The Definition of Form in Art

The Definition of Form in Art The term form can mean several different things in art. Form is one of the seven elements of art and connotes a three-dimensional object in space. A  formal analysis of a work of art describes how the elements and principles of artwork together independent of their meaning and the feelings or thoughts they may evoke in the viewer. Finally,  form is also used to describe the physical nature of the artwork, as in metal sculpture, an oil painting, etc.​ When used in tandem with the word art as in art form, it can also mean a medium of artistic expression recognized as fine art or an unconventional medium done so well, adroitly, or creatively as to elevate it to the level of fine art. An Element of Art Form is one of the seven elements of art  which are the visual tools that an artist uses to compose a work of art. In addition, to form, they include line, shape, value, color, texture, and space.  As an Element of Art, form connotes something that is three-dimensional and encloses volume, having length, width, and height, versus shape, which is two-dimensional, or flat. A form is a shape in three dimensions, and, like shapes, can be geometric or organic. Geometric forms are forms that are mathematical, precise, and can be named, as in the basic geometric forms: sphere, cube, pyramid, cone, and cylinder.  A circle becomes a sphere in three dimensions, a square becomes a cube, a triangle becomes a pyramid or cone. Geometric forms are most often found in architecture and the built environment, although you can also find them in the spheres of planets and bubbles, and in the crystalline pattern of snowflakes, for example. Organic forms are those that are free-flowing, curvy, sinewy, and are not symmetrical or easily measurable or named. They most often occur in nature, as in the shapes of flowers, branches, leaves, puddles, clouds, animals, the human figure, etc., but can also be found in the bold and fanciful buildings of the Spanish architect Antoni Gaudi (1852 to 1926) as well as in many sculptures. Form in Sculpture Form is most closely tied to sculpture, since it is a three-dimensional art and has traditionally consisted almost primarily of form, with color and texture being subordinate. Three-dimensional forms can be seen from more than one side. Traditionally forms could be viewed from all sides, called sculpture in-the-round, or in relief, those in which the sculpted elements remain attached to a solid background, including bas-relief, haut-relief, and sunken-relief. Historically sculptures were made in the likeness of someone, to honor a hero or god. The twentieth century broadened the meaning of sculpture, though, heralding the concept of open and closed forms, and the meaning continues to expand today. Sculptures are no longer only representational, static, stationery, forms with a solid opaque mass that has been carved out of stone or modeled out of bronze. Sculpture today may be abstract, assembled from different objects, kinetic, change with time, or made out of unconventional materials like light or holograms, as in the work of renowned artist James Turrell. Sculptures may be characterized in relative terms as closed or open forms. A closed-form has a similar feeling to the traditional form of a solid opaque mass. Even if spaces exist within the form, they are contained and confined. A closed-form has an inward-directed focus on the form, itself, isolated from ambient space. An open form is transparent, revealing its structure, and therefore has a more fluid and dynamic relationship with the ambient space.  Negative space is a major component and activating force of an open form sculpture. Pablo Picasso (1881 to 1973), Alexander Calder (1898 to 1976), and Julio Gonzalez (1876 to 1942) are some artists who created open form sculptures, made from wire and other materials. Henry Moore (1898 to 1986), the great English artist who, along with his contemporary, Barbara Hepworth (1903 to 1975), were the two most important British sculptors in modern art, both revolutionized sculpture by being the first to pierce the form of their biomorphic (biolife, morphicform) sculptures. She did so in 1931, and he did in 1932, noting that â€Å"even space can have form† and that â€Å"a hole can have as much shape meaning as a solid mass.