• SEEING THE ARTS IN THE EVERYDAY

• Art Appreciation - is an encounter between the artwork and the audience.

We would always seek for the meanings of the artworks that we see and
relating them to our life experiences to understand what it tries to
convey. This is done using the various sensory experiences such as seeing,
listening, smelling, touching and feeling.
• Reflexivity - is the awareness of ourselves and of our encounter with the
artwork. It allows us to appreciate art in such a way that it becomes a
mirror that provides us a reflection of who we are.
• Martin Heidegger, a German Philosopher conceptualized our existential
condition “Dasein” which means “being there”. ------- Our creativity
leads us to a well-lived life and a life that continues to unfold. -----
----
• He also coined a term “geworfenheit” which is a concept that describes
the humans’ individual existence as “being thrown” into the world. We
come into being wherein everything is already decided by these chaotic
factors that are beyond our control. We must all deal with these things
that we never even had a say in the first place. We don’t often feel as
if we had a choice in choosing any of these things in the present, instead,
we feel “thrown” into them.
• SENSORIAL EXPERIENCES
• SIGHT is used to explain visual aspects of an artistic and everyday
experience. Visual sensory stimuli are ‘picked up’ through visual
receptors located in the eye and are stimulated by light, color, and
movement.
• LISTENING is an act of bridging the internal and external dynamics of
sensation and experience. Sound is processed through the ‘auditory’
sense.
• SMELLING is about the qualitative experience rooted in the cultural
interpretation of what is acceptable or not. The Olfactory senses can
distinguish between a range of smells including pungent, flowery, putrid,
and musty.
• TASTE, just like smell, is similarly constructed in the way people,
culture, and power discriminate proper and acceptable degree of being
liked. Gustatory sensors are located on our tongues and are linked to our
olfactory senses.
• TOUCH makes us think about the intimacy or spaces that an artistic or
cultural experience instigates in an individual or group. It explores the
notion of the body and its sensations. Tactile receptors that ‘pick up’
 the sensation of touch are all over our bodies in our skin. The tactile
senses are important for identifying touch, pressure, pain, temperature,
and texture.
• Elements can be the form, shape, color, value, shape, and texture of an
art.
• Form refers to the three-dimensional aspect of objects, including their
shape, volume, and structure.
• Shape pertains to the two-dimensional outline or silhouette of objects.
• Artists and designers use shapes to guide the viewer's gaze, establish
focal points, and convey narrative or conceptual elements in their
creations.
• Color is the visual sensation produced when light strikes an object and
is reflected back to the eye.
• Artists and designers use color harmonies, contrasts, and gradients to
evoke emotions, create visual interest, and communicate messages in their
works.
• Value refers to the relative lightness or darkness of colors or tones
within an artwork.
• Artists use value to create illusions of volume, depth, and atmospheric
perspective, enhancing the visual richness and depth of their works.

• The form of a work is its shape, including its volume.

• Napoleon Isabelo Veloso Abueva (Jan. 26, 1930) Father of Modern Philippine
Sculpture
• Some of his produced works: Kaganapan (1953), Kiss of Judas (1955), UP
Gateway (1967).
• His “Sandugo” or “Blood Compact” shrine in Bohol, Tagbilaran City is
a landmark at the site of the first international treaty of friendship
between Spaniards and Filipinos.
• Many modern visual artists including Jose T. Joya (1931 - 1995) pioneered
abstract expressionism in the Philippines.
• Formalism - is the analysis of works by their form or shapes in art
history or archaeology.
• Color - is the element of art is is produced when light, striking an
object is reflected back to the eye.
• 3 Properties of Color:
• Hue - is the name we give to a color (red, yellow blue, etc.)
• Intensity - it refers to the vividness of the color
• Value - it refers to how light or dark it is.
• Shade refers to a color that has been darkened by adding black or another
dark color to it.
• When a color is shaded, it becomes darker and richer in tone.
• Shading is often used to create depth and dimension in artwork, as darker
areas can suggest shadows or areas of less light.
• Tint, on the other hand, refers to a color that has been lightened by
adding white or another light color to it.
• When a color is tinted, it becomes lighter and softer in tone.
• Tinting can create a sense of airiness and brightness in artwork, as
lighter areas can suggest highlights or areas of more light.
• Both shading and tinting are valuable techniques in art and design,
allowing artists to create a wide range of tones and effects within their
compositions. By understanding how to manipulate shade and tint, artists
can effectively control the mood, atmosphere, and visual impact of their
work.
• Cesar Torrente Legaspi (April 2, 1917 - April 7, 1994) National Artist
in Painting
• He was an art director before going full-time in his visual art practice
in the 1960s.
• His early works (1940s - 1960s), alongside Hernando Ocampo are described
as depictions of anguish and dehumanization of beggars and laborers in
the city.

