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Matt - DIU Comps > Key Terms - ALL > Flashcards

Key Terms - ALL Flashcards

1
Q

Synergogy - drama

A

teaching one another and learning from one another, including deciding together how to tell the story through movement.&raquo_space;> Petersen, Michelle. “Scripture Relevance Drama.” Paper presented at the International Orality Network conference, Dallas, Texas, September 16, 2008.

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2
Q

song - music

A

a composition consisting minimally of rhythm, melody, and text

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3
Q

piece - music

A

a composition consisting minimally of rhythm, melody, but NO TEXT

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4
Q

form - music

A

The organization of musical materials. Songs and pieces consist of patterned combinations of textual, rhythmic, and melodic segments

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5
Q

phrase - music

A

A brief section of music, analogous to a phrase of spoken language, that sounds somewhat complete in itself, while not self-sufficient; A, B, C&raquo_space;>Kay Kauffman Shelemay, Soundscapes: Exploring Music in a Changing World. (New York: Norton, 2001), 358. (CLAT, 93)

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6
Q

motif - music

A

salient combination of notes; a, b, c

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7
Q

timbre - music

A

The quality (“color”) of a tone produced by a voice or instrument.

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8
Q

texture - music

A

the horizontal and vertical relationships of musical materials, comparable to the weave of a fabric&raquo_space;>Willi Apel, Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1972), 842. (CLAT, 98)

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9
Q

tonal center - music

A

The pitch around which the musical piece revolves. The tonal center is often the most frequent pitch in a piece and fills prominent structural roles.

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10
Q

tonal inventory - music

A

All the notes used in a musical piece or genre.

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11
Q

modulation - music

A

Change of tonal center or key within a composition.

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12
Q

harmony - music

A

two or more notes played [or sung] together at the same time.

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13
Q

contour - music

A

The characteristic (motion) shape of a melody within a musical composition.

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14
Q

responsorial (call and response) - music

A

Singing in which leader and chorus alternate. ABAB. E.g., much African song.

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15
Q

antiphonal - music

A

Music in which two groups sing or play alternately. E.g., Renaissance choral music, Mamaindé song teaching (Brazil).

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16
Q

cyclic - music

A

a repeated pattern, but much longer than ostinato (e.g., 12 bar blues, the gong cycles of Indonesian gamelan music, and the talas of Hindustani raga)

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17
Q

ostinato - music

A

continuous repeated musical motif

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18
Q

strophic - music

A

a song in which all stanzas of the text are sung to the same music, in contrast to a song with new music for each stanza [through-composed].»> Willi Apel, Harvard Dictionary of Music (Cambridge, MA: Belknap Press of Harvard University Press, 1972), 811. (CLAT, 94)

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19
Q

through-composed - music

A

Melodic structure with no large-scale repetition. ABCDEFG.

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20
Q

progressive - music

A

Each section has completely different material. Differs from through-composed in that it has a fixed number of repetitions and the repetitions are generally shorter than through-composed. AABBCCDD, etc.

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21
Q

theme and variations - music

A

A basic theme is presented and then different variations of it are subsequently presented. A A1 A2 A3 A4 A5, etc.

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22
Q

litany - music

A

Consists of only one short phrase that is reiterated throughout.»>Bruno Nettl, Music in Primitive Culture (Cambridge: Harvard University Press, 1956), 69. (CLAT, 94)

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23
Q

song form - music

A

the structure and organization of a musical composition

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24
Q

rhythm - music

A

the whole feeling of movement in music, or the pattern of long and short notes occurring in a song.

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25
Q

meter - music

A

The underlying pattern of beats, by which the time span of a piece of music or a section thereof is organized.

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26
Q

aerophones - music

A

instruments that use a resonating vibrating column of air to sound (flute, trombones, etc.)

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27
Q

cordophones - music

A

instruments that produce sound from vibrating strings (harps, guitars, etc.)

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28
Q

membranophones - music

A

instruments that have a membrane stretched over a frame and are struck to sound (drums)

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29
Q

idiophones - music

A

instruments that vibrate the entire material of the instrument (cymbals, xylophones, rattles, etc.)

