Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Reading Visual Arts > FIRST EXAM Reviewer > Flashcards

FIRST EXAM Reviewer Flashcards

1
Q

A particular form of visual practice; is both an active and a creative process

A

Reading

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

We draw on our general and specific knowledge, our tastes, and habits, and our personal context.

A

Reading the visual

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

The study of genealogy and practice of visualization of modern culture. Its concentration is on the interface between images and viewers rather than on artists and works. It is concerned with visual events in which information, meaning, or pleasure is sought by the consumer in an interface with visual technology.

A

Visual Culture

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

It is an interdisciplinary field that has close links with humanities and social sciences-philosophy, sociology and literary studies in particular.

A

Visual studies

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

It is one discipline that provides many useful techniques for anyone studying visual culture and is one of the important fields of social understanding, history, and culture.

A

Capital-A Art

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

It s the production of social media, especially digital media.

A

Spectatorship

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

It is considered beautiful or appealing.

A

Visual matter

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

It is an analytical approach and a research methodology that examines the use of what we are called as signs in society.

A

Semiotics

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

It is a basic unit of communication; it is just something that has some meaning for someone; means something, and not one thing.

A

Sign

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

The name of a group of signs-a collection of signs which are organized in a particular way to make meaning.

A

Text

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

This means the environment in which a text occurs and communication takes place.

A

Context

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

It is a branch of philosophy that deals with the nature of beauty and taste, as well as the philosophy of art.

A

Aesthetics

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

It exploits vulnerabilities of the human visual perception and can make us experience emotions that move us and compel us to do things that we otherwise would not even think of.

A

Art in Photography

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Are frames of reference that inform the concepts and focuses, allowing visual communication and meaning to evolve.

A

Context

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

The systematic process of interpreting that work according to the rules governing that kind of text can be referred as reading.

A

Seeing as Reading

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

The engineering discipline dealing with visual representation.

A

Visual Technology

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

It refers to a general familiarity with, and an ability to use, the official and unofficial rules, values, genres, knowledge, and discourses that characterize cultural fields. In this sense, it is not just familiarity with a body of knowledge; it also presupposes an understanding of how to think and see in a manner that is appropriate to the imperatives of the moment.

A

Cultural Literacy

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

It can be understood as a set of values and dispositions gained from our cultural history that stay with us across contexts (they are durable and transposable). These values and dispositions allow us to respond to cultural rules and contexts in a variety of ways (they allow for improvisations). Still, these responses are always determined-regulated- by where we have been in culture.

A

Habitus

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q
  1. Selection and omission, framing, and the evaluation-every act of looking and seeing is also an act of not seeing.
  2. Selection, omission, framing, and evaluation produce a visual text.
A

Important techniques for reading the visuals

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

which are produced or created; this process of production is an ongoing one. The status of signs and ___ is always relational and contingent.

A

Texts

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

If we are attending closely or carefully to an event, person, thing, or scene, we will create a text that is made up of what we call contiguous elements.

A

Attention and Focus

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

A number of elements contribute to or facilitate the process of suturing the world to make a text.

A

Seeing in Time and Motion

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

It is anything that is treated as a meaningful part of the unit that is the text.

A

Sign

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

It is a term for text-types, which structure meanings in certain ways, through their association with a particular social purpose and social context. These two concepts inform or influence visual activity.

A

Genres

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

“the relation to the world is a relation of presence in the world, of being in the world, in the sense of belonging to the world.”

A

Pierre Bourdieu

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

It is fine if we simply want to get through the day’s responsibilities and activities, but it is insufficient if we want or need to make sense of what we are seeing.

A

Tacit seeing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

It is most often associated with the field of photography because photographs perfectly freeze time and motion in a way that no other art form achieves.

A

Arrested image

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

It is defined variously, of course. We understand it to be a range of objects (tools, and other instruments and devices), and we understand it as a sort of knowledge-know-how and skill.

A

Technology

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

It can also be understood as an organizing principle and a process-the way in which a society constitutes itself and its formations, and then brings people and machines together to produce goods and services.

A

Technology

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

It is, on the one hand, an automatic, physiological function we perform without thinking and, on the other, a complex and absorbing process.

A

Seeing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

Human beings whose feature characteristics are that they access the physical and intellectual world through vision.

A

Seeing Subjects

32
Q

A set of theories and practices which describe the contemporary world as a kind of MTV clip, a plethora of images whirling in promiscuous uncertainty.

A

Postmodernism

33
Q

It is in particular, fascinate us. They are the ‘windows to the soul.’

A

Eyes

34
Q

“human experience is now more visual and visualized than ever before.”

A

Mirzoeff

35
Q

It has always lived in a world that is packed with visual objects and phenomena, and have always looked at and made sense of the things about them.

A

Human beings

36
Q

It is a move within the Humanities to focus almost exclusively on literary texts and to use the analytical devices associated with literary texts to make sense of society, visual images, individual psychology, and soon.

A

Linguistic turn

37
Q

It is attractive because it makes good sense in terms of how people approach texts, and it has been thoroughly texted over a considerable time.

A

The semiotic principle of analyzing signs

38
Q

the idea of language as a series of signs is found as early as Aristotle, who defined the human voice assemantikos psophos, “significant sound,” or sounds that make meanings.

A

Ferdinand de Saussure

39
Q

its basic principle is that language is not simply a naming device, but rather a differentiated symbolic system.

A

Semiotic

40
Q

It is usually a shorthand way of saying that some representation is “true to life.”