• ART OBJECTS

Jeanette Winterson OBE (born August 27, 1959) is an award-winning

English writer, who became famous with her first book, Oranges Are Not
the Only Fruit. This semi-autobiographical novel centers on a sensitive
teenage girl rebelling against conventional values. Some of her other
novels have explored gender polarities and sexual identity. A
broadcaster and a professor of creative writing, Winterson is a two-time
 winner of the Lambda Literary Award, which recognizes the best LGBTQ
literary works.

In Jeanette Winterson's (1995) essay "Art Objects", objects should be

understood not as nouns but as verbs and, therefore, art objects to
everything that we put forward to it, to the meanings that we think we
get from it. This objection by the art makes seeing a contradictory
experience, not easily understood at first but the moment we get the
hang of it, we see the nature of art and the essence of meaning-making.
There is no sure formula or shortcut in art. Instead,
• Winterson argues that there will not only be increasing difficulty but
also irritation in seeing art, as art stubbornly refuses to be pinned
down by our prejudices, opinions, and anxieties. This difficult and
unyielding nature of art exacts patience and openness on our part and in
time we develop a palate for it, a taste of what works and what does
not, or what is good and what is not. If we look around us, we see the
transitoriness of nature fall and flowers spring, colors fade and become
redolent as the rising sun and the gleaming moon before we sleep. We see
ourselves in this constant motion of nature.
• In the end, "art objects to the lie against life, against the spirit,
that it is pointless and mean.
• Art is the communication cord that cannot be snapped by indifference or
disaster. Against the daily death, art does not die"

• Edouard Manet (1832-1883) was a French painter and one of the first
19th-century artists to paint modern life.
• Manet was a pivotal figure in the transition from Realism to
Impressionism. Impressionism is an art movement that emerged in the late
19th century, particularly in France. Instead of focusing on detailed
and realistic depictions, impressionist artists aimed to capture the
overall "impression" or feeling of a scene. His work includes "Women in
evening gown" and "Olympia".
• Manet rebels against the art establishment of the time. Taking Titian's
Venus of Urbino as his model,
• Manet creates a work he thinks will grant him a place in the pantheon
of great artists.
• John Berger (November 5, 1926-January 2, 2017) was an English art critic,
novelist, painter, and poet. He is best known for his novel G. which won
the 1972 Booker Prize, and his essay on art criticism “Ways of Seeing”
 which was written as an accompaniment to a BBC series. Although born in
England he has resided in France for over 50 years.
• John Berger’s essay “The White Bird” explores how art impacts our
lives. He talks about a simple wooden bird made by peasants to show how
even humble creations can have deep meanings.
• Berger he believes that art makes us think about who we are and what
our purpose is. It helps us find comfort and hope when life is uncertain
or difficult.
• Art can both create and destroy like nature does. Despite the pain in
the world, art offers us new possibilities and ways to fight against
things that try to make us feel worthless.
• Berger sees art as a kind of spiritual practice, like prayer, that
helps us grow and change. He encourages people to see art as something
sacred and powerful that can transform us.
• Diane Ackerman (born October 7, 1948) is an American poet, essayist, and
naturalist known for her wide-ranging curiosity and poetic explorations
of the natural world.
• Diane Ackerman’s (1990) essay, “Color” affirms how this aesthetic
experience is ultimately about hope.
• Ackerman explains that what we see as colors, say red, is anything but
that color.
• Color is not an intrinsic property but rather the result of the interplay
of light as it is reflected to the surroundings and then to our eyes.
• Ackerman says a blue ship may not look the same when viewed from opposite
sides of a river, depending on the landscape, clouds, and other phenomena.