†Ã‚   Form in Drawing and Painting In drawing and painting, the illusion of three-dimensional form is conveyed through the use of lighting and shadows, and the rendering of value and tone. Shape is defined by the outer contour of an object, which is how we first perceive it and begin to make sense of it, but light, value, and shadow help to give an object form and context in space so that we can fully identify it. For example, assuming a single light source on a sphere, the highlight is where the light source hits directly; the mid-tone is the middle value on the sphere where the light does not hit directly; the core shadow is the area on the sphere that the light does not hit at all and is the darkest part of the sphere; the cast shadow is the area on surrounding surfaces that is blocked from the light by the object; reflected highlight is light that is reflected back up onto the object from the surrounding objects and surfaces. With these guidelines as to light and shading in mind, any simple shape can be drawn or painted to create the illusion of a three-dimensional form. The greater the contrast in value, the more pronounced the three-dimensional form becomes. Forms that are rendered with little variation in value appear flatter than those that are rendered with greater variation and contrast. Historically, painting has progressed from a flat representation of form and space to a three-dimensional representation of form and space, to abstraction. Egyptian painting was flat, with the human form presented frontally but with the head and feet in profile. The realistic illusion of form did not occur until the Renaissance along with the discovery of perspective. Baroque artists such as Caravaggio (1571 to 1610), explored the nature of space, light, and the three-dimensional experience of space further through the use of chiaroscuro, the strong contrast between light and dark. The portrayal of the human form became much more dynamic, with chiaroscuro and foreshortening giving the forms a sense of solidity and weight and creating a powerful sense of drama. Modernism freed artists to play with the form more abstractly. Artists such as Picasso, with the invention of Cubism, broke up the form to imply movement through space and time. Analyzing an Artwork When analyzing a work of art, a formal analysis is separate from that of its content or context. A formal analysis means applying the elements and principles of art to analyze the work visually. The formal analysis can reveal compositional decisions that help to reinforce content, the work’s essence, meaning, and the artist’s intent, as well as give clues as to historical context. For example, the feelings of mystery, awe, and transcendence that are evoked from some of the most enduring Renaissance masterpieces, such as the Mona Lisa (Leonardo da Vinci, 1517), The Creation of Adam (Michelangelo, 1512),  the Last Supper (Leonardo da Vinci, 1498) are distinct from the formal compositional elements and principles such as line, color, space, shape, contrast, emphasis, etc., the artist used to create the painting and that contribute to its meaning, effect, and timeless quality. Resources and Further Reading Form, Tate Museum, tate.org.uk/art/art-terms/f/formThe Art of Sculpture, Encyclopedia of Art, visual-arts-cork.com/sculpture.htmThe hole of life, Tate Museum, tate.org.uk/context-comment/articles/hole-of-lifeBarbara Hepworth vs Henry Moore, CultureWhisper, https://www.culturewhisper.com/r/article/preview/3670Works of Antoni Gaudi, http://whc.unesco.org/en/list/320Henry Moore Foundation, https://www.henry-moore.orgBarbara Hepworth, https://barbarahepworth.org.ukJames Turrell, http://jamesturrell.com Resources for Teachers The Elements of Art: Form, Grade Level: 3-4, National Gallery of Art, https://www.nga.gov/content/ngaweb/education/teachers/lessons-activities/elements-of-art/form.htmlShape and Form in Art: Instructional Program for Grades K-4, Teacher’s Guide, http://gettingtoknow.com/wp-content/uploads/shapeinartTG.pdf

Book report. and jazz concerts. totally two different assignments Essay

Book report. and jazz concerts. totally two different assignments - Essay Example This is because some fans share a deep attachment to given musicians and songs to the point of irrationality. The author recognizes that such wildness is responsible for the hype that Jazz attains. The drama combines with the music to provide a relievable appeal to music lovers. The book intensively and extensively explores the origin of Jazz in relation to the term. The word, in itself, is essential in examining the beginning of the genre. This builds on the recognition that the term entails a significant cultural connotation. In turn, the term might have emanated from a given cultural group. This culture, hence, has informed the shaping and growth of Jazz. In addition, the culture has granted the genre inherent elements that remain unchanged as the music evolves. The book notes that there have been several scholarly attempts at defining the origin of the term and music. A huge part of scholarly work attributes its origins to Africa and Arabia (Crow 20). In other instances, linguist ic and music scholars have attributed the term to a word a French verb, jaser. This term means chattering. On the other hand, some historians attribute the word to fornication idioms that were prominently used in San Francisco and New Orleans. This seems to have been a major explanation for the leisurely take on Jazz. In this sense, the book accords an unfamiliar route in the analysis of music. It seeks to make the Jazz fans understand the origins of their consumption. The author recognizes that music lovers can only understand a genre if they associate with its origins. It is crucial for music lovers to experience past forms of music in understanding current compositions. In turn, they learn how a genre music has changed to accommodate shifting influences and expectations. Jazz, therefore, has an inherent perception that the fans take on the performances. In addition, the book entails vital discussion on the roles of teachers and students in shaping Jazz music. This part recognizes that Jazz has attracted a considerable attention from the scholarly world. The scholarly world, in this case, comprises the students and teachers who provide insights into how the culture should celebrate Jazz. Through teachers and students, the Jazz culture is passed down to subsequent generations. This is essential in the face of rapidly evolving cultures that help accelerate the displacement of traditional music genres such as Jazz. This book is critical for the current generation of music lovers who ought to understand the intricacies involved in the growth of a genre. The book informs that former Jazz musicians injected considerable genius in defining new dimensions of music (Gioia 43). In addition, it illuminates the idea that music production relies on involvement by a diverse number of individuals. Furthermore, it highlights that music has an emotional attachment that the scholarly works cannot ignore in discussing the genre. This relates to how Jazz music has helped shape communities. The clause, shaping communities, refers to Jazz’s influences on given economic, social, and political ideals. In addition, it refers to how Jazz music has acquired outside influences in its development. Concert The performance at the Glendale-Pasadena area revealed that music lovers have accorded an offhand approach in enjoying Jazz music. Jazz music, hence, has become a mere cultural

Business Requirements Essay Example | Topics and Well Written Essays - 2250 words

Business Requirements - Essay Example Business goals It is extremely important to first define how the goal of implementing audio and visual capabilities to ensure the needs of disabled clients for the bank are successfully implemented. The following goals need to be addressed in adding audio/visual capabilities: Enterprise collaboration, including features such as audio and video Enterprise portal, to allow users to access the audio/visual files Enterprise resource scheduler to upload new media content Enable online commerce to request files or further downloads Type of deployment The following types of deployments need to both be identified and implemented into the project scope to satisfy all customers: Business to Customer Business to Employee Business to Business Enterprise Employee to Employee Communications Scope It is extremely important to ensure that all parties are involved in the end goal of implementing this change in business practices and that each identified area can be solved and avoid "open-ended" statements that make the goal either unclear or unreachable. If there is any part of the scope of the change that is not identified and remedied, there is a possibility of not meeting the business needs adequately of the target audience. Stakeholders The most important business entity to satisfy is the stakeholders of the bank and this can include both the conventional stakeholder in a traditional banking institution, or, the customer who is a shareholder in a credit union institution. It is important to satisfy that these "stakeholders" are on board for the implementation and how the bottom line will benefit their profit margin. Critical qualities Identify areas that are critical to success. This allows for analysis of the design with respect to the most important... Business Requirements One of the important, but often missed, aspects of web or internet banking is the ability for all persons to access the internet be they abled or disabled. As the world continues to experience more individuals succumbing to disabilities, there is a continual requirement by businesses both on-line and traditional to implement changes to focus on these individuals. As part of the Business Requirements Analysis for the banking industry, our focus will be entirely on adding audio/video capabilities to an existing Internet infrastructure, such being an online banking system. As a business entity, it is important to realize that "a complaint of disability discrimination is unlikely to succeed if accessibility has been considered at the design stage and reasonable steps have been taken to provide access." (Australian Human Rights & Equal Opportunity Commission, 2002). As this consideration is understood, a complete business project plan can be outlined as follows when implementing audio and video capabilities into the banking infrastructure, as taken from the Sun Microsystems website's whitepaper entitled "Sun Java Enterprise System Deployment Planning White Paper" (Sun Microsystems, 2004). Through the implementation of audio and visual tools for the disabled customer and potential customers of the banking system, it allows the bank the ability to reach those customers that have not been properly treated with dignity and what they have been neglected as far as enjoying the benefits of what every person is afforded.