A

Reality

41
Q

(the reproduction)of reality, which in effect posits that the objects we see are only limitations of an ideal form.

A

Mimesis or imitations

42
Q

He insisted that the pleasure of realist works in in “learning,” “inferring,” and “identifying.”

A

Aristotle

43
Q

this is the issue we deal with in this chapter: the degree to which pictures-visual culture-can communicate or present not just forms, but stories too.

A

“A picture paints a thousand words”

44
Q

this expression alludes to the notion that pictures, images, and visual objects more generally are not just to be looked at, but contain a story, or a body of information, which we can access as we might access the content of a written text.

A

Reading the visual text

45
Q

in its simplest form, means ‘story.’ But of course, it is more complex: the word comes from the Latin narrare, ‘to relate,’ so it denotes both what is told and the process of telling.

A

Narrative

46
Q

It is the study of narrative. It begins with the ancients, and withworks such as Aristotle’s Poetics. More recently, it has been associated with structuralists like Gerard Genette and Roland Barthes’ early writings.

A

Narratology

47
Q

a. Plot-what happened and why
b. Narrator -the point of view from which it is told
c. Characters- human or otherwise
d. Events-everything in the story that happens to or because of the characters
e. Time and place in which those events take place, and the causal relations which link the events together

A

Basic Elements of Story

48
Q

i. Bright colors and whimsical drawing style-forfantastical sense.
ii. Dark images convey melancholy.
iii. Black and white signals a particular aesthetic.

A

Lightning

49
Q

To depict characters making expressive movements.

A

Conveying narrative in a visual image

50
Q

It also use figures and techniques to convey stories through conventions known by most people in a society. The use of literary (and other)allusions is one approach.

A

Visual Texts

51
Q

it is the most important design tool, according to the theorists of a narrative.

A

Time

52
Q

‘narratives, in the simplest sense, are stories that take place in time-although, it is difficult to think of a story that doesn’t take place in time.’

A

Berger

53
Q

He agrees that ‘time itself is indispensable to both story and text.’

A

Shlomith Rimmon-Kenan

54
Q

It is the actual sequence or (perhaps imaginary) events in a text. It is often difficult or impossible to identify the sjuzet in a visual text with any certainty, the ‘prestory,’ is well known and sufficiently indicated in the images.

A

Fabula

55
Q

It is something peculiar to human culture; the word itself is etymologically related to ‘artificial’ or produced by human beings.

A

Art

56
Q

i. Medium
ii. Compositional elements
iii. Color
iv. Line
v. Shape
vi. Texture

A

Elements of Form

57
Q

It means everything that is done, and everyone involved in doing it within a discrete area of social practice.

A

Field

58
Q

who is closely identified with the discipline of aesthetics, associated sound understanding with judgment (in The Critique of Judgement 1790); in his estimate, the ability to judge works of art is dependent upon the clarity of thought and knowledge, and not on the emotions.

A

Immanuel Kant

59
Q

he stated that “the delight which determines the judgment of taste is independent of all interest.

A

‘Analytical Beauty’ by Immanuel Kant

60
Q

It was to be regarded in terms of formal qualities (its harmony and proportion) rather than in terms of practical desirability (as an object to be consumed).

A

Aesthetic object

61
Q

refers to the process whereby a particular field or group of fields (say, the sciences) manages to export its ways of seeing to most, or all other fields, which in turn leads to a universalizing of the authority of different forms, genres, mediums and practices of the visual to provide access to what we could call ‘visual reality.’

A

Visual regime

62
Q

It is associated with the fields of science, bureaucracy, and government.

A

Capitalism

63
Q

It refers to the form of knowledge, techniques, mechanisms, and operations that were developed for analyzing, defining, controlling, and regulating behavior.

A

Biopower

64
Q

He argues that the advent and development of the set of discourses, ideas, perspectives and practices that we term normalization as potential resources.

A

Jonathan Crary

65
Q

It is a tower placed in a central position within the prison.

A

Panopticon

66
Q

It is a subject would be disposed to make themselves the objects of their gaze, constantly monitoring and evaluating their bodies, actions, and feelings

A

Self-surveillance

67
Q

It refers to the situation where a thing or person is viewed predominantly in terms of its or its exchange value.

A

Commoditization

68
Q

it means “the art of today,”

A

Contemporary Art

69
Q

It is a group of people who, even if they have never met, belong to a community with similar interests.

A

Imagine Community

70
Q

It means to use in almost every aspect of our society, especially in the marketing of merchandise.

A

Interpellation

71
Q

It refers to the communication channels through which we disseminate news, music, movies, education, promotional messages, and other data.

A

Media

72
Q

It is a group of people with common territory, interaction, and culture.

A

Society

73
Q

It is something exhibited to view an unusual, notable, or entertaining.

A

Spectacle

74
Q

He said, “the constant staging of public discussions as spectacle. Include all aspects of economic, political, and cultural life”.

A

Claude Leforts

75
Q

He is an art critic and essayist and is Meyer Schapiro Professor of Modern Art and Theory at Columbia University in New York

A

Jonathan Crary

76
Q

The self-proclaimed leader of the Situationist International, he was undoubtedly responsible for the longevity and high profile of Situationist ideas.

A

Guy Debord

77
Q

He is one of the most important theorists of modern nationalism. Nationalism, argues Anderson, is a story of national origins that creates imagined community amongst the citizens of the modern state. Here, he explains the sense in which the nation is an ‘imagined community. ’

A

Benedict Anderson

Reading Visual Arts (2 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions