Art molds our actual life of feeling; by giving form to the world, it articulates human nature, sensibility, energy, passion and mortality. - Suzanne Langer

Architecture is my favorite form of practical art. I believe it influences every aspect of an individual's life although most of the times people do not realize it. During my high school years, I've come to realize the importance of the job that architects do, hence why I got myself into pursuing architecture for college.

Architects are like game masters—they set the rules and dictate how you navigate through a game. In the same way, architects rule over people's way of living. When they design spaces, they give life to a land upon deciding how the specific form a building should be. They control how we navigate through spaces. The way they design space articulate how people ought to feel about a particular place.

In that sense, a specific aspect of architecture that I'm really interest at is urban planning. Urban planner's works make or break people. Their job in master planning development are very pivotal because the effects of their work to the lives of people last generations. When you design walkable cities, you elevate the quality of people's lives. No matter how stressful academics is, giving people immediate access to nature and helping them reconnect with Mother Nature whenever they need to improves their holistic well-being. An example of this is the Burnham Park in Baguio City, designed by architect and urban planner, Daniel Burnham, and is a part of a bigger master city planning for Baguio that Burnham made at 1905. This lush, sprawling green space is located at the heart of Baguio City, offering a refreshing escape from the hustle and bustle of urban life. Within just 32.84 hectare of land, this space became witness to all kinds of emotions that people who have visited the place have felt. It also became a venue for people to become physically active whenever they do morning runs, be emotionally well when they get to destress upon their visit, and it's also a witness of people's passion whenever there's a pet owner strolling his dog around, couples going on picnic dates, or a starting artist drawing a live scenery in the park.

People are social beings. We strive on interrelationships and making memories with people we hold close to our heart. To create memories, we visit places, and in those places are buildings and landscapes where we spend time at and take groufie shots to immortalize memories. To make sure that people have good experiences over a specific place, it is the architect or urban planner's job to ensure that the spaces they design are conducive for recreational activities, leisure, and productivity. That, I must say, is the most impactful legend that a person in this profession can leave behind even after leaving this world. His work will always be remembered by the upcoming generations who will live in the vision he had for this world.

If art is defined within the ambit of “aesthetics” whether as “aesthetic object” or “aesthetic experience” how is art viewed from this perspective?

Whenever we see an artwork, that first thing we see are the visual elements of it that our eyes see. At the first glance, we critic artworks by their symmetry, harmony, dynamics, color scheme, and how visually pleasing they are to the eyes. Since most of than not, we only pay attention to artworks briefly, then the impression it gives off within those first seconds in which a person lays his eyes upon a specific artwork is what matters more, or even what weighs more when comparing two artworks a person is contemplating on purchasing. It is innate in a person to make decisions based on momentarily emotions, just like how recent generations choose cafes to splurge their money at based on which one looks more "aesthetic" and instagram-worthy. It is a totally valid perception of art, especially for audiences who engages in art only for leisure. A downside of this, however, is on the part of the artist who produces artworks not abiding to the rules of being an 'aesthetic' artwork. Other types of art forms—avant garde, abstract, etc.—which focuses more on delivering a message and evoking emotions from its audiences, may be belittled, and their intentions be diminished, when compared to aesthetic art pieces.

Art as “expression. ” Among the key concepts, this is likely the well-known dimension of art. You hear people say, “I paint (or dress) this way to express myself. ” How does ‘expression’ relate to the artistic process, in general, or the artist, in particular? How does this compare with art as representation?

"Art invokes emotions"—is an all-time definition of what art is. When we define art in this manner, then we can conclude that every person is an artist in their own way. Our thoughts, emotions, and feelings is what prompts us to create an artwork. It is a means of channeling our emotions and transforming these ideas it to a tangible object. Whenever I feel sorrow, I may write poems reflecting my feelings. Whenever I am frustrated, I might make a scribbling artwork showing my anger and frustrations, which reflects my state of mind at that time. For artists, we metaphorically or symbolically use items we see on a daily basis and analogize their use or forms with our emotions at a time. An artist may use chains or leashes to express his emotions of being chained due to a specific thing. The manner of how we want our emotions to be expressed is what is seen in our output. More than the tangible artwork, the process of these translating thoughts and ideas into symbolisms to project our emotions is what I consider more the 'artistic process' when making art. When compared to art as representation, rather than depicting real-life sceneries and objects, art as an expression solely depends on an person's interpretation of his individual experiences of life, with its goal is to encourage an emotional response.

