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gaskalga > hum semi final > Flashcards

hum semi final Flashcards

1
Q

TRUE OE FALSE
One of the major points in Soulmaking, is an alternative venue for knowing others and looking what they are doing in everyday life

A

False

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2
Q

TRUE OE FALSE
One of the major points in Soulmaking, is form of crafting stories or transforming brief moments into images and symbols.

A

True

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3
Q

One of the major points in Soulmaking, is connecting with people, understanding culture, and embodying tolerance and peace

A

True

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4
Q

One of the major points in Soulmaking, is not to develop the artist in us.

A

False

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5
Q

One of the major points in Soulmaking, is it opens the door for multiple intelligences of expression

A

True

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6
Q

One of the major points in Soulmaking, is not an exploration and not an application of the imagination in an active way.

A

False

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7
Q

One of the major points in Soulmaking, an artist or artisan or even the ordinary person utilizes imagination to survive and live

A

True

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8
Q

One of the major points in Soulmaking, imagination is an important tool not to develop an artwork.

A

False

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9
Q

One of the major points in Soulmaking, it takes a special skill to hold an image in thought and turn that imagination into art.

A

True

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10
Q

One of the major points in Soulmaking, imagination is not always dependent on the action and plays a major in art production

A

False

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11
Q

One of the major points in Soulmaking, it can be innate gift or a learned skill, or a combination of both.

A

True

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12
Q

One of the major points in Soulmaking, it requires a professional artist or artisan to be involved.

A

False

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13
Q

One of the major points in Soulmaking, it has no time reference, it occurs anytime

A

True

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14
Q

One of the major points in Soulmaking, it occurs where there is engagement among the person, time, and space

A

True

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15
Q

One of the major points in Soulmaking, it does not varies from each individual with diverse experiences based on what are obtained but the senses

A

False

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16
Q

The first phase of Soul Making, “We are looking for a discipline or method that can help us live in and make sense of the world and heal the wounds of self.”

A

Seeking

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17
Q

Soulmaking is about communicating as profoundly as possible with the soul, with other person, and non-human beings and with the world.

A

Settling

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18
Q

It takes us ups and throws us down, calls for the wounds we bear to be accepted, forces us to spend time livin in the darkness.

A

Surrender

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19
Q

We are beginning to become an expert, an injured healer.

A

Soulmaking

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20
Q

When we begin our journey, what we most wish is to soar.

A

Soaring

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21
Q

It includes the production, by various forms and methods, of visual representation of images.

A

Crafting images

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22
Q

He or she writes down his or her own personal feedbacks like life values, deep feelings, ideas, ideals, and even high and low emotions

A

Crafting stories

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23
Q

A bridge to the unknown because it creates sounds that exceed our thoughts, emotions, and sensations.

A

Crafting instruments

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24
Q

Life is full of different rhythms.

A

Crafting movements

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25
Q

It is the artist’s reflection of his life experiences in any piece of art.

A

Crafting techniques

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26
Q

It is the activity of making or doing something not planned beforehand, using whatever can be found and in the performing arts is a very spontaneous performance without specific or scripted preparation.

A

Improvisation

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27
Q

He was the ultimate Renaissance man: an accomplished scientist, mathematician, engineer, inventor, anatomist, painter, sculptor, architect, musician, and writer.

A

Leonardo Da Vinci

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28
Q
  • He introduces his book entitled, How To Think Like Leonardo da Vinci: 7 Steps to Genius Every Day.”
A

Michael Belb

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29
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.

A

Soulmaking

30
Q

Great minds have one characteristic in common and they continuously ask questions throughout their lives.

A

Curiosita

31
Q

A commitment to test knowledge through experience.

A

Demostrazione

32
Q

The continual refinement of the senses, especially sight, as the means to clarify experience. According to Da Vinci, we can best practice Dimostrazione through our senses, particularly sight.

A

Sensazione

33
Q

A willingness to embrace ambiguity, paradox, and uncertainty. An essential characteristic of Da Vinci’s genius is his ability to handle a sense of mystery.

A

SFUMATO

34
Q

The development of the balance between science and art, logic and imagination (“whole-brain thinking”).

A

ARTE/SCIENZA

35
Q

The cultivation of grace, ambidexterity, fitness, and poise”. Leonardo had amazing physical ability that complemented his genius in science and arts.

A

CORPORALITA

36
Q

A recognition and appreciation for the connectedness of all things and phenomena; “systems thinking.”

A

CONNESIONE

37
Q

Refers to the use of borrowed elements in the creation of new work. The borrowed elements may include images, forms or styles from art history or from popular culture, or materials and techniques from non-art contexts.

A

APPROPRIATION

38
Q

It can be defined as being an artist’s own work which has stemmed from their individual, creative and innovative mind.