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30
Q

drama

A

“the reproduction of actions performed by people. These actions recreate former actions, or create a world of possible actions.”&raquo_space;>Hatcher, Jeffrey. The Art and Craft of Playwriting. Cincinnati: Story Press, 1996.

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31
Q

performance space - drama

A

Space where drama, music, etc., may be performed. . . specifically the area in a theatre, concert hall, etc., in which the performers act, play instruments, etc., as opposed to the area where the audience sits.

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32
Q

dramatic setting - drama

A

the imagined location of the story conveyed by the performers’ use of words, space, set pieces, lighting or props to evoke an imagined place and time

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33
Q

blocking - drama

A

the arrangement of all actors’ movements in space in relation to one another.

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34
Q

props - drama

A

objects used by a performer which can change location in the course of acting. Hand props are carried by actors. Set props are pieces of the scene. Props may be realistic or impressionistic. Props are improvised if they are found on the spot.

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35
Q

costumes - drama

A

the clothes and makeup performers wear

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36
Q

sets - drama

A

arrangement of set pieces and objects (realistic, impressionistic, minimalistic, or bare)

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37
Q

realistic - drama

A

costumes, props, scenery, and set pieces that reproduce real life as exactly as possible

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38
Q

impressionistic - drama

A

costumes, props, scenery, and set pieces that are prepared in advance and give an idea of a thing without trying to reproduce it exactly.

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39
Q

minimalistic - drama

A

when costumes, props, scenery, and set pieces that are few and unassuming so attention is placed on other aspects of a performance.

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40
Q

improvised - drama

A

costumes, props, scenery, and set pieces found on hand without being prepared in advance and made to represent things that they are not by the performer’s spontaneous ingenuity.

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41
Q

mimed - drama

A

an absence of material; the actor’s actions cause the audience to imagine objects that are not physically present.

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42
Q

ensemble - drama

A

the group performing a drama

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43
Q

actor - drama

A

a person who portrays a character.

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44
Q

playwright - drama

A

a person who creates scripts for plays.

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45
Q

director - drama

A

the person who supervises the creative integration of all the elements of a drama and instructs the actors and crew as to their performance elements. There may be no single director in a performance, as when performers coach one another.

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46
Q

crew - drama

A

the people who set up, take down, change scenes, manipulate the environment during performance (e.g., lighting, sound effects), advertise, and/or manage the set, costumes, and props.

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47
Q

nonmatrixed performer - drama

A

a background performer who does not show character

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48
Q

foley artist - drama

A

a crew member who creates sound effects

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49
Q

audience - drama

A

the intended spectators and listeners of a performance or speech

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50
Q

spect-actors - drama

A

when the line between spectator and actor is blurred and the audience participates actively in the performance. (Barber, Collins, Ricard 1997)

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51
Q

fourth wall - drama

A

When actors speak to the audience, acknowledge they are there

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52
Q

representational depiction of reality - drama

A

“make believe” depiction of reality shapes stage action; onstage characters behave as if they are unaware of the audience’s presence.

However, the fourth wall is present between actors and audience but it’s just invisible.

No performer interaction with audience

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53
Q

presentational depiction of reality - drama

A

“breaking the wall” (make believe)

it is known as a show.

[McLaughlin 1997]—breaking the fourth wall; audience and performers acknowledge one another’s presence

[Petersen 2010]—Jula granddaughter imitating dead grandfather so visitors can address her as if she were him

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54
Q

dramatic premise - drama

A

the idea or message that the play is seeking to communicate by the string of events that unfold

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55
Q

metaphors - drama

A

an image comparing something concrete with an abstract idea.

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56
Q

image system - drama

A

a visual image repeated in various ways to convey an extended metaphor.

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57
Q

symbol - drama

A

a concrete visual object that stands for something abstract. E.g., what do the candlesticks symbolize to Jean ValJean in Les Misérables?

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58
Q

plot - drama

A

the series of events in a play and their structured arrangement in time. The ordering of events helps express the world view and meaning of the play

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59
Q

frame - drama

A

the overall purpose of an event and lets the audience know how to interpret it.

