The size-weight illusion in visual form agnosic patient DF

This article examines the use of movement and visual form in the film adaptation of Samuel Beckett's Comédie (Marin Karmitz, 1966). The article broaches the kinetic elements of the work through addressing the manner in which the diegetic motion of the film can be seen to reflect extra-diegetic cinematic processes. The sense of movement that is created through Comédie's montage is then considered at length, making use of work on this theme by two quite different (though tangentially related) theorists: Sergei Eisenstein and Jean-François Lyotard. The article then charts the film's different manifestations of formal movement, and a basic framework is proposed to explain the manner in which the film creates moments of intensity, through what is termed the ‘local movement’ of the montage, and the manner in which the film manifests an overall curve of intensity, through what is termed the montage's ‘global movement’. It is argued that each form of montagic motion is reflected in the other, and that ultimately these movements might be seen to dramatise a human drive towards, and a concomitant flight from, an impossible state of ontological totality.

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The Diversity of the Visual Form

10.15405/epsbs.2016.09.39 ◽

2016 ◽

Author(s):

Georgeta Merişor Dominte

Keyword(s):

Visual Form

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Indian Horse

MacEwan University Student eJournal ◽

10.31542/j.muse.210 ◽

2015 ◽

Vol 2 (1) ◽

Author(s):

Casey Shea Pollon

Keyword(s):

University Students ◽

Key Words ◽

Point Of View ◽

Main Element ◽

Text And Image ◽

Design Studies ◽

Visual Form ◽

Diploma Program

Type as Image: Eliciting Emotions is a project of VCDE233 Typography II (Constanza Pacher) and VCDI223 Design and Pre-Press Production (Jess Dupuis), both courses in the Design Studies Diploma Program at MacEwan University. Students were asked to capture the essence of the book Indian Horse, by Richard Wagamese, and translate it into a three-poster series using typography as the main element. Under the premise that the visual form is dictated by the content, students were encouraged to analyze plot, characters, point of view, imagery, tone, themes and symbolism to extract key words, sentences and passages as the basis for their designs. Students were asked to challenge literal interpretations by exploring the use of expressive typography and text and image relationships.

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STUDY OF ORNAMENTS IN HUNTO SULTAN AMAY MOSQUE GORONTALO

ARTic ◽

10.34010/artic.v4i0.2418 ◽

2019 ◽

Vol 4 ◽

pp. 167-176

Author(s):

Risti Puspita Sari Hunowu

Keyword(s):

Qualitative Method ◽

The Other ◽

Visual Form ◽

Research Material ◽

Other Hand ◽

The World ◽

Existing Form ◽

The City ◽

Dutch Colonial

This research is aimed at studying the Hunto Sultan Amay Mosque located in Gorontalo City. Hunto Sultan Amay Mosque is the oldest mosque in the city of Gorontalo The Hunto Sultan Amay Mosque was built as proof of Sultan Amay's love for a daughter and is a representation of Islam in Gorontalo. Researchers will investigate the visual form of the Hunto Sultan Amay Mosque which was originally like an ancient mosque in the archipelago. can be seen from the shape of the roof which initially used an overlapping roof and then converted into a dome as well as mosques in the world, we can be sure the Hunto Sultan Amay Mosque uses a dome roof after the arrival of Dutch Colonial. The researcher used a qualitative method by observing the existing form in detail from the building of the mosque with an aesthetic approach, reviewing objects and selecting the selected ornament giving a classification of the shapes, so that the section became a reference for the author as research material. Based on the analysis of this thesis, the form of the Hunto Sultan Amay mosque as well as the mosques located in the archipelago and the existence of ornaments in the Hunto Sultan Amay Mosque as a decorative structure support the grandeur of a mosque. On the other hand, Hunto Mosque ornaments reveal a teaching. The form of a teaching is manifested in the form of motives and does not depict living beings in a realist or naturalist manner. the decorative forms of the Hunto Sultan Sultan Mosque in general tend to lead to a form of flora, geometric ornaments, and ornament of calligraphy dominated by the distinctive colors of Islam, namely gold, white, red, yellow and green.

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