A

ORIGINALITY

39
Q

It is the legal right of an artist which protects their work from being copied or plagiarized without consent.

A

COPYRIGHT

40
Q

If an artist decides to sell their artwork, regardless of whether the copyright has been passed down or not, artists can still prevent their work from being altered in a way which may damage the integrity of the artist.

A

MORAL RIGHT

41
Q

Taking the subject and composition but changing the style of an art.

A

APPROPRIATION OF SUBJECT

42
Q

Prohibits anyone from copying or recreating the work pf another artist without permission or consent.

A

COPYRIGHT ACT OF 1968

43
Q

The right to be identified as the original creator of the work.

A

THE RIGHT OF ATTRIBUTION

44
Q

The right to prevent work from being treated in a derogatory manner. Both laws stand to facilitate and preserve the originality and integrity of artists and their work.

A

THE RIGHT INTEGRITY

45
Q

It is the adoption of an element or elements of one culture or identity by members of another culture or identity.

A

CULTURAL APPROPRIATION

46
Q

Reflects the overproduction of reproductions, remakings, reenactments, recreations, revisionings, reconstructings, etc. by copying, imitating, repeating, quoting, plagiarizing, simulating, and adapting pre-existing names, concepts and forms.

A

APPROPRIATIONISM

47
Q

It occurs when the possession of a tan- gible work of art (such as a sculpture or a painting) is transferred from members of one culture to members of another culture.

A

OBJECT APPROPRIATION

48
Q

Refers to when someone adopts an element of a culture with the sole purpose of humiliating or putting down people of that culture.

A

CULTURAL DENIGRATION

49
Q

It is the respectful borrowing of elements from another culture with an interest in sharing ideas and diversifying oneself.

A

CULTURAL APPRECIATION

50
Q

Occurs when the possession of a tangible object (such as a sculpture) is transferred from members of one culture to members of another culture.

A

MATERIAL APPROPRIATION

51
Q

This form of appropriation involves the reproduction, by a member of one culture, of non-tangible works of art (such as stories, musical compositions or dramatic works) produced by some other culture.

A

NON-MATERIAL APPROPRIATION

52
Q

Sometimes artists do not reproduce works produced by another culture, but still take something from that culture.

A

STYLISTIC APPROPRIATION

53
Q

Occurs when someone from one culture represents members or aspects of another culture.

A

SUBJECT APPROPRIATION

54
Q

Sometimes artists are influenced by the art of a culture other than their own without creating works in the same style.

A

MOTIF APPROPRIATION

55
Q

It is a process of creating something using fiber gained from sources like plants, animals, insects, or synthetic materials.

A

TEXTILE ART

56
Q

A floor covering of thick woven material or animal skin, typically not extending over the entire floor.

A

RUGS

57
Q

A warm bed covering made of padding enclosed between layers of fabric and kept in place by lines of stitching, typically applied in a decorative design

A

QUILTS

58
Q

Are items worn on the body. Clothing is typically made of fabrics or textiles but over time has included garments made from animal skin or other thin sheets of materials put together.

A

CLOTHING

59
Q

It is the craft of fastening or attaching objects using stitches made with a needle and thread and is one of the oldest of the textile arts, arising in the Paleolithic era.

A

SEWING

60
Q

One of the traditional method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth.

A

WEAVING

61
Q

One of the traditional method by which yarn is manipulated to create a textile or fabric; it’s used in many types of garments.

A

KNITTING

62
Q

It is the craft of decorating fabric or other materials using a needle to apply thread or yarn and may also incorporate other materials such as pearls, beads, quills, and sequins.

A

EMBROIDERY

63
Q

It is a sacred cloth woven by the T’boli people in communities around Lake Sebu, Mindanao island.

A

T’NALAK

64
Q

A spiritual guardian, guides t’nalak weaving, a process that is enriched with taboo and ritual.

A

FU DALU

65
Q

Fibres used in weaving are harvested from the abaca tree and prepared in a process known as ________.

A

KEDUNGON

66
Q

________ or dyeing, is done in the ikat-style, using beeswax and natural pigments.

A

TEMOGO

67
Q

The final stage in the process in making T’nalak is called ________, involves burnishing the fabric with a cowrie shell that is heated by friction. Nut oil is used to condition the fabric and add sheen.

A

SEMAKI

68
Q

It is a handwoven textile made from abaca. Making it involves a mud-dyeing technique wherein tribe members soak their tannin-dyed yarns into iron-rich mud for days.

A

DAGMAY

69
Q

The __________ women then weave the fiber into intricate figures and patterns as a Dagmay become a finish product, depicting their folklores and beliefs.

A

MANDAYA

70
Q

A Tausog woven head-cloth made from cotton or silk characterized with intricate geometric patterns of colors segments into the smallest squares, triangles, and diamonds.

A

PIS-YABIT

gaskalga (10 decks)

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