romantic period (1820-1900)

165
Q

Impressionism gave emphasis to the woodwind and brass instruments as the carriers of melody.

A

Impressionism (1880-1920)

166
Q

Melodies during the classical period had short but balanced phrases, which inspired by vocal style. Piano became the principal keyboard instrument.

A

Classical Period (1750-1820)

167
Q

Modern music gave emphasis on individual composer’s unique voices or individualism.

A

Modern Music (1990 - present day)

168
Q

Postmodern music is where art has gone beyond tradition and modernism and became an indicator of group identity and cultural trends.

A

Postmodern Music (1945-present)

169
Q

Middle ages (476-1450)

A
170
Q

It is an alternative venue for knowing ourselves and looking into the depths and real meaning of what we are doing for our everyday life (Narciso, 2012).

A

Soulmaking (artmaking)

171
Q

Everyone is capable of imagination but not everyone can express it in an active way.

A

Soulmaking

172
Q

Imagination will always remain as stagnant if not expressed through certain medium.

A

Soulmaking

173
Q

Art production is not easy, but anyone can actually be an artist.

A

Soulmaking

174
Q

It doesn’t require specific timeline. It takes place when someone is willing to be absorbed by different stimulus.

A

Soulmaking

175
Q

This happens when a person produces artworks such as painting, sculpture, poetry, dance, writing songs, or even note taking.

A

Crafting Images

176
Q

The act of writing, engraving, criticizing, commenting, and creating stories. Stories can be presented in many ways such as objects, music, images, and words.

A

Crafting Stories

177
Q

The act of transforming objects into musical instruments allowing us to discover balance and harmony to produce entertaining, enhancing, and magical sound.

A

Crafting Instruments

178
Q

A process of creating narratives that resonate with individuals on a deeper level. This could be through various forms of art such as music, painting, dance, or even writing.

These “movements” are not necessarily physical movements, but rather shifts in understanding, perception, or emotion that are crafted through the process of soulmaking.

A

Crafting movements

179
Q

Refers to the methods and processes used by an artist to reflect their life and experiences in their art.

A

Crafting techniques

180
Q

This means that the artist has the freedom to explore and experiment with different forms and styles of expression.

A

Unbound Expression

181
Q

The 7 Da Vincian Principles

A
  1. Curiosity
  2. Transfiguration
  3. Experiential
  4. Balancing Art and Science
  5. Sensory
  6. Balancing Mind and Body
  7. Systems Thinking
182
Q

Everything is interconnected. Everything arises from everything and everything is made of everything and everything returns to everything.

A

Connessione

183
Q

Refers to the borrowing of images recognized from different sources and create a new art form.

A

Appropriation

184
Q
  • An experimentation by changing specific angles in order to make it different from the main concept. Hence, the value and meaning of it changes.
A

Appropriation

185
Q

It doesn’t mean stealing but enhancing art form to create new content. It is different from forgery. The goal of the artist is for recontextualization.

A

Appropriation.

186
Q

Occurs when the possession of a tangible work of art is transferred from members of one culture to members of another culture.

A

Object Appropriation

187
Q

It is often seen as a form of theft because it doesn’t create new works; instead, it takes existing ones.

A

Object Appropriation

188
Q

This involves reusing ideas or information that were originally expressed in another source. This can be in a form of poetry, stories, musical composition, and the likes.

A

Content Appropriation

189
Q

This occurs when outsiders experience a culture as if they were insiders, while insiders to continue to practice their culture.

A

Subject Appropriation

190
Q

It is an act of composing, uttering, executing, or arranging without prior preparation.

A

Improvisation

191
Q

It is broadly defined as extemporaneous decision-making.

A

Improvisation

192
Q

This allows for a deeper appreciation of the artist’s skill, creativity, and adaptability.

A

Improvisation

193
Q

It encourages us to appreciate not just the final work, but also the creative process that led to it.

A

Improvisation.