Impact of Labour Unrest for Business (Production) Essay

Impact of Labour Unrest for Business (Production) - Essay Example Labor unrests are generally organized and strike actions carried out by labor unions in the case of the failure of solving such labor disputes. The employees and the overall workforce alter the normal production routine process, thus impacting the shareholders of the production business; the key reason for these unrests is the workers articulating for the increase in wages and labor rights (Silver, 2003). The impacts of labor unrests on a production firm or a business can be discussed as follows. Lower Production levels Labor unrests have a significant impact on the businesses dealing with production, as they lead to lower production levels. Strikes by workers affect greatly the production levels, because most of the production businesses do not have production schedules where one day stock is taken as surplus. Thus labor unrests can lead to the drastic decrease in the production volumes, which can impact the key wholesalers and retailers negatively, as the business production is a c ountrywide supplier (Silver, 2003). Shift in consumer demand Labor in the production business causes shifts in the demand of consumers, notably in the case of strikes. Typically, most of the manufacturing companies keep a significant volume of inventory in their warehouses purposely, as a precaution against labor unrests, which can only represent not more than a month inventory. This production schedule approach ensures that companies continue with their normal production and supply operations for some time after the unrests, thus providing a period for solving the labor dispute without much effect on their business operations (Silver, 2003). In the case of the dispute taking long to be resolved, consumers may wait for the return of the normal operations or shift to the available competitors. Overlap impacts Labor unrests of higher degree of magnitude such as nationwide strike have a direct as well as an indirect impact on the related markets. Such labor unrests are characterized by work stoppage in the production manufacturing company, and this has a great impact on its major outlets and other stakeholders that have frequent transactions with the company. Labor unrests can lead to a standstill of operations in its markets. Companies operating as providers of complimentary services to the production company are the highly affected, because its services or commodities will loose it major market share due to the slowdown of operations at the production company’s plants. This situation may lead to these stakeholders’ decision to go to other markets and the suppliers’ decision to go to the market outlets (Silver, 2003). Loss of revenue and profits Labor unrests cause slowdown and, at times, standstill in the operations at the manufacturing plants. These standstills and slowdowns have an impact of reducing the volume of sales. Lower volume of sales translates into lower revenue realized from them, leading to lower profitability as compared with the period of labor stability (Silver, 2003). This impact is commonly expected to extend to the major outlets, as the level of supply will go down and the company is a nationwide distributor. In this case the company will go at a loss, since the overhead fixed cost will remain the same, straining the less realized revenue and the profits. Impact on employee performance An