• Walter Benjamin - JULY 15, 1892-SEPTEMBER 26, 1940 prominent German Jewish
philosopher and cultural critic.
• AURA- captivates the viewer, invokes emotions, the feeling of something
by the presence of the artwork.
• Artworks transformed from being ritualistic, religious, and sublime to
something accessible and common.
• Our fine arts were developed, their types and uses were established, in
times very different from the present, by men whose power of action upon
things was insignificant in comparison with ours.
• arts there is a physical component that can no longer be considered or
treated as it used to be, which cannot remain unaffected by our modern
knowledge and power.
• Paul Valéry – “even bringing about an amazing change in our very notion
of art."

• Changes in technology, also leads to changes in art.

• Advancements in technology would make visual and auditory images easily
accessible.
• Karl Marx - was a German-born philosopher, economist, political theorist,
historian, sociologist, journalist, and revolutionary socialist
• Capitalism - where businesses are owned privately, and the goal is to
make a profit.
• changes in society happen slowly
• changes in how people think and act take time to show up, but they're
happening all the time.
• Art is connected to how society works.
• Fascism - one leader has total control and can be mean to people who
disagree with them.
• Marx believed that we could use art to fight against fascism and make
positive changes in society.

• Reproducibility of art in the past, artists could only make one original
piece, but now, with technology, they can make lots of copies.

• Lithography was a new way of making prints using stones instead of

woodblocks, making it faster and easier to produce lots of images.

