ZigZag

2013 ◽  
Author(s):  
Lisa Perrott
Keyword(s):  
Digital Media ◽  
Visual Imagery ◽  
Raw Materials ◽  
Musical Instruments ◽  
Material Life ◽  
Visual Music ◽  
Complex Process ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
Life Force

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s work provided the inspiration and raw materials for the development ofZig Zag, an homage to Lye, which integrated traditional musical instruments with digital media, remixed and projected visual imagery, and improvised theatrical performance. This complex process of remediation is discussed in relation to the extracinematic animation of both Lye’s sculptures and the theatrical performances. Extending the term “animation” is fundamental to understanding the wayZig Zagis a reanimation of the latent material life force embodied in Lye’s resting sculptures.

Complex process of membrane filtration of secondary dairy raw materials

2021 ◽  
Vol 1 (55) ◽  
pp. 58-61
Author(s):  
S.P. Babenyshev ◽  
◽  
A.A. Bratsikhin ◽  
D.S. Mamaj ◽  
A.V. Mamaj ◽  
...  
Keyword(s):  
Membrane Filtration ◽  
Raw Materials ◽  
Complex Process

scholarly journals STUDI ETNOBOTANI SUKU DAYAK RIBUN DALAM PEMANFAATAN TUMBUHAN BERNILAI SENI DI DESA GUNAM KECAMATAN PARINDU KABUPATEN SANGGAU

2019 ◽  
Vol 7 (2) ◽  
Author(s):  
Arit Nggadas ◽  
M Idham ◽  
Lolyta Sisillia
Keyword(s):  
Data Collection ◽  
Natural Resources ◽  
Raw Materials ◽  
Musical Instruments ◽  
Raw Material ◽  
Survey Method ◽  
Snowball Sampling ◽  
Art Forms ◽  
Depth Interviews ◽  
Number Of Plant Species

The Dayak Ribun Tribe Society has natural resources that can be developed as a source of community income. Interaction with nature still exists today so there is a need for research on the types of plants that are used, the art forms that are made and the parts of the plants that are used by the Dayak Ribun Tribe of Gunam Village, Parindu District, Sanggau District as art crafts. The method used in this study is a survey method with interview techniques for taking respondents to snowball sampling. Retrieval of data or information is carried out directly by researchers on selected respondents, prospective respondents are determined by respondents who have been interviewed beforehand and continue to the next respondent. Respondents were obtained as many as 32 people. Data collection is done by observation, in-depth interviews, and documentation using a camera. The number of plant species used in Gunam Village as raw material for crafts and raw materials for musical instruments as many as 14 species from 9 families includes Areaceae, Gleicheniaceae, Poaceae, Thymelaeaceae, Apocynaceae, Dipterocarpaceae, Simaroubaceae, Fagaceae and Moraceae. The part of the plant that was used by the community in Gunam Village was found as many as 9 types of stems, 2 types of leaves, 2 types of seeds, 1 root, 1 type of fruit and 1 bark. There were two types of plants that were used by more than one plant organs namely Kemenyan or Aquilaria sp and keraci or Lithocarpus sp. Art forms that are used in the form of crafts and musical instruments. Crafts include key chains, clothes racks, chairs, rings, bracelets, takin, mats, hats, necklaces, drinking glasses, plates, clothes, bags, ropes, while musical instruments are sapeKeywords: Dayak Ribun, Ethnobotany, Utilization of plant

scholarly journals Reforestation of ‘Village Forest’ to Improve Sustaiability Creative Industries in Desa Siponjot

2021 ◽  
Vol 5 (2) ◽  
pp. 714-722
Author(s):  
Noverita Sprinse Vinolina ◽  
Antonio Marro Sipayung ◽  
Dardanila ◽  
Sondang Pintauli
Keyword(s):  
Forest Restoration ◽  
Raw Materials ◽  
Economic Value ◽  
Economic Benefits ◽  
Musical Instruments ◽  
Creative Industries ◽  
Raw Material ◽  
High Quality ◽  
The Village

