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Art Appreciation > (F) L1: Soulmaking, Appropriation, and Improvisation > Flashcards

(F) L1: Soulmaking, Appropriation, and Improvisation Flashcards

1
Q

Soulmaking is also known as?

A

Artmaking

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2
Q

An alternative venue for knowing ourselves and looking into the depth and real meaning of what we are doing for everyday life (acc. to Narciso)

A

Soulmaking/Artmaking

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3
Q

Form of story crafting or transforming brief moments into images or symbols and it also connects with people, understands culture, and embodies tolerance and peace

A

Soulmaking/Artmaking

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4
Q

Soulmaking develops the ________ within us, awakening art that has been stagnant or undeveloped for many years

A

Artist

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5
Q

Soulmaking unites us with our _______ selves

A

Primal

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6
Q

T or F: Soulmaking opens doors only for artistic intelligence of expression

A

False (multiple intelligence)

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7
Q

In soulmaking, what is explored and applied in an active way?

A

One’s imagination

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8
Q

T or F: Artists, artisans, and even ordinary people use their imagination to survive and live

A

True

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9
Q

T or F: We use imagination/inspiration to connect with other people

A

False (connect with our soul)

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10
Q

This is where the substance and meaning of an artwork is formed hence it is an important tool in soulmaking

A

Imagination

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11
Q

T or F: It takes minimal effort to imagine but more effort to turn it into art

A

True

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12
Q

Imaginations are dependent on _______, hence why it will stay in our imagination unless the artist converts it into a tangible form

A

Action

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13
Q

T or F: Soulmaking is merely a learned skill and not something one is born with

A

False (it can be innate, learned, or both)

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14
Q

T or F: Making art is easy

A

False (it is complex and intricate; it takes perseverance, imagination, and hard work)

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15
Q

T or F: Soulmaking requires a professional to be involved

A

False (anyone regardless of skill or background can engage in soulmaking)

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16
Q

T or F: Soulmaking has a time reference

A

False (it occurs anytime when one engages in real time, space, and life)

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17
Q

T or F: Any place can be a profound space for soulmaking

A

True (artists and artisans create a space of individuality and identity)

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18
Q

People define their soulmaking spaces ________

A

Literally/Physically

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19
Q

Categories of Soulmaking:
- refers to imaging
- representing through painting, sculpting, drawing, storytelling, poetry, dancing, composing, or taking notes

A

Crafting Images

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20
Q

Crafting images is just like _______, it is not creating works out of nothing because it stems from personal experiences, encounters, and events that triggered reflection, judgment, and recall

A

Weaving/Crocheting/Quilting

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21
Q

Categories of Soulmaking:
- refers to writing, engraving, and inscribing our thoughts, ideas, commentaries, criticisms, and positive or negative emotions

A

Crafting Stories

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22
Q

Our own ______ are sacred and important to us in a particular time and moment as it becomes our personal time and moment later on

A

Stories

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23
Q

The stories we craft become our own _____ that can be handed down to succeeding generations

A

History

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24
Q

Categories of Soulmaking:
- refers to producing sounds that transcend feelings, emotions, and sensations in another realm