Art is being practice for art’s sake, when artists creates this personal protective bubble, freeing them from external pressures i.e. the need to create artworks responsive to societal issues. This action may be a result of an urge to disconnect from the real world full of harsh truths and heavy problems or an individual might really just be indifferent to the world and the societal problems around him. For these people, art becomes a sanctuary for them and a means of escapism, away from the stress and realities of the world. Thus, the pursuit of art is not a tool for political expression but for a personal, internal expression.

2. Why is it detrimental to believe that art is a form of escape?

It is detrimental to view art as a form of escapism because this isolates the artist to the world around him, limiting their capabilities and potential for producing great works of art. Artist should not retreat to their own “Tower of Ivory” and detach themselves from the world’s social issues and human struggles, separated from society. The greatness of an artist is only cultivated through shared connection with other people—their thoughts, perspective of life, and intellect is only cultivated through engagement with the world. Without this, their mentality becomes short of rich experiences, and this reflects to their art, one that is mediocre and shallow.

3. Why is it important for art to address the “problems of [the artist’s] time”?

Lopez argues that art i.e. literature, cannot be separated from society. Art must be utilized as tools for political expression, to contribute to addressing societal issues in the world. Hence, art addresses social problems in the artist’s time because art is not only an expression of an artist’s personal sentiments but it reflects an artist’s perspective of the society. It is important that art addresses these social problems because they are means used for social awareness and a vehicle for social change. Artists must use art to amplify the voices of the people and express their struggles, thus making a meaningful contribution to society.

4. What does Lopez mean when he said that writers and artists should be “teachers of men”?

Lopez contends that teachers of men are those that create art beyond purposes of creating it for beauty sake. He suggests that the great artists he have cited in his article are those type whose creation shape and influence the way society thinks. These artists have used their art as a means to impart profound ideas that challenges the minds of their audience. Therefore, great artists become teachers of men because their craft evokes meaningful reflection and helps people understand the world around them better.

5. Why does Lopez think that the highest form of art is emancipatory?

The highest form of art is one that is produced from these two vital factors that an artist possesses—love for his own kind and desire for freedom. When you have both love and liberty, an artist is free to express the deepest urges and longing in the wells of his being, which in turn makes him produce the best outputs, one that reflects his emotions—essentially portraying what it means to be human—and conveys these to his audiences. Thus, the highest form of art is emancipatory because it allows for an effective expression of human aspirations, resulting to a deeper shared connection between an artist and the audience.

Representational categorizes any type of visual art featuring a subject matter that is derived from any real-world objects. It may be highly stylized or distorted as long as the subject can be identified. 

Naturalism is an art that depicts subjects as they naturally appear in the real world, with extreme scientific precision and idealized beauty. Portrayal of real-world objects is often emphasized on anatomical accuracy and aims for a more picturesque precision of form and detail. 

Realism is also a sub-type of representational art which focuses on the observation and depiction of the external world as it appears to the senses. It portrays everyday life of ordinary people, highlighting the unglamorous aspects of social realities. 

2. Contrast the variations of realism such as Social Realism, Magic Realism, Hyperrealism, or Photorealism, Miniaturismo, and Surrealism. 

Social realism focuses on depicting social and political realities, not only observing but also offering comments and protests on social injustices. It aims on giving a socio-political critique of present society and a vision of a new human order.

Magic realism captures everyday scenarios and infuses them with a sense of freshness and purity of vision. It blends precise realism with a heightened, almost dreamlike perception of reality.

Hyperrealism or photorealism paints an artwork with the clarity and sharpness of that of a photographic print. It aims to closely mimic high-resolution images that may even look more real than photographs, putting emphasis on exact detail. 

Miniaturismo is a realism style practiced by Filipino portrait painters with emphasis on exceptional rendering of delicate transparency of fabric and elaborate embroidery of native costumes which were indicators of social status and ascendance at the time.