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60
Q

dialogue - drama

A

verbal interaction between characters

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61
Q

tempo/rate/pace - drama

A

how fast or slowly a performer speaks. This can either be in regard to the duration of the words, or the length of the silences between words. What does the character’s use of time say about the character?&raquo_space;>Jack Frakes, Acting for Life: A Textbook on Acting (Colorado Springs: Meriwether, 2005), 52. (CLAT, 114)

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62
Q

plot structure - drama

A

“a selection of events from characters’ life stories that is composed into a strategic sequence to arouse specific emotions and to express a specific view of life.”&raquo_space;>Robert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting (New York: HarperCollins, 1997), 33. (CLAT 108)

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63
Q

dramatic setting/imagined space - drama

A

the location of the story conveyed by the performers’ use of words, space, set pieces, lighting or props to evoke an imagined place and time

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64
Q

character - drama

A

a person represented by an actor in a drama

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65
Q

archetype - drama

A

the original pattern of model of a character on which later archetypal characters are based

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66
Q

dramatic intensity curve - drama

A

shows rise and fall of action across time&raquo_space;>Buzz McLaughlin, The Playwright’s Process: Learning the Craft from Today’s Leading Dramatists (New York: Back Stage Books, 1997), 131–134. (CLAT 108)

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67
Q

realistic acting - drama

A

emotion is experienced onstage and not only displayed

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68
Q

brechtian acting - drama

A

the actor interprets a role but remains outside of the role and comments on the role or situation. Emotion is displayed. [Schechner 2006]

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69
Q

codified action - drama

A

A performer uses a symbol system of movements, gestures, makeup whose meanings are set by tradition and passed down from generation to generation. Background knowledge is required by audience, eg: Chinese jingju. Emotion is displayed rather than experienced.

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70
Q

costumes - dance

A

the clothes and makeup performers wear

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71
Q

floorplan - dance

A

an overhead representation of a dance performance that includes the boundaries of the space, permanent objects, and “snapshots” of dancers beginning and ending a movement pattern and their pathway to get from point A to point B.

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72
Q

space - dance

A

the location, demarcation, and physical characteristics of the area used for a performance, which can affect the form of artistic communication.

73
Q

props - dance

A

objects used by a performer which can change location in the course of acting. Hand props are carried by actors. Set props are pieces of the scene. Props may be realistic or impressionistic. Props are improvised if they are found on the spot.

74
Q

addressing - dance

A

Acknowledging something/someone is somewhere, demonstrating conscious interaction.&raquo_space;>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)

75
Q

awareness - dance

A

Knowing something/someone is somewhere, demonstrating conscious perception.&raquo_space;>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)

76
Q

transient relationships - dance

A

Awareness and/or addressing that comes and goes throughout the performance.»>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)

77
Q

retained relationships - dance

A

Awareness and/or addressing that is maintained and sustained throughout the performance.»>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)

78
Q

canceled relationships - dance

A

Awareness and/or addressing that ends at a specific time during the performance.»>Ann Hutchinson Guest, Labanotation: The System of Analyzing and Recording Movement (New York: Routledge, 2005), 296–298. (CLAT, 128)

79
Q

solo - dance

A

One person is moving, whether truly alone or in the midst of a nonmoving group.

80
Q

ensemble - dance

A

A small group of people moving either in unison, counterpoint, or in contact with one another and/or a soloist.

81
Q

corps - dance

A

A large group moving in unison, canon (dancers repeating exactly the movements of a first dancer, one after the other) or other large coordinated effort.

82
Q

dance - dance

A

a composition consisting minimally of patterned movement

83
Q

hierarchical segmentation - dance

A

the splitting of a performance into sequential segments, from either a top-down perspective (in other words, macro to micro), a bottom-up perspective, or a basic level-out perspective.»>Anca Giurchescu and Eva Kröschlová, “Theory and Method of Dance Form Analysis,” in Dance Structures: Perspectives on the Analysis of Human Movement, ed. Adrienne Kaeppler and Elsi Evancich Dunin (Budapest: Akadémiai Kiadó, 2007), 21–52. (CLAT 77-79, 126).