A

Crafting Instruments

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25
This person is a bridge toward the unknown because instruments produce sound that transcends feelings, emotions, and sensations in another realm
Instrument Maker
26
The soul is accompanied by a ______ so that it doesn't vanish
Vessel (a body)
27
Transforming an object into an instrument allows one to discover what 2 elements of music, to produce sound that is entertaining, enhancing, and magical?
Harmony and Balance
28
Categories of Soulmaking: - refers to how life is full of movements and is filled with various beats - everything we do in life is a performance; we perform life
Crafting Movements
29
T or F: Life is full of flowing images accompanied by flowing narratives
True
30
Categories of Soulmaking: - anything that can be crafted using different evocative descriptions of experiences and explorations (e.g. photograph studies, puppets, masks, constructions, and notepad studies)
Crafting Techniques
31
Michael Gelb captured the essence of this genius through his work "How to Think Like ________", who was this genius?
Leonardo da Vinci
32
A Framework for a Genius: - an insatiable curious approach to life and an unrelenting quest for continuous and constant learning
Curiosita (Curiosity)
33
A Framework for a Genius: - a commitment and dedication to test knowledge through experience, persistence, and a willingness to learn from mistakes
Dimostrazione (Experiential)
34
A Framework for a Genius: - continual refinement of the senses (especially sight) as a means to enliven experience
Sensazione (Sensory)
35
A Framework for a Genius: - willingness to embrace ambiguity, paradox, and uncertainty
Sfumato (Transfiguration)
36
A Framework for a Genius: - development of balance between science and art - logic and imagination - aka "whole brain" thinking
Arte/Scienza (Balancing Art & Science)
37
A Framework for a Genius: - cultivation of grace, ambidexterity, fitness, and poise
Corporalita (Balancing Mind and Body)
38
A Framework for a Genius: - recognition and appreciation for the interconnectedness of all things and phenomena
Connessione (Systems Thinking)
39
Pertains to the general right of a person to control an object purchased or in his/her possession
Ownership
40
This gives the owner of a specific work, exclusive rights to reproduce, publicly display, make and distribute copies, and prepare derivative works based on the original artwork as well as authorize others
Copyright Laws
41
T or F: Copyright can be transferred to the buyer
False (the ownership gets transferred to the buyer but the copyright stays with the creator)
42
T or F: Works where the buyer paid for a work to be done by the artist, the copyright stays with the artist
T IF YOU BOUGHT THE ARTWORK ALREADY MADE: copyright to artist
43
Refers to borrowing recognizable images from other sources and using them to make a new art form
Appropriation
44
Who described appropriation as a means of experimentation by changing the context around borrowed images/objects?
Mandiberg
45
T or F: The meaning of the borrowed images doesn't change once used in the new art work
False (it changes)
46
T or F: To appropriate does not mean stealing or plagiarizing
True (it is not owning a particular work but just using it in the artist's new context)
47
T or F: Appropriation artists prohibit the use of the original message and intention of the work being appropriated
False (they establish them in the new art work)
48
What are the 2 ways that artworks can be appropriated?
1. Appropriating artistic content - includes elements such as motif, style, genres, etc. 2. Adoption of items to be considered artworks - tangible creations of one culture
49
T or F: Appropriation is different from copying or forgery
True (it allows the viewer to recognize the origin of the borrowed images as well as its original context)
50
The aim of an appropriation artist is to ______ the borrowed object through different steps (e.g. enlargement or repetition), framing, or translation across mediums
Recontextualize
51
Refers to deceiving the viewers into thinking that they are looking at an original art work
Forgery/Copying
52
T or F: Owning narratives can be a form of appropriation
True
53
A fundamental way through which humans make sense of the world
Narrative
54
This is an important part of the need for human beings to be creative and express themselves; it is integral to the poetic impulse represented in culture's founding myths
Narration
55
Refers to a specific type or form of intellectual development; it also means customs, practices, perspectives, and creations shared by a group of people
Culture
56
Refers to the appropriation that occurs across the boundaries of culture; a person from one culture takes objects from another culture and uses these as their own
Cultural Appropriation
57
Types of Cultural Appropriation: - appropriation of concrete and noticeable works of art - a tangible work previously owned by people from one culture was taken and adopted by those from another culture - e.g. transferring a totem pole from North America to a museum in Europe
Object Appropriation
58
Types of Cultural Appropriation: - refers to the adoption of art works that are intangible - an intangible work expressed by people from one culture was adopted by others - e.g. short stories, poetry, musical compositions, etc.