Conservation of Races Essay Example for Free

Conservation of Races Essay The United States of America, since its commencement, has been a â€Å"melting pot† of different nationalities. While the term melting pot sounds forthcoming, this is not the case in reality. Many times cultures collide due their differences in ideology, culture, and geographical proximity. Such culture clashes have marked the history of the United States. Race is usually thought of in the physical sense with difference in skin color, hair, facial features, and language. Although race usually follows along physical lines, it is much more far reaching and extends into the social and cultural beliefs. In the past, the dominant trend was to keep these beliefs separate, consequently increasing the feeling of racial unity and racism in society. History has shown us that man has used segregation as a method of not only keeping the peace, but also of keeping the purity of a race in tact. In 1897, an address to the Negro Academy entitled â€Å"The Conservation of Races,† W. E. B. Dubois states: â€Å"The question, then which we must seriously consider is this: What is the real meaning of Race; what has, in the past, been the law of race development, and what lessons has the past history of race development to teach the rising Negro people? I thought the caliber of Dubois’ intelligence and boldness to ask the question was compelling. Throughout this essay I will explore and illustrate how Dubois comes to answer the questions, which he asked his audience. I found it easier to dissect the complex question into three separate questions. First I will illustrate how Dubois defines race. Then I will pinpoint where the basis of the law of race development is formulated. Finally, he answers the question; what can lessons of past history of race development teach the rising Negro? W. E. B Dubois writes that he believes that the conservation of races is the cornerstone of keeping the Negro race pure and intact. Thus, for him, race preservation is not backed only with racial motives, but to help society better itself as a whole. The history of the world is outlined by the histories’ of different groups and races. He states, â€Å"If it be true the history of the world is the history, not of individuals, but of groups, not of nations, but of races, and he who ignores or seeks to override the race idea in human history ignores and overrides the central thought of history (pg.142). In The Conservation of Races Dubois stresses the importance of surveying the whole question of race. He criticizes a biological account of race. He claims that such an account is inadequate because it fails to explain both the wide variety of physical traits within a race and the physical likenesses shared by all humans. For example he states, â€Å"Many criteria of race differences have in the past been proposed, as color, hair, cranial measurements and language. And manifestly in each of these respects differ widely (pg 142)†. Instead, Du Bois proposes a definition of race based on sociohistorical criteria that emphasized cultural and political loyalty. He defines race as: a vast family of human beings, generally of common blood and language, always of common history, traditions and impulses, who are both voluntarily and involuntarily striving together for the accomplishment of certain more or less vividly conceived ideals of life (pg. 142). I would have to agree with Dubois that race is a combination of language, traditions, color, impulses, common blood and ideals of life. This is extremely evident in the anatomy of the world. You can have people who are physically, spiritually, politically, socially, etc. very different be members of the same race. â€Å"Although the wonderful developments of human history teach that the grosser physical differences of color, hair and bone go but a short way towards explaining the different roles which groups of men has played in Human Progress, yet there are differences- subtle, delicate, and elusive, though they may be which have silently but definitely separated men into groups† (pg 142). Here Du Bois suggest an ideal of the law of race development. He further adds, â€Å"At all times, however, they have divided human beings into races, which, while they perhaps transcend scientific definition nerveless, are clearly defined to the eye of the Historian and Sociologist† (pg. 142). I think and maybe Du Bois would agree that the idea of race is an outdated, invalid scientific concept used to categorize individuals and validate who is superior or inferior. As discussed in class I don‘t think racism will ever cease to exist, because the ideal of race is far too prevalent from individuals of all sizes, shapes, and colors. And focusing on the illusion of race will never solve the problem of racism. The only way to stop racism is to end the classification of individuals based on meaningless physical characteristics as a whole and celebrate diversity. Finally, he answers the third part to his complex what can the lessons of past laws of racial development teach rising Negro people. By answering this question he attempts to motivate African Americans to create a recognizable culture and make a difference in the world. He believed that African Americans had potential. He thought that in order eliminate the problems African Americans were facing the focus must first be on boosting the African American culture. He states, As such, it is our duty to conserve our physical powers, our intellectual endowments, our spiritual ideals; as a race we must strive by race organization, by race solidarity, by race unity to the realization of the broader humanity which freely recognizes differences in men, but sternly deprecates inequality in their opportunities of development† (pg. 145). Dubois also saw the need for one main intellectual entity, a Negro Academy. Dubois eloquently stated, â€Å" for all these products of the Negro mind, which we may call a Negro Academy. Not only is all this necessary for positive advancements, it is absolutely imperative for negative defense† (pg. 145). He also notes that the African race has not yet been able to share its message. He sates, â€Å"For the development of Negro genius, of Negro literature and art, of Negro spirit Negroes inspired by the vast ideal, can work out in its fullness the great message of humanity† (pg. 144). In closing, races embody within themselves the answers modern society’s problems. However, a better description of the status of the Negro message would be a work in progress.