84
Q

total dance form - dance

A

The highest structural level resulting in an organic and autonomous entity through the summation of all the integrated structural units.

85
Q

part - dance

A

The highest structural unit within the total dance form.

86
Q

strophe - dance

A

A closed higher form that is comprised of phrases and organized according to the grouping principle.

87
Q

section - dance

A

An intermediate macrostructure consisting of a linking or grouping of phrases. A one-phrase section decomposes directly into motifs.

88
Q

motif - dance

A

The smallest significant grammatical sequence of movements having meaning for both the dancers and their society and for the dance genre within a given dance system.

89
Q

chain form - dance

A

Movement segments that are lined up one after another, and their number and relationship is not important. Subcategories include homogeneous, vartiation, heterogeneous, and rondo.

90
Q

grouping form - dance

A

Movement segments have a precise number of components set in a fixed and contrastive relationship. Subcategories include two-segment form, three-segment form, and multisegment form.

91
Q

gravity - dance

A

downward force acting on a dancer

92
Q

dab - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as direct, light, and sudden»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

93
Q

press - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as direct, strong, and sustained»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

94
Q

glide - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as direct, light, and sustained»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

95
Q

slash - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, strong, sudden»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

96
Q

float - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, and light, and sustained»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

97
Q

wring - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, strong, and sustained»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

98
Q

flick - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as indirect, light, and sudden»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

99
Q

punch - dance

A

One of Laban’s eight EFFORT categories (effort actions) characterized as direct, strong, and sudden»>Maletic, Vera. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes, 2004. (CLAT, 131).

100
Q

connectivity - dance

A

a set of six patterned movements that conceptualize the body as an instrument with different parts or limbs: the head, tail, two arms, and two legs, all of which are connected to the center of the torso.&raquo_space;>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)

101
Q

breath - dance

A

All movements derive from breath, but some very small movements are initiated or guided by the breath.»>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)

102
Q

head-tail - dance

A

Connection between the head and the pelvis»>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)

103
Q

core-distal - dance

A

Connection between the “core” and the limbs of the arms and legs—3 D; asymmetrical.»>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)

104
Q

homologous - dance

A

Connection between the upper half of the body (head, arms) and lower half of the body (pelvis, legs)—2 D»>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)

105
Q

homolateral - dance

A

Connection between the right side and left side of the body—2 D; symmetrical»>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)

106
Q

contralateral - dance

A

Connection between the upper right and lower left»>Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge, 2000. (CLAT, 129)

107
Q

kinesphere - dance

A

the area of space occupied by the dancer’s body»>

108
Q

phrasing - dance

A

Movements are performed with a particular quality of energy or intensity

109
Q

impact vs impulse - dance

A

Impact: sudden stop (either of strong or light accent); Impulse: outburst (either of strong or light accent)

110
Q

accented - dance

A

Spurts of intensity or energy that can be repeated with pauses or stillness in between each spurt, which can be strong (such as flamenco dancing) or light (such as typing on a keyboard).

111
Q

vibratory - dance

A

A series of quick and repetitive movements that can be repeated at various “wavelengths,” which can be strong (such as whole body convulsions) or light (such as a shoulder shimmy).

112
Q

resilience (elastic, bouyant, weight) - dance

A

Energy that plays with gravity, emphasizing the strength or heaviness and/or the lightness or “weightlessness” of a movement.

113
Q

effort/dynamics - dance

A

movement quality or engagement of effort that deals primarily with Space, Time, and Weight

114
Q

codified/stylized [movement?] - dance

A

Common movements set in a particular style that often have specific names and expectations associated with it.

115
Q

story - OVA

A

A story or narrative is a connected series of events told through words (written or spoken), imagery (still and moving), body language, performance, music, or any other form of communication.

116
Q

character - OVA

A

any animate figure within a story

117
Q

props - OVA

A

Objects used by a performer which can change location in the course of acting, including hand props and set props. Props may be realistic or impressionistic. Props are improvised if they are found on the spot.