Surrealism–veristic surrealism in particular–is characterized by sharp realism intensified by a dream-like quality of the artwork. Its most notable feature is the juxtaposition of objects from different contexts to create new meanings, presenting incongruous figures and situations that defy everyday logic. 

3. Reflect on why classical art is considered representational but not realist?

   
   

Classical art is representational because it portray human figures and nature which are identified as real-world objects but is not considered as realist which depicts human flaws and imperfections, i.e. blemishes, wrinkles, etc. Unlike realism which is grounded on observation, classical art paints an idealized image of gods and goddesses, striving for perfect proportions. Classical works focus more on heroism, divinity, and idealizes narratives, rather than on everyday, ordinary life.  

4. Reflect on why Realism and Impressionism challenged Neoclassicism.

   
   

Realism and Impressionism rejected Neoclassicism’s idealized forms of mythological and heroic figures by introducing new ways of seeing and representing reality, emphasizing everyday life, spontaneity, and perception rather than perfection.

5. Reflect on why contemporary artists move away from the modernist styles of the 20th century such as Expressionism, Cubism, and Pop Art?

Artists using modernist styles abide by stylistic rules and aesthetics and adhere to artistic conventions. Contemporary artists, whose medium is the modern digital technology, break away from restrictions by embracing a mix of global influences and expressing themselves through new media without the constraint of any particular art movement. Artists prioritize more the concept and message of their artworks which explores social, political, and global issues.

The dominant ideology in the very first episode is that of familial duty and sacrificial femininity. Ae-sun’s aspirations are immediately set aside—not by a formal decision, but through the unquestioned expectations of those around her. Even her stepfather tells her that “a maid who takes care of her siblings is more fulfilled than one caring for others” and “your mom can’t rest in peace if your siblings live like beggars,” highlighting Ae-sun’s interpellation into the role of caretaker for her younger siblings—not as a choice, but as an expectation so deeply ingrained that no one questions it. Especially within the social context of the women in their town, self-sacrifice—often at the expense of personal dreams and ambitions—is treated as a virtue women must possess. Her environment creates an invisible force that compels her to comply with the norms and traditions constructed by society, presenting the image of a woman caring for her family as natural and unquestionable. Eventually, we see Ae-sun completely abandon her dreams and settle into the role of a traditional housewife after marrying her husband.

Viewing the first episode of the series through a critical lens reveals that Ae-sun's transition from daughter to caretaker is not merely a personal evolution—it is a social transformation shaped by ideology. Her decision to stay, to care for children who are not her own, and to suppress her desires is not simply noble—it is ideologically manufactured. Family, education, and culture all contribute to her interpellation as a subject of sacrifice and service, exposing how many of our so-called 'choices' are never truly our own.

Yes, this altered image of a cat going to a party is still considered an art, but with a diminished aura. It's still an art because there is a presence of an artistic expression evident in the addition of new elements (disco background, shades, lip biting) used to convey new ideas and meaning to the artwork. However, the reinterpretation done to the original work makes the image lose the familiarity and uniqueness often associated with cats—a domestic, adorable creature, and instead replaced with a cat with humanified characteristics e.g. having fun at discos, wearing shades, and lip biting—imageries that are not often associated to cute animals like them. Nevertheless, the altered artwork is still seen as an artistic modification of typical cat portraits.

2. How do the concepts of “originality” and piracy affect the way we receive works of art?

Original artworks are only ever produced once. No two artworks are ever identical no matter how much the same artist produces a carbon copy of the other. In that sense, the principle of being the 'only' copy of an original work of art is what makes an artwork unique and of high value. When exhibiting artworks, buyers purchase the authenticity and originality of a specific artwork, as well as the exclusive ownership to the artwork. However, the emergence of digital means of mass reproduction of artworks such as through piracy makes the artworks available and accessible to the masses, making what was once a one-in-a-million piece look like a normal everyday view. This diminishes the value we place on the uniqueness and ownership since its accessibility means that everyone can reprint, produce an exact carbon copy of the original, and use it for their personal consumption. Due to this, no one is willing to purchase the price of the authenticity of an artwork anymore, its originality becomes less and less significant.