This document defines several key terms and concepts in media analysis including typography, tag lines, technical codes, and iconography. It also summarizes theories of narrative and codes by Claude L辿vi-Strauss and Roland Barthes. L辿vi-Strauss argued that all narratives can be reduced to binary opposites, while Barthes believed that texts can be interpreted through five codes: the hermeneutic code referring to mysteries; the proairetic code referring to plot actions; the semantic code giving additional meaning; the symbolic code organizing broader meanings; and the referential code founded on canonical works.
This document provides an overview of art in Northern Europe and Spain during the 16th century. It discusses the impact of the Protestant Reformation and Catholic Counter-Reformation on art. Key artists mentioned include Matthias Gr端newald, Albrecht D端rer, Lucas Cranach the Elder, Hans Holbein the Younger, Hieronymus Bosch, and El Greco. The document also provides learning objectives and includes images and descriptions of works by these artists to illustrate 16th century artistic styles in different regions.
This document provides photos of painting studios, students at work, and their working environments. It also includes photos of printmaking and photomedia studios as well as examples of students' work in those areas. The photos give a glimpse into the facilities and creative processes for fine art students in painting, printmaking, and photomedia.
The document provides guidance on structuring an academic essay. It discusses preparing for writing by unpacking the question, reading, and brainstorming ideas. The basic essay structure includes an introduction with four elements, multiple body paragraphs, and a conclusion. Each body paragraph should have a topic sentence, evidence, commentary on the evidence, discussion linking it to the overall argument, and a referencing sentence linking to the next paragraph. The introduction should respond to the question, provide context, foreshadow the main points, and state the overall position or thesis.
This document provides a guide for writing an art critique using the Feldman Method in 4 steps:
1. Describe objective elements of the artwork such as objects, colors, materials without interpretation.
2. Analyze formal relationships between elements like color, shape, composition through similarities, differences and connections.
3. Interpret potential meanings of the artwork by forming a hypothesis supported by evidence from the description and analysis.
4. Make a judgment of the artwork's worth based on craftsmanship, technique, ability to relate elements and elicit a response from the viewer.
This document provides a worksheet to guide analysis of an artwork. The worksheet includes sections for description, analysis, interpretation, and evaluation. Learners are prompted to describe key details about the artwork, analyze artistic elements and principles, interpret meaning, and evaluate whether they like it and think it is important.
This document provides a glossary of basic art vocabulary terms. It defines terms like abstract art, acrylic paint, analog colors, architecture, and more. The glossary is arranged alphabetically and provides concise definitions for over 100 common art terms.
Thomas Moran's 1878 oil painting "Florida Scene" depicts the landscape of northern Florida, capturing the hazy atmosphere and unique climate of the region. The painting shows various tropical vegetation like palm trees, shrubs, and wildflowers, as well as the ocean and sky. In the background, a ship is shown letting off passengers who are walking along the beach. Moran aimed to promote tourism to Florida through romanticizing its natural beauty and highlighting the opportunities for work on the undeveloped frontier. The painting provides valuable documentation of Florida's landscape and climate in the late 19th century.
The document provides a list of terms related to the visual arts organized under the headings of line, shape/form, color, texture, space, value, principles, themes, technique/form, and style or period. It includes words like blurred, broken, curved, and diagonal under line; amorphous, biomorphic, closed, and geometric under shape/form; brash, bright, calm, and cool under color; actual, bumpy, corrugated, and furry under texture; ambiguous, deep, flat, and negative/positive under space; dark, light, and medium under value; balance, contrast, emphasis, and harmony under principles; adoration, children, cityscape, and mythology under
This document provides an overview of art in Northern Europe and Spain during the 16th century. It discusses the impact of the Protestant Reformation and Catholic Counter-Reformation on art. Key artists mentioned include Matthias Gr端newald, Albrecht D端rer, Lucas Cranach the Elder, Hans Holbein the Younger, Hieronymus Bosch, and El Greco. The document also provides learning objectives and includes images and descriptions of works by these artists to illustrate 16th century artistic styles in different regions.
This document provides photos of painting studios, students at work, and their working environments. It also includes photos of printmaking and photomedia studios as well as examples of students' work in those areas. The photos give a glimpse into the facilities and creative processes for fine art students in painting, printmaking, and photomedia.
The document provides guidance on structuring an academic essay. It discusses preparing for writing by unpacking the question, reading, and brainstorming ideas. The basic essay structure includes an introduction with four elements, multiple body paragraphs, and a conclusion. Each body paragraph should have a topic sentence, evidence, commentary on the evidence, discussion linking it to the overall argument, and a referencing sentence linking to the next paragraph. The introduction should respond to the question, provide context, foreshadow the main points, and state the overall position or thesis.
This document provides a guide for writing an art critique using the Feldman Method in 4 steps:
1. Describe objective elements of the artwork such as objects, colors, materials without interpretation.
2. Analyze formal relationships between elements like color, shape, composition through similarities, differences and connections.
3. Interpret potential meanings of the artwork by forming a hypothesis supported by evidence from the description and analysis.
4. Make a judgment of the artwork's worth based on craftsmanship, technique, ability to relate elements and elicit a response from the viewer.
This document provides a worksheet to guide analysis of an artwork. The worksheet includes sections for description, analysis, interpretation, and evaluation. Learners are prompted to describe key details about the artwork, analyze artistic elements and principles, interpret meaning, and evaluate whether they like it and think it is important.
