Defining Art Set 11how Can We Define Art2is There One Definition ✓ Solved

Defining Art: Set . How can we define “artâ€? 2. Is there one definition that sums up the meaning of “art†3. When and where was the term, “art†first used?

4. What does the term, “Fine Artsâ€, refer to ? 5. How was the term, “Fine Arts†first used? 6.

What is an artist? 7. What are contemporary explanations of what art and the artist are? The Chicano Movement and the Treaty: Set . What is the Treaty of Guadalupe Hidalgo?

2. What terms of the Treaty of Guadalupe Hidalgo were violated, and how does this affect Chicanos/as? 3. What role does Réies Là³pez Tijerina and La Alianza play in the Chicano Movement? 4.

What does the occupation of Catalina Island by the Brown Berets symbolize? Set ) Who is Luis Valdez? 2) What connection is there between the Teatro Campesino and the UFW? 3) What is an acto? 4) What is a Pastorela?

5) What theatre groups/individuals were inspired by Luis Valdez and his teachings? Set ) What is TENAZ? 2) What ideology did TENAZ promote? 3) What differences did the members of TENAZ have with Luis Valdez and the Teatro Campesino? 4) What role did TENAZ play in the protesting of the U.S. bicentennial celebration in 1976?

5) What caused TENAZ to dissolve? 6) What is the connection between TENAZ and the presence of Chicanas/os in mainstream commercial entertainment? Set ) What is Culture Clash? 2) What is the focus of the group? 3) What themes does Culture Clash work with?

Set ) Where is Chicano Park? 2) Why did the founders of Chicano Park decide to establish such an artistic sight? 3) Who are some of the founders of Chicano Park? Set ) Who were Lalo Guerrero and Don Tosti, and how did they influence the Chicano rock scene? 2) What is the connection between traditional Mexican music and Chicano rock?

3) Who are some of the most prominent figures of Chicano rock? 4) What makes Chicano rock different from other forms of American rock? Set ) Why is it that Chicana/o authors tend to incorporate Chicano characters, bilingualism and other elements reflective of their heritage in the story lines of their literary works? 2) What would be the difference in terms of overall cultural perspective between the works of authors, “Corky†Gonzà¡les and José Montoya, versus the writings of Richard Rodràguez? Set .

Who is Jesàºs Salvador Trevià±o, and what is his contribution to Chicano filmmaking? 2. Who are other Chicana/o filmmakers, and what projects have they been involved in? Week 1 Assignment 1. Determine which of the following statements is descriptive in nature and which is inferential.

Refer to the data below in How Old is My Fish? How Old is My Fish Average age by length of largemouth bass in new York State Length Age a. All 9-inch largemouth bass in New York State are an average of 3 years old. b. Of the largemouth bass used in the sample to make up th NYS DEC Freshwater Fishing Guide, the average age of 9-inch largemouth bass was 3 years. In your answer also describe and explain the difference between descriptive statistics and inferential statistics.

Question . Since 1981, Fortune magazine has been tracking what they judge to be the “best 100 companies to work for.†The companies must be at least ten years old and employ no less than 500 people. Below are the top 25 from the list compiled in 1998, together with each company’s percentage of females, percentage of job growth over a 2 year span, and number of hours of professional training required each year by the employer. Company Name Women (%) Job Growth (%) Training (hr/yr) Southwest Airlines Kingston Technology SAS Institute FEL-Pro TDIndustries MBNA W.L.Gore Microsoft Merck Hewlett-Packard Synovus Financial Goldman Sachs MOOG DeLoitte & Touche Corning Wegmans Food Products Harley-Davidson Federal Express Proctor & Gamble Peoplesoft First Tennessee Bank J.M.

Smucker Granite Rock Petagonia Cisco Systems a. Find the mean, range, variance, and standard deviation for each of the three variables shown in the list. Present your results in a table. b. Using your results from (a), compare the distributions for job growth percentage and percentage of women employed. What can you conclude?

Grading Criteria Assignments Maximum Points Meets or exceeds established assignment criteria 40 Demonstrates an understanding of lesson concepts 20 Clearly present well-reasoned ideas and concepts 30 Mechanics, punctuation, sentence structure, spelling that affects clarity, and citation of sources as needed 10 Total 100 Week 2 Assignment Assignment Week 2 Question 1 1. Baseball stadiums vary in age, style, size, and in many other ways. Fans might think of the size of the stadium in terms of the number of seats; while the player might measure the size of the stadium by the distance from the homeplate to the centerfield fence. Note: CF = distance from homeplate to centerfield fence. Using the Excell add-in construct your scatter diagram with the data set provide below.