Content Appropriation
59
What are the 2 types of content appropriation?
Style and Motif Appropriation
60
This refers to the ff.: - artists do not replicate the works created by other people - however they use elements from that work (from another culture) in creating their own works
Style Appropriation
61
This refers to the ff.: - happens when artists are inspired by the art from a different culture but do not use the same exact style
Motif Appropriation
62
Types of Cultural Appropriation: - occurs when a subject matter from another culture is appropriated - could be morally unacceptable
Subject Appropriation
63
The act of composing, uttering, executing, or arranging something without previous preparation or producing something from what's available
Improvisation
64
2 terms mentioned in the book that are the same as "improvising"
Extemporize or Ad Lib
65
T or F: Speaking requires a good deal of improvisation
True
66
This happens if the improvisation is intended to solve a problem and the "proper" solution is unavailable at the time; this applies to the field of engineering
Stop-gap
67
All ideas that a group member may have are permitted and encouraged to be expressed, regardless of practicality or importance
Brainstorming
68
What is the informal term for "brainstorming"?
Thinking outside the box
69
Improvisation can be thought of as "on the spot" or "off the cuff", what 2 phrases/words describe the 2 quoted terms?
On the spot = At the moment Off the cuff = Impromptu
70
T or F: Improvisation can be seen outside the arts
True (engineers solve problems with the materials on hand, criminals and insurgents use improvised weapons, and improvised materials are used for cleaning equipment)
71
The creative activity of immediate musical composition which combines performance with the communication of emotions and while simultaneously playing instruments and responding to other musicians
Musical improvisation
72
T or F: Music improvisation can be understood as composing music "on the fly"
True
73
T or F: Improvisation only happens during solo performances
False (it can also take place in ensemble performances)
74
What emotional response is elicited from the audience when improvisation is done correctly?
Gratifying
75
This is commonly practiced as part of a rappers' creative process, as a "finished product" for release on recordings
Improvised freestyle rap
76
Often called "improv" or "impro", is a form of theater, mainly comedic, wherein it is unplanned or unscripted
Improvisational Theater
77
T or F: Improvisational theater exists in films as part of the final product
True
78
This type of improvisation is used in classrooms as an educational tool, in businesses to develop communication skills, and in psychotherapy as a tool to gain insights about a person
Applied improvisation
79
The process of spontaneously creating movement via body mapping through levels, shapes, and dynamics schema; it also refers to freeing the body from habitual patterns
Dance Improvisation
80
Who is a famous dance improviser and what was their famous choreographed song?
Michael Jackson; Billie Jean
81
T or F: Improvisation is used as a choreographic tool
True
82
Form of improvised dancing which explores the relationship of one's own body to another; uses the fundamentals of sharing weight, touch, and movement awareness
Contact improvisation
83
The 5 rhythms when danced in a sequence are known as?
Wave; takes about an hour to perform as it explores emotion, the life cycle, ego, relationships, and spiritual vision
84
This map teaches embodiment of the 5 distinct rhythms; to access the deep internal wisdom that human bodies contain
Waves
85
This map teaches how people have embodied and how they express emotions
Heartbeat
86
This map provides insight and understanding about how one has internalized conditioning and relationships throughout life
Cycles
87
This psyche map gives insight and understanding of the ego
Mirrors
88
This was the first school in the Philippines dedicated to teaching improvisational theater
Third-World Improv
89
Improv Theater Principles: - the most important and foundational improv principle - accepting a situation and building on it (never say no)
Yes, and
90
Improv Theater Principles: - there is no such thing as "laglagan" or leaving people hanging/throwing under the bus - telling people "I got your back" - putting a partner in the best light possible as people shine brightest when they focus on the other
Making your partner look good
91
Improv Theater Principles: - being "just right" is the best thing you can be - never hog the spotlight, talk over anybody, or pressure yourself to be brilliant all the time - do your part genuinely and let the scene take off on its own
Being average
92
Improv Theater Principles: - pay attention to what your scene partner is saying to move the story forward
Active listening
93
Improv Theater Principles: - everything said or done is an offer if you choose to accept it - listening creates openings everywhere - the most creative improv scenes start when performers accept the offers given to them with no judgement
Everything is a gift

Art Appreciation (24 decks)

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