This program is conducted to assist Siponjot Village while empowering the people of Siponjot Village to be able to utilize and maximize the benefit of the village forest. Village forest might support the availability of raw materials required for making musical instruments, such as high quality of wood, including how to process wood waste from making musical instruments to be used as creative souvenirs and improve the economic value. The raw material for production determined its results of the production of wood-based musical instruments. Thus, in order to produce a high quality tanginang, hasapi, and gondang, which previously began to be produced by arts crafts in the Sitangkubang area of ​​Siponjot Village, a high quality of raw materials is needed. The community service team surveyed the location of planting seeds for village forest restoration, provided socialization related to the importance of village forest cultivation and the suitability of the Siponjot Village area for the cultivation of these plants. Village forest restoration aims to maintain the beauty and beauty of the village. Implementation of village reforestation activities starting from socializing forest tourism and the strength of village forests to the community, followed by a discussion about village forest management and its economic benefits. Handover of a thousand units of forest plant seedlings given to the villagers of Siponjot as part of the forest restoration program in the area.

Diagonalsymphonien [Diagonal Symphony] (1924)

2018 ◽  
Author(s):  
Richard J. Leskosky
Keyword(s):  
Musical Instruments ◽  
Short Film ◽  
Film Exhibition ◽  
Avant Garde ◽  
The Public ◽  
Black And White ◽  
Visual Music ◽  
Universal Language ◽  
Sequential Images ◽  
Abstract Shapes

Diagonalsymphonien [Diagonal Symphony], a black-and-white, abstract, animated short film made in Germany by Swedish painter Viking Eggeling, assisted by Bauhaus student Erna Niemeyer, is a seminal work of avant-garde cinema. It arose from Eggeling’s experiments trying to create a universal language of abstract symbols in which he created sequential images on long painted scrolls. Though silent, the film explores the concept of visual music—the artificial creation of visual rhythms analogous to music. Eggeling made his images with paper and tin foil cut-outs affixed to black sheets of paper filmed one frame at a time. The abstract shapes, constantly growing and disappearing along diagonal axes, often suggest musical instruments such as panpipes, grand pianos, zithers, and drums. Eggeling premiered his film to friends in 1924. Its first public screening was in Berlin at the 3 May 1925 First International Avant-Garde Film Exhibition, titled Der absolute Film, along with Rene Clair’s Entr’acte (1924), Fernand Leger’s Ballet mecanique (1924), and examples of Walther Ruttmann’s Lichtspiele Opus works (1921–25) and Hans Richter’s Rhythmus films (1921–25). Eggeling’s film received critical praise for its exploration of time and the non-literary potential of film. He, however, was too ill to attend the public screening and died sixteen days later. Diagonal Symphony is his only surviving film.

The contribution of narrative semiotics of experiential imaginary to the ideation of new digital customer experiences

Semiotica ◽  
2019 ◽  
Vol 2019 (230) ◽  
pp. 447-473
Author(s):  
Philippe Taupin
Keyword(s):  
Digital Media ◽  
Product Differentiation ◽  
Raw Materials ◽  
Idea Generation ◽  
Semiotic Analysis ◽  
Narrative Structures ◽  
Autonomous Cars ◽  
Lead Users ◽  
Meaningful Experiences ◽  
The City

Abstract Innovating new experiences is an innovation strategy that increases product differentiation and the perceived value of offers for future autonomous cars. Young Chinese customers are a relevant target group of lead users to co-create those experiences. We address the co-creation of memorable and engaging experiences with targeted potential users and the building of the meaning of experiential imaginary that results from innovations (based on digital media) echoing the need for sensory atmospherics while strolling in the city. We aim at understanding how customers can co-create meaningful experiences. We analyze the narrative structures of the experiential imaginaries, considering the narratives as a major component of ambiance experiences and imaginary. With an empirical approach that associates projective techniques to semiotic analysis of the corresponding narratives, we describe the structural system of the experiential imaginary of young Chinese customers when imagining driving in the city in tomorrow’s cars. Semiotics offers a novel contribution to innovation marketing and idea generation of experiential innovations. This theoretical stance valorizes the outside-in paradigm of future lead-users as co-creators of innovative experiences, whose imaginary narratives are raw materials for creativity. This approach is an alternative to brainstorming and its limits for creating disruptive innovations.