Seats CF Is there a relationship between these two measurements for the “size†of the 30 Major League Baseball stadiums? a. Before you run your scatter diagram answer the following: What do you think you will find? Bigger fields have more seats? Smaller fields have more seats? No relationship exists between field size and number of seats?

A strong relationship exists between field size and number of seats? Explain. b. Construct a scatter diagram and include it in your answer. c. Describe what the scatter diagram tells you, including a reaction to your answer in (a). Question 2 2.

Place a pair of dice in a cup, shake and dump them out. Observe the sum of dots. Record 2, 3, 4, _ , 12. Repeat the process 25 times. Using your results, find the relative frequency for each of the values: 2, 3, 4, 5, _ , 12.

Grading Criteria Assignments Maximum Points Meets or exceeds established assignment criteria 40 Demonstrates an understanding of lesson concepts 20 Clearly present well-reasoned ideas and concepts 30 Mechanics, punctuation, sentence structure, spelling that affects clarity, and citation of sources as needed 10 Total 100 Assignment Week 3 Question 1 If you could stop time and live forever in good health, what age would you pick? Answers to this question were reported in a USA Today Snapshot. The average ideal age for each age group is listed in the following table; the average ideal age for all adults was found to be 41. Interestingly, those younger than 30 years want to be older, whereas those older than 30 years want to be younger.

Age Group Ideal Age + 59 Age is used as a variable twice in this application. a. The age of the person being interviewed is not the random variable in this situation. Explain why and describe how “age†is used with regard to age group. b. What is the random variable involved in this study? Describe its role in this situation. c.

Is the random variable discrete or continuous? Question 2 Find the area under the normal curve that lies to the left of the following z-values. a. Z=-1.30 b. Z=-3.20 c. Z=-2.56 d.

Z=-0.64 Grading Criteria Assignments Maximum Points Meets or exceeds established assignment criteria 40 Demonstrates an understanding of lesson concepts 20 Clearly present well-reasoned ideas and concepts 30 Mechanics, punctuation, sentence structure, spelling that affects clarity, and citation of sources as needed 10 Total 100 Assignment Week 5 Question 1 Using the telephone numbers listed in your local directory as your population, randomly obtain 20 samples of size 3. From each telephone number identified as a source, take the fourth, fifth, and sixth digits. a. Calculate the mean of the 20 samples b. Draw a histogram showing the 20 sample means. (Use classes -0.5 to 0.5, 0.5 to 1.5, 1.5 to 2.5 and so on). c.

Describe the distribution of the x-bars that you see in part b (shape of distribution, center, and the amount of dispersion). d. Draw 20 more samples and add the 20 new x-bars to the histogram in part b. Describe the distribution that seems to be developing. Use the empirical rule to test for normality. See the sampling distribution of sample means and the central limit theorem develop from your own data!

Question 2 Consider a population with μ = 43 and σ = 5.2. a. Calculate the z-score for an x̅ of 46.5 from a sample of size 35. b. Could this z-score be used in calculating probabilities using Table 3 in Appendix B? Why or why not? Question 3 State the null and alternative hypotheses for each of the following: a.

You want to show an increase in buying and selling of single-family homes this year when compared with last year’s rate. b. You are testing a new recipe for “low-fat†cheesecake and expect to find that its taste is not as good as traditional cheesecake. c. You are trying to show that music lessons have a positive effect on a child’s self-esteem. d. You are investigating the relationship between a person’s gender and the automobile he or she drives—specifically you want to show that more males than females drive truck-type vehicles. Grading Criteria Assignments Maximum Points Meets or exceeds established assignment criteria 40 Demonstrates an understanding of lesson concepts 20 Clearly present well-reasoned ideas and concepts 30 Mechanics, punctuation, sentence structure, spelling that affects clarity, and citation of sources as needed 10 Total 100 Assignment Week 6 Question 1 Based on a survey of 1,000 adults by Greenfield Online and reported in a May 2009 USA Today Snapshot, adults 24 years of age and under spend a weekly average of on fast food.

If 200 of the adults surveyed were in the age category of 24 and under and they provided a standard deviation of .50, construct a 95% confidence interval for the weekly average expenditure on fast food for adults 24 years of age and under. Assume fast food weekly expenditures are normally distributed. Question 2 An experiment was designed to estimate the mean difference in weight gain for pigs fed ration A as compared with those fed ration B. Eight pairs of pigs were used. The pigs within each pair were littermates.