This document provides a glossary of basic art vocabulary terms. It defines terms like abstract art, acrylic paint, analog colors, architecture, and more. The glossary is arranged alphabetically and provides concise definitions for over 100 common art terms.
Thomas Moran's 1878 oil painting "Florida Scene" depicts the landscape of northern Florida, capturing the hazy atmosphere and unique climate of the region. The painting shows various tropical vegetation like palm trees, shrubs, and wildflowers, as well as the ocean and sky. In the background, a ship is shown letting off passengers who are walking along the beach. Moran aimed to promote tourism to Florida through romanticizing its natural beauty and highlighting the opportunities for work on the undeveloped frontier. The painting provides valuable documentation of Florida's landscape and climate in the late 19th century.
The document provides a list of terms related to the visual arts organized under the headings of line, shape/form, color, texture, space, value, principles, themes, technique/form, and style or period. It includes words like blurred, broken, curved, and diagonal under line; amorphous, biomorphic, closed, and geometric under shape/form; brash, bright, calm, and cool under color; actual, bumpy, corrugated, and furry under texture; ambiguous, deep, flat, and negative/positive under space; dark, light, and medium under value; balance, contrast, emphasis, and harmony under principles; adoration, children, cityscape, and mythology under
1. 1/2
COMUNICAT AL VENS I VENES DAIGUAMRCIA
Lequip de Tots som Aiguam炭rcia us volem informar que a dia davui, divendres 12 de juny, no
ha estat possible cap acord que permeti una alternan巽a al govern dels darrer quatre anys.
Damunt de la taula de negociacions nom辿s sha pogut valorar una 炭nica proposta de govern
dunitat plantejada per IMA. Una opci坦 que partia de la dificultat de fer compatible el nostre
comprom鱈s electoral, de no donar suport a cap proposta que pass辿s per mantenir els actuals
嘆rgans de govern, amb la legitimitat del grup de CiU de defensar lalcaldia per ser la llista m辿s
votada.
Malgrat aquesta dificultat hem assistit a totes les reunions convocades i hem intentat fer
entendre a IMA la radicalitat de la seva postura en voler imposar els altres dos grups la seva
opci坦 sense tenir en compte lenfrontament que aix嘆 estava provocant.
Amb data 8 de juny, nosaltres proposaven un govern dunitat amb lalcaldia completa per IMA,
com a opci坦 per poder-nos sumar a aquesta proposa. Evidentment CiU no acceptava aquesta
possibilitat i dimecres, dia 10, totes tres formacions donaven per tancada la proposta de govern
dunitat.
El mateix dia, Tots Som Aiguam炭rcia, plantejava una altra proposta a IMA que mant辿 les
condicions de lanterior per嘆 cedint lalcaldia. Amb data dahir nit, 11 de juny, els representants
dIMA ens traslladen la decisi坦 del seu grup de mantenir-se en la opci坦 de govern dunitat.
Volem expressar p炭blicament que el desgast que est suposant aquest tipus de negociaci坦 on
no sha pogut parlar dabsolutament res m辿s que de com es pot fer un govern dunitat, on dues
de les parts, i des del primer dia, han manifestat obertament la seva disconformitat leg鱈tima, no
辿s positiu ni condueix a enlloc m辿s que a la desconfian巽a.
Volem disculpar-nos, tamb辿 p炭blicament, per haver participat sense adonar-nos dun joc on ha
estat constant lintercanvi de pressions entre CiU i Tots Som Aiguam炭rcia. Lobjectiu de la nostra
formaci坦 no 辿s que ning炭 renunci誰 als seus objectius, ni personals ni de partit. L炭nic objectiu
innegociable nostre, expressat per activa i per passiva, ha estat intentar una alternativa a lactual
forma de governar. I entenem que aix嘆 no ha de passar necessriament per pressionar ning炭.
2. 2/2
Som conscients que no assolir lobjectiu dalternan巽a decebr molts electors. Als nostres nom辿s
els podem dir que tinguin labsoluta seguretat que ho hem intentat tot. Som l炭nica formaci坦 que,
malgrat el tancament dIMA, ha presentat tres propostes alternatives, dues han estat renunciant
a tota lalcaldia i completament obertes a negociacions.
A un dia de la constituci坦 de govern, entenem que la limitaci坦 de temps impossibilita negociar
cap acord estable. Per a nosaltres les negociacions no es limiten a pactar per governar. Cal
saber qu竪 es vol fer i com es pensa fer.
Ens agradaria tornar a agrair, a totes les persones que ens han donat suport, la confian巽a
dipositada en la nostra candidatura. Lequip de Tots Som Aiguam炭rcia ha valorat enormement la
vostra valentia i ha tingut molt present la vostra voluntat en totes les negociacions. Volem reiterar
el nostre comprom鱈s per continuar intentant formes diferents de governar lajuntament i
dentendre lorganitzaci坦 social.
Us convidem a tots i a totes a participar de lacte de constituci坦 del nostre Ajuntament. Un acte
p炭blic que ser el resultat leg鱈tim dunes eleccions democrtiques.
12 de juny de 2015
Tots Som Aiguam炭rcia
1a. Proposta presentada per TsA a IMA. No contestada.
http://www.slideshare.net/dpalma2012/proposta-1-48977489
2a. Proposta presentada per TsA a IMA i CiU per govern dunitat. Plantejada en taula de
negociaci坦 amb alcaldia per IMA. Rebutjada per les dues formacions.
3a. Proposta presentada per TsA a IMA. Rebutjada l11 de juny.
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