118
Q

costumes - OVA

A

the clothes and makeup performers wear

119
Q

performer-audience interaction - OVA

A

emergence, i.e., audience signs of attention/inattention/interaction which affects performers&raquo_space;>Bauman, Richard. 1977. Verbal Art as Performance. Rowley, Mass.: Newbury House Publishers.

120
Q

discourse analysis - OVA

A

the study of the ways in which language is used between people, both in written texts and spoken contexts

121
Q

climax - OVA

A

when the central character makes a decision which will lead to a resolution of the conflict.

122
Q

episodic - OVA

A

plots that contain scenes linked by theme or idea more than by actions and reactions. The series of events is not necessarily linked by cause and effect. Many history plays, myths, and folk tales are episodic.

123
Q

poetry - OVA

A

a type of literature that conveys a thought, describes a scene or tells a story in a concentrated, lyrical arrangement of words.

124
Q

proverbs - OVA

A

condensed, specially formed bits of wisdom

125
Q

riddle - OVA

A

a question or statement intentionally phrased so as to require ingenuity in ascertaining its answer or meaning

126
Q

narrative - OVA

A

A story or narrative is a connected series of events told through words (written or spoken), imagery (still and moving), body language, performance, music, or any other form of communication.

127
Q

vernacular text - OVA

A

A full text transcription of an event in its original form and language.

128
Q

word for word gloss - OVA

A

A literal translation into a language of wider communication.

129
Q

free translation - OVA

A

A translation that is natural in the language of wider communication.

130
Q

text density - OVA

A

Number of lines per verse, number of verses per poem or song, number of syllables per line, number of notes per syllable (in song).

131
Q

Assonance - OVA

A

Rhyme referring to the same or similar vowel sounds in neighboring words.

132
Q

Rhyme - OVA

A

The same or similar vowel sounds at the end, beginning, or middle of lines.

133
Q

Vocables - OVA

A

Words without propositional meaning (nonsense words or sounds; e.g., a call, greeting, etc.)

134
Q

ideophone - OVA

A

a vivid representation of sensory imagery

135
Q

Consonance - OVA

A

Close correspondence of sounds

136
Q

Alliteration - OVA

A

Repetition of the same or similar sounds at the beginning of words.

137
Q

Rhythmic speech - OVA

A

(no def)

138
Q

Rhetorical questions - OVA

A

Questions meant to persuade rather than elicit information.

139
Q

metaphors - OVA

A

Figures of speech in which a word of phrase corresponds to an object or action tha tis not literally applicable

140
Q

symbolism - OVA

A

the meanings behind signifiers (representations that stand for something else) in a verbal performance

141
Q

personification - OVA

A

characters who represent abstract concepts

142
Q

stereotypes - OVA

A

a simplified or generalized, predictable representation of a character without subtlety.

143
Q

intro/opening formula - OVA

A

a phrase and/or action that serves to rouse the interest of a storytelling audience, sometimes eliciting a formal response from them as well as setting the mood for the start of the narration»>Finnegan, Ruth. 2014. Oral Literature in Africa. World Oral Literature Series. Cambridge: Open Book Publishers. http://books.openedition.org/obp/1201.

144
Q

poetic meter - OVA

A

periodic parallelism; that is, poetic lines that are primarily bound by repeated groups of musical pulses (“beats”), not by repeated groups of patterned word stresses

145
Q

musico-poetic analysis - OVA

A

An analysis of song lyrics describing their rhythm, syntax, phonology, morphology, and semantics

146
Q

emergence - OVA

A

audience signs of attention/inattention/interaction which affects performers&raquo_space;>”Bauman, Richard. 1977. Verbal Art as Performance. Rowley, Mass.: Newbury House Publishers.
“

147
Q

onomatopoeia - OVA

A

an ideophone that phonetically imitates, resembles, or suggests the sound that it describes

148
Q

Verbal Play - OVA

A

A highly creative act that overlaps with other features. It is often found in storytelling by means of various semantic devices, including metaphor, allegory, metonymy, puns, humor, and so on.