The rations were assigned at random to the two animals within each pair. The gains (in pounds) after 45 days are shown below: RationA RationB Assuming weight gain is normal, find the 95% confidence interval estimate for the mean of the differences μd where d= ration A – ration B. Assignment Week 7 Question 1 To compare commuting times in various locations, independent random samples were obtained from the six cities presented in the “Longest Commute to Work†graphic on page 255 in your textbook. The samples were from workers who commute to work during the 8:00 a.m. rush hour. One-way Travel to Work in Minutes Atlanta Boston Dallas Philadelphia Seattle St.

Louis a. Construct a graphic representation of the data using six side-by-side dotplots. b. Visually estimate the mean commute time for each city and locate it with an X. c. Does it appear that different cities have different effects on the average amount of time spent by workers who commute to work during the 8:00 a.m. rush hour? Explain. d.

Does it visually appear that different cities have different effects on the variation in the amount of time spent by workers who commute to work during the 8:00 a.m. rush hour? Explain. Part 2 a. Calculate the mean commute time for each city depicted. b. Does there seem to be a difference among the mean one-way commute times for these six cities? c.

Calculate the standard deviation for each city’s commute time. d. Does there seem to be a difference among the standard deviations between the one-way commute times for these six cities? Part 3 a. Construct the 95% confidence interval for the mean commute time for Atlanta and Boston. b. Based on the confidence intervals found does it appear that the mean commute time is the same or different for these two cities (Atlanta and Boston).

Explain c. Construct the 95% confidence interval for the mean commute time for Dallas. d. Based on the confidence intervals found in (Atlanta and Boston) and Dallas does it appear that the mean commute time is the same or different for Boston and Dallas? Explain. e. Based on the confidence levels found in (Atlanta and Boston) and (Dallas) does it appear that the mean commute time is the same or different for the set of three cities, Atlanta, Boston, and Dallas?

Explain f. How does your confidence intervals compare to the intervals given for Atlanta, Boston, and Dallas in “Longest Commute to Work†on page 255? Question 2 Interstate 90 is the longest of the east-west U.S. interstate highways with its 3,112 miles stretching from Boston, MA at I-93 on the eastern end to Seattle WA at the Kingdome on the western end. It travels across 13 northern states; the number of miles and number of intersections in each of those states is listed below. State No. of Inter Miles WA ID MT WY SD MN WI IL IN OH PA NY MA a.

Construct a scatter diagram of the data. b. Find the equation for the line of best fit using x= miles and y=intersections. c. Using the equation found in part (b), estimate the average number of intersections per mile along I-90. d. Find a 95% confidence interval for β1. e. Explain the meaning of the interval found in part d.

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Understanding Art

Art, a term that resonates with both passion and perplexity, defies a singular definition. A point of departure is to recognize that art exists as an entity shaped by social, cultural, and historical contexts. The traditional Greek origins of the word "art," stemming from the Latin “ars,” encapsulate various forms of craftsmanship and skill, indicating a practice inherent to human expression (Gifford, 2019). Whether one views art through the lens of aesthetics, function, or cultural significance, one must recognize that no universal definition can encompass its breadth.

Is There One Definition of Art?

As art evolves, so too does the discourse surrounding its definition. Prominent art historian Ernst Gombrich vehemently claimed, “There is no such thing as Art. There are only artists” (Gombrich, 1989). This underscores the notion that each artist and viewer brings their unique perspective to the interpretation of art. Originating from the personal and relational experiences, art eludes rigid categorization.
Various theorists have proposed alternative definitions and frameworks. For instance, philosopher Arthur Danto posits that art transcends mere aesthetics and is located within a context—historically and socially (Danto, 1981). Others, like George Dickie, suggest it operates within institutional parameters, defined by general consensus and practice rather than inherent qualities (Dickie, 1974).
Ultimately, art’s unique quality lies in its subjectivity—what one individual may deem art might not resonate with another. This variance fosters a rich dialogue surrounding art that thrives on diversity and difference.

Historical Context of the Term “Art”

The term "art" first gained traction in Europe during the Renaissance, with a focus on the fine arts, including painting, sculpture, and architecture (Baxandall, 2012). This period marked a significant transition in the way art was perceived—from a form of labor to a pursuit of creative expression reflecting not only societal beliefs but also the artist’s psychological landscape.

Understanding "Fine Arts"

The term "Fine Arts” generally refers to visual arts that prioritize aesthetic value over functional purpose, including painting, sculpture, and graphic arts. The distinction between fine and applied arts—where the latter encompasses crafts and design—is grounded in the precept that fine arts exemplify beauty and intellectual content (Caro, 2020). This division has historically informed exhibitions, educational endeavors, and funding dynamics in cultural institutions.

The Emergence of the Concept "Artist"

Defining the modern "artist" further complicates discussions surrounding art. Traditionally, artists were viewed as skilled craftsmen or artisans; however, conceptual frameworks have expanded to include those who question, critique, or explore societal norms through their work. As the cultural landscape shifts, so too has the portrayal of the artist, who now often embodies various roles within society (Klein, 2016).