A Review of Job Satisfaction, the Influencing Factors and Consequences

A Review of Job Satisfaction, the Influencing Factors and Consequences of Job Satisfaction Introduction Job satisfaction has been gaining attention from both researchers and managers, especially due to the contemporary proliferation of the idea recognising the significance of people in terms of achieving competitive advantage and sustainability in organisations. The purpose of the essay is to review factors influencing job satisfaction and consequences attributing to job satisfaction after reviewing some understanding of the meaning of the term and the reasons why job satisfaction is widely studied. Literature Review ï  ¬ The meaning of job satisfaction and the attractiveness for studies It is relevant that the meaning of job satisfaction is reviewed. Job satisfaction can be simply defined as the level at which employees have a positive feeling to their jobs (Agho et al. 1993, p. 1007). Another definition by spector (1997, p. 2) emphasises that the term â€Å"job satisfaction† should include both positive and negative sides (Spector, 1997, p. 2). In this case, the term â€Å"job satisfaction† explicitly points out that the job satisfaction is a continuum with entirely satisfied and not satisfied at all at the two extremes. Importantly, job satisfaction can be the outcome of the employees’ general perception of the job as a whole or specific feeling towards different aspects of the job. And the overall job satisfaction cannot be regarded as the result of calculation of satisfaction levels concerning different aspects of the jobs Among different job attitudes elements, job satisfaction is of outstanding importance and even viewed as the central element (Saari & Judge, 2004, p. 396). As other elements of attitudes, the nature of job satisf... ...atisfaction and individual performance’, Academy of Management Review, vol. 9, no. 2, pp. 712-721 Saari, L. M. & Judge, T. A. 2004, ‘Employee attitudes and job satisfaction’, Human Resource Management, vol. 43, no. 4, pp. 395-407 Seashore, S. E. & Taber, T. D. 1975, ‘Job satisfaction and their correlates’, American Behavioral Scientist, vol. 18, no. 3, pp. 333-368 Spector, P. E. 1997, Job satisfaction: application, assessment, causes and consequences, Sage Publications, Inc, California Spencer, D. G. & Steers, R. M. 1981, ‘Performance as a moderator of the job satisfaction-turnover relationship’, Journal of Applied Psychology, vol. 66, no. 4, pp. 511-514 Tett, R. P. & Meyer, J. P. 1993, ‘Job satisfaction, organizational commitment, turnover intention, and turnover: path analyses based on meta-analytic findings’, Personnel Psychology, vol. 46, no. 2, pp. 259-293

I was taught to see racism only in individual acts of meanness, not in invisible systems conferring dominance on my group Essay

Through work to bring materials from women’s studies into the rest of the curriculum, I have often noticed men’s unwillingness to grant that they are overprivileged, even though they may grant that women are disadvantaged. They may say they will work to women’s statues, in the society, the university, or the curriculum, but they can’t or won’t support the idea of lessening men’s. Denials that amount to taboos surround the subject of advantages that men gain from women’s disadvantages. These denials protect male privilege from being fully acknowledged, lessened, or ended. Thinking through unacknowledged male privilege as a phenomenon, I realized that, since hierarchies in our society are interlocking, there was most likely a phenomenon of while privilege that was similarly denied and protected. As a white person, I realized I had been taught about racism as something that puts others at a disadvantage, but had been taught not to see one of its corollary aspects, white privilege, which puts me at an advantage. I think whites are carefully taught not to recognize white privilege, as males are taught not to recognize male privilege. So I have begun in an untutored way to ask what it is like to have white privilege. I have come to see white privilege as an invisible package of unearned assets that I can count on cashing in each day, but about which I was â€Å"meant† to remain oblivious. White privilege is like an invisible weightless knapsack of special provisions, maps, passports, codebooks, visas, clothes, tools , and blank checks. Describing white privilege makes one newly accountable. As we in women’s studies work to reveal male privilege and ask men to give up some of their power, so one who writes about having white privilege must ask, â€Å"having described it, what will I do to lessen or end it?† After I realized the extent to which men work from a base of unacknowledged privilege, I understood that much of their oppressiveness was unconscious. Then I remembered the frequent charges from women of color that white women whom they encounter are oppressive. I began to understand why we are just seen as oppressive, even when we don’t see ourselves that way. I began to count the ways in which I enjoy unearned skin privilege and have been conditioned into oblivion about its existence. My schooling gave me no training in seeing myself as an oppressor, as an unfairly advantaged person, or as a participant in a damaged culture. I was taught to see myself as an individual whose moral state depended on her individual moral will. My schooling followed the pattern my colleague Elizabeth Minnich has pointed out: whites are taught to think of their lives as morally neutral, normative, and average, and also ideal, so that when we work to benefit others, this is seen as work that will allow â€Å"them† to be more like â€Å"us.†