149
Q

Rhythm/pulse - OVA

A

This often is structured by syllables. These syllables come together in a certain number of beats or a certain pattern.

150
Q

Text density - OVA

A

Number of lines per verse, number of verses per poem or song, number of syllables per line, number of notes per syllable (in song)

151
Q

Lexical repetition - OVA

A

Use of the same word in more than one context

152
Q

Homonyms - OVA

A

Two or more words that share the same pronunciation and spelling but with different meanings.

153
Q

Archaic language - OVA

A

Words, phrases, or grammatical structures no longer used in normal speech

154
Q

Borrowed words - OVA

A

Words adopted from another language.

155
Q

visual unity - visual

A

An integrated message in which the various parts of the message are in harmony with the other parts: proximity, repetition, continuation, and controlled chaos, to name a few.&raquo_space;>David A. Lauer and Stephen Pentak, Design Basics, 5th ed. (Stamford, CT: Wadsworth Publishing, 2002).

156
Q

display space - visual

A

the area where visual images are created, displayed or used; or, the distances or areas around, between, and within components of a visual image. Space can be positiveor negative, open or closed, shallow or deep, andtwo-dimensional or three-dimensional.

157
Q

space - visual

A

the area where visual images are created, displayed or used; or, the distances or areas around, between, and within components of a visual image which can be positiveor negative, geometric or organic, open or closed, shallow or deep, andtwo-dimensional or three-dimensional.

158
Q

proximity - visual

A

A way to make separate elements look as if they belong together (visual unity) by putting the elements close together.»>David A. Lauer and Stephen Pentak, Design Basics, 5th ed. (Stamford, CT: Wadsworth Publishing, 2002).

159
Q

balance - visual

A

The distribution of the visual weight of objects, colors, texture, and space in an image so that it make the overall design feel stable. This distribution can be symmetrical, in which the parts are subjectively mirrored; asymmetrical, in which the elements have a distributed weight that is not symmetrical; or radial, in which the parts appear to balance outward from a point of origin.

160
Q

rhythm - visual

A

the process of directing eye movement through an image, based on repetition.

161
Q

proportion - visual

A

the relationships between visual elements, particularly with reference to relative size.

162
Q

materials - visual

A

substances chosen by creators of art objects to produce the visual features they desire in their work

163
Q

mixed media - visual

A

The use of different materials in the production of a visual image

164
Q

manipulation - visual

A

any technique an artist uses to changes the surface or appearance of a material in a visual image

165
Q

creation process - visual

A

How a visual image is made

166
Q

subject matter - visual

A

the representational content of a visual image: portrait, landscape, still-life, a scene from everyday life, or narrative

167
Q

line - visual

A

the path made by a pointed instrument: a pen, a pencil, a crayon, a stick. A line implies action because work was required to make it.»>Edmund B. Feldman, Varieties of Visual Experience, 4th ed. (New York: Adams, 1992), 207.

168
Q

shape - visual

A

A two- or three-dimensional area, often formed by lines, usually with defined edges or colors.

169
Q

value - visual

A

The lightness or darkness of a part of an image compared to other parts of the image.

170
Q

color - visual

A

The visual response to the wavelengths of light reflected from something, identified as red, blue, green, etc.

171
Q

hue - visual

A

The prototypical color definition in a culture.

172
Q

shade - visual

A

Darker variants of a color formed by adding varying amounts of black to the hue.

173
Q

tint - visual

A

Lighter variant of a color formed by adding varying amounts of white to the hue.

174
Q

texture - visual

A

the actual or implied surface quality in a work of art

175
Q

symbolism - visual

A

the meanings behind visible signifiers (visual representations that stand for something else) in a visual image

176
Q

symbols - visual

A

a thing that represents or stands for something else, especially a material object representing something abstract

177
Q

signs/signifiers

- visual

A

representations that have meanings beyond what they literally represent.

178
Q

frame - visual

A

The purpose or intention of artist

Matt - DIU Comps (22 decks)

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