Contemporary Understandings of Art and Artists

Contemporary explanations emphasize the role of the artist as a critical commentator within society. As Hannah Arendt eloquently posited, art operates in the space between a public and private realm, offering insight into shared human experiences while simultaneously challenging societal norms (Arendt, 1978). Artists, propelled by critiques of hegemony, increasingly utilize their platforms to engender conversations surrounding identity, race, gender, and politics.

The Chicano Movement: Context and Historical Importance

The Chicano Movement emerged in the 1960s, profoundly influenced by social injustices faced by Mexican-Americans. Central to this movement was the Treaty of Guadalupe Hidalgo (1848), which ended the Mexican-American War and promised citizenship and land rights (Montoya, 1990). However, the violation of the treaty's terms—such as the denial of property rights—marginalized many Chicanos/as, igniting a fight for rights and recognition.

Key Figures and Symbols in the Chicano Movement

Réies López Tijerina played a pivotal role through his leadership in La Alianza Federal de Mercedes, advocating for land grants outlined in the treaty (Valdez, 2017). The occupation of Catalina Island by the Brown Berets symbolized resistance against systematic oppression and repression while promoting cultural pride.
Luis Valdez, a hallmark figure in the Chicano Movement, combined art and activism through Teatro Campesino, creating performances that highlighted the socioeconomic struggles and narratives of farmworkers (Valdez, 1981). His development of “acto” and “Pastorela” narratives became theatrical tools emphasizing Alianza values.

TENAZ: An Alternate Chicano Perspective

The National Association of Chicano Artists (TENAZ) emerged to provide a counterpoint to Valdez's work, promoting a non-conformist approach to artistic expression. Ideologies they championed diverged from the mainstream Chicano narratives, positioning the organization as a catalyst for alternative perspectives (Téllez, 2014). Their protests, including actions against the U.S. bicentennial celebration in 1976, solidified their commitment to social justice.

Culture Clash: Contemporary Representation

On a broader cultural scale, groups like Culture Clash emerged to articulate the Chicano experience through satire and humor while addressing themes of identity, race, and cultural preservation. Their performances resonate with broader audiences, employing evocative voice techniques to engage with historical narratives (Culture Clash, 2010).

Artistic Spaces: Chicano Park

Chicano Park, established in San Diego, serves as a monument dedicated to expressing Chicano identity through murals and public art. Founders sought to reclaim the space as a declaration of cultural pride and resistance against erasure, paving the way for meaningful dialogue around public representation (Chicano Park, n.d.).

The Influence of Chicano Rock

Figures like Lalo Guerrero and Don Tosti laid the foundation for Chicano rock, blending traditional Mexican music with rock and roll, presenting a cultural amalgamation that celebrated heritage (Donaghy, 2007). Prominent figures like Carlos Santana and Los Lobos have continued this legacy by infusing their music with cultural criticism and celebration.

Cultural Reflections in Literature

Chicana/o literature often incorporates bilingualism and cultural experiences, reflecting the complexities of identity. Authors such as Corky Gonzales and José Montoya juxtapose narratives with Richard Rodriguez’s work, presenting broader themes around assimilation and cultural pride that reflect varied perspectives (Ramos, 2013).

Conclusion

Art evolves with its context, shaped by identities and histories. As society engages with cultural movements, the role of art and its creators continues to shift. Through the lens of the Chicano Movement and across disciplines, art proves to be a potent vehicle for cultural expression, resistance, and social critique.

References

1. Arendt, H. (1978). The Life of the Mind. Harcourt.
2. Baxandall, M. (2012). Painting and Experience in Fifteenth Century Italy. Oxford University Press.
3. Caro, R. (2020). The Business of Art: Economics and Strategy for Artists. Routledge.
4. Culture Clash. (2010). Culture Clash in America. City Lights Publishers.
5. Danto, A. (1981). The Artworld. The Journal of Philosophy.
6. Dickie, G. (1974). Art and the Aesthetic: An Institutional Analysis. Cornell University Press.
7. Donaghy, T. (2007). Chicano Rock: The Sounds of the Southwest. University of Illinois Press.
8. Gifford, M. (2019). The Many Definitions of Art. Aesthetic Theory.
9. Gombrich, E. H. (1989). The Story of Art. Phaidon Press.
10. Klein, J. (2016). The Artist as a Social Agent. Routledge.
This exploration of art encompasses a broad spectrum of subjects, offering a comprehensive understanding of its relevance across different eras and movements. The fluidity of its definitions highlights the need for ongoing dialogue and interpretation.