The Music of Gustav Mahler in Experimental Film Contexts

2017 ◽  
Author(s):  
Jeremy Barham
Keyword(s):  
Digital Media ◽  
Experimental Film ◽  
Gustav Mahler ◽  
Historical Perspectives ◽  
Visual Music ◽  
Dark Matters

The anniversary years of the composer Gustav Mahler (150 years of his birth in 2010, 100 years of his death in 2011) took place in the age of digital media, whose technological possibilities afforded strikingly diverse opportunities to mark the occasion. Various experimental sound and video artists, produced audiovisual translations and interpretations of the composer’s music at this time, including Danish composer Henrik Marstal with VJ Dark Matters, and Austrian experimental composer Fennesz with Berlin-based video artist Lillevan. Building on a tradition which had begun in the 1990s, this repertoire is examined here from the theoretical and historical perspectives of “visual music” and intermediality.

scholarly journals THE USE OF "GRAY SHADOW" IN THE PERFORMING ARTS AS A WAY TO CREATE A MYSTERIOUS EFFECT

2021 ◽  
Vol 23 (80) ◽  
pp. 51-59
Author(s):  
A. Vucenovic ◽  
Keyword(s):  
Performing Arts ◽  
Art Criticism ◽  
Physical Phenomenon ◽  
Theatrical Performance ◽  
Puppet Theater ◽  
Theatrical Performances ◽  
Pass Through ◽  
Light And Shadow ◽  
Different Cultures ◽  
The Relationship

The phenomenon of light and shadow is discussed by many sciences, including art criticism. And what does the shadow really represent? What is the relationship between light and shadow? When and why do we use shadows as a technique in theatrical performances? This work explores the shadow as a consequence of the action of light on an object that does not allow it to pass through - the "gray shadow" in theatrical performances. There Are numerous theatrical performances in which diverse projections and shadows are used as expressive means. We use shadow in the theater when we want to know, to see the unlit, hidden side of someone or something. This physical phenomenon has always attracted the attention of people of different cultures and eras and naturally found application in theatrical performances. They involve in either multi-colored or gray shadows. When an object does not transmit light completely appears - a "gray shadow", denoting only the contours of a certain object, the silhouette of the object used in the theatrical performance. Folk art in the form of riddles, games and other things created phrases that are an important guide in understanding and determining the laws of their existence in theatrical works. Shadows turned out to be interesting and useful in training actors and directors of the puppet theater.

scholarly journals Lettuce Entertain You: Floral Agency in Ralph Knevet's Rhodon and Iris

2021 ◽  
Vol 6 (2) ◽  
pp. 24-38
Author(s):  
Ashley Howard
Keyword(s):  
Two Dimensions ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
History Of ◽  
The Many ◽  
Floral Characters ◽  
The Way

This essay investigates the performativity of plants in Ralph Knevet’s Rhodon and Iris, a play that was written and performed for a feast held by the Norwich Society of Florists in 1631. The play explores at least two forms of performativity: the first is the act of staging plants for a theatrical performance, where vegetables present their virtues through floral allegories that are enacted by human players. The second form is the way plants affect and are affected by their environments, particularly as theorized by Michael Marder and Mel Y. Chen. In Rhodon and Iris, these two dimensions work together to produce a form of floral agency that decenters the human. The essay explores how floral agency collaborates with literary narratives when beings perform for plants (within a history of floral celebrations), as plants (embodying plants as allegorical figures), and with plants (floral characters using plants as ingredients in cosmetics, poisons, and antidotes). Knevet uses literature to articulate a unique plant philosophy that challenges divisions between art and nature and among literature, philosophy, and science. Rhodon and Iris thus illustrates the many ways that theatrical performances and printed playbooks, and even printed herbals and herbaria, responded to and shaped the performativity of plants.

Sculpting Image and Sound

2016 ◽  
Author(s):  
Cornelia Lund
Keyword(s):  
Digital Media ◽  
Digital Technology ◽  
Sound Art ◽  
Artistic Production ◽  
Visual Elements ◽  
Visual Music ◽  
Use Of Technology ◽  
The Status ◽  
Media Formats

Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discusses the status of Kolgen’s work in terms of categories of audiovisual production such asvisual music, live cinema, andsound art. It then focuses on an analysis of his work under three aspects: exploration of media formats, use of technology, and relation to performance and performativity. At the same time, the chapter situates Kolgen’s work in the wider context of audiovisual art.

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