• Photography was invented, it completely changed how quickly and accurately

images could be reproduced.
• Convergence of Technologies - from photography, it evolved to moving
pictures. Later on, the advancement of technology paved the way for the
rise of new forms of art.
• The presence of an original work of art in time and space gives it an
aura and authenticity that even a perfect reproduction lacks.
• Technical reproduction is more independent of the original and can capture
aspects of it that natural vision cannot.
• The authenticity and authority of an original work are jeopardized by
reproduction, as its “aura” and connection to tradition are devalued.
• Mechanical reproduction detaches the reproduced object from tradition and
substitutes many copies for a unique existence.
• The social significance of film depends on its destructive, cathartic
aspect in liquidating the traditional value of cultural heritage.
• Perception is shaped by both nature and historical circumstances.
• In the 5th century, the birth of late Roman art and the Vienna Genesis
reflected a change from antiquity in both art forms and perception.
• Scholars like Riegl and Wickhoff recognized these new late Roman art forms
represented a shift in perception, though they did not examine the social
transformations behind these changes.
• The concept of “aura” illustrates changes in perception. Aura refers to
the unique presence and distance of natural objects.
• The decay of aura in modern perception has social causes - the masses
wanting to bring things closer both spatially and humanly, and the urges
to reproduce reality, overcoming uniqueness.
• Extracting the aura, the unique presence, of an object is a mark of modern
perception that sees things as equal through reproduction.
• The uniqueness and aura of a work of art are tied to its place within an
artistic/cultural tradition.
• The meaning and significance of an artwork shift overtime as it is viewed
through different cultural lenses.
• The earliest art was connected to ritual and magical/religious functions.
• Even as art became more secular, its basis in ritual remained, though
often hidden.
• Reproducibility alters the nature of art’s aura and authenticity.
• Reproduction facilitates the politicization of art.
• The doctrine of “art for art’s sake” arose in response to these
artistic and social upheavals.
• Artistic works originally had cult value and were used in ceremonies and
rituals.
• Over time, as art became emancipated from ritual, there was an increasing
emphasis on the exhibition value of artworks.
• Portraits, paintings, symphonies, etc. gained public presentability.
• Technical reproduction of art heightened its exhibition value
tremendously, to the point that the balance between cult value and
exhibition value qualitatively transformed the nature of art.
• Prehistoric art was first and foremost an instrument of magic. Only later
did it come to be appreciated as artwork.
• The artistic function may later be seen as incidental.
• Early photography focused on cult value and the aura of the human
portrait.
• Portrait offered a refuge for cult value as photography began to take
over.
• Atget’s photographs of deserted paris streets marked a new stage by
capturing scenes for crimes, for documentary evidence rather than
contemplation.
• Picture magazines established sign posts and captions to direct viewers
in how to interpret photographs in a new way.
• Captions became obligatory and more imperative, prescribing the meaning
of each image based on the sequence, especially the film.
• The resulting change in the function of art transcended the perspective
of the century; for a long time, it even escaped that of the twentieth
century, which experienced the development of the film.
• Abel Gance, for instance, compares the film with hieroglyphs: "Here, by
a remarkable regression, we have come back to the level of expression of
the Egyptians”.
• Pictorial language has not yet matured because our eyes have not yet
adjusted to it. There is as yet insufficient respect for, insufficient
cult of, what it expresses.
• Séverin-Mars - He was an actor and director, known for The Wheel (1923),
Macbeth (1915) and La dixième symphonie (1918).
• During the age of mechanical production, photography was born, thus people
became unsure of the artistic value of painting.
• Gance implies that, like hieroglyphs, film has the potential for profound
expression, but its full capabilities have not yet been realized or
appreciated by audiences.
• Gance highlights a lack of understanding and reverence for the depth of
meaning that film can convey, suggesting that society has yet to fully
embrace and respect the art form for its expressive potential.
• The vivid and imaginative descriptions used throughout the fantasy about
silent film could be interpreted as a form of prayer.
• Werfel - he critiques Mas Reinhardt's film adaptation of A Midsummer
Night's Dream, suggesting that its focus on depicting mundane elements
like streets, interiors, and cars hinders its potential as art.
• Werfel - he argues that film's true power lies in its ability to convey
the fantastical and supernatural aspects of the story with unmatched
authenticity and persuasion.
• Alexander Arnoux concludes his fantasy about the silent film with the
question: “Do not all the bold descriptions we have given amount to the
definition of prayer?”
• Werfel he states that undoubtedly it was the sterile copying of the
exterior world with its streets, interiors, railroad stations,
restaurants, motorcars, and beaches which until now had obstructed the
elevation of the film to the realm of art.
• For the film what matters primarily is that the actor presents himself to
the public before the camera, rather than representing someone else.
• One of the first to send the actors' metamorphosis through this form of
testing was Pirandello.
• “The film actor," wrote Pirandello, "feels as if in exile- exiled not
only from the stage but also from himself.
• Pirandello he asserts that in film, the actor's primary role is not to
portray characters but to present themselves directly to the audience
through the camera.
• Pirandello he depicts the actor's experience as one of exile, feeling
disconnected and stripped of their usual expression, reduced to fleeting,
voiceless images on the screen before the camera's gaze.
• The feeling of strangeness that overcomes the actor before the camera,
as Pirandello describes it, is basically of the same kind as the
estrangement felt before one's image in the mirror.
• The cult of the movie star, fostered by the money of the film industry,
preserves not the unique aura of the person but the "spell of the
personality," the phony spell of a commodity.
• INHERENT TECHNIQUE - of film who witnesses its accomplishments is somewhat
of an expert.
• Picasso’s Full Name - Pablo Diego José Francisco de Paula Juan Nepomuceno
María delos Remedios Cipriano de la Santísima Trinidad Martyr Patricio
Clito Ruíz y Picasso.
• He is known for co-founding the Cubist movement and for his contributions
to Surrealism and Symbolism.
• Picasso's genre in painting can be described as Cubism, which is
characterized by fragmented forms, multiple perspectives, and a focus on
geometric shapes.
• Guernica - Its depiction of an aerial bombing raid on the Basque town of
Guernica in April 1937, during the Spanish Civil War, was an eerie visual
prelude to the coming atrocities of World War II.
• Back when Pablo Picasso was painting, some people didn't understand or
like his artwork."
• Charlie Chaplin, a famous filmmaker. He made funny and touching movies
like "The Kid" and "City Lights."
• Freudian theory - is about how our minds work, with a part we're aware
of (the conscious) and a hidden part (the unconscious) holding our secret
thoughts and desires.
• id (our basic desires),
• ego (which balances our wants with reality),
• superego (our conscience).
• Freud - also talked about defense mechanisms, and ways our minds protect
us from feeling bad, and said our personalities develop through different
stages, mostly when we're kids.
• Psychopathology of everyday life - is a concept introduced by Sigmund
Freud in his book of the same name.
• The text discusses the impact of film and photography on our perception
of the world around us."
• Dadaist works aimed to engage the public through distraction rather than
contemplative immersion, challenging the inherent value ascribed to
artistic creations
• Dadaist art tried to get people's attention by being weird and distracting
instead of making them think deeply.
• Dadaism deliberately deviated from traditional artistic goals to offer an
unconventional perspective, often by devaluing their creations.
• Dadaist works aimed to capture people's attention by using elements that
are unconventional or absurd. They wanted to challenge the idea that art
always had to be serious and important, so they tried to disrupt this
notion by using new and unconventional styles and themes. Essentially,
Dadaism showcased a counter-perspective of the art
• world by employing attention-grabbing and seemingly nonsensical
expressions to critique the prevailing notion of art as either
intellectually engaging or emotionally profound.
• Dadaist art, described as a "word salad" of language and a waste product
of language – Dadaist art is compared to a "word salad" and seen as
something meaningless or chaotic, like a waste product of language. It's
like saying that Dadaist art mixes up words and ideas in a way that
doesn't make sense, similar to how waste is something useless or
discarded.

• CHAPTER XIII
• “Psychoanalysis illustrates it in a different perspective that the film
has enriched our field of perception with methods which can be illustrated
by those of Freudian theory. “
• “Since the “Psychopathology of Everyday Life things have changed. “-
It isolated and made analyzable things that had heretofore floated along
unnoticed in the broad stream of perception.
• "The impact of film and photography on our perception of the world around
us."
• "By showing us familiar things in vivid detail, the film expands our
understanding of everyday objects and reveals the hidden mechanisms that
govern our lives."
•
CHAPTER XIV
• Dadaist works aimed to engage the public through distraction rather than
contemplative immersion, challenging the inherent value ascribed to
artistic creations.
• Dadaism deliberately deviated from traditional artistic goals to offer an
unconventional perspective, often by devaluing their creations.
• Dadaist art, described as a "word salad" of language and a waste product
of language
• Dadaism's Unconventional Perspective
• Devaluation of Art
• Disruptive Nature of Dadaist Film
• Lastly, the text examines Dadaism's disruptive influence on art,
particularly in film, as it aimed to challenge conventional artistic goals
and engage audiences through shock and outrage rather than contemplation.

• CHAPTER XV
• *Transformation of Mass Participation in Art*: The mass, particularly
in the context of film, has altered the traditional relationship between
audience and art, where quantity has transformed into a new quality of
participation.

2. *Distraction vs. Concentration*: The text contrasts the concentrated

engagement of an individual with a work of art versus the distracted
absorption of the masses. This dichotomy is explored in the context of
architecture and film.

3. *Architecture as an Example*: Architecture, as the prototype of a

work of art, exemplifies the collective and habitual reception of art by
the masses, contrasting with the individual contemplation of other art
forms.

4. *Tactile Appropriation*: The concept of tactile appropriation

emphasizes the role of habit and touch in the reception of architecture,
suggesting that art is not solely appreciated through visual
contemplation but also physical interaction.

5. *Art in a State of Distraction*: The text discusses how art,

particularly in film, adapts to the increasing state of distraction
among audiences, suggesting that art tackles difficult tasks by
mobilizing the masses and utilizing shock effects to engage viewers.

6. *Shift in Audience Role*: In the film medium, the public is

positioned as both examiner and critic, with the film catering to a mode
of reception that requires minimal attention, reflecting a shift away
from traditional cult values in art appreciation.
7. *Proletarianization and Mass Formation*: Fascism aims to organize
the proletarian masses while preserving the existing property structure,
offering them an outlet for expression without challenging property
relations.