Closing the Loop of Inspiration-to-Creation: Responding with Programmable Sphere

Leonardo ◽  
2018 ◽  
Vol 51 (3) ◽  
pp. 280-281
Author(s):  
Seonghoon Ban ◽  
Shengen Lim ◽  
Byungjoo Lee ◽  
Kwangyun Wohn
Keyword(s):  
Creative Process ◽  
Artistic Expression ◽  
External Object ◽  
Creation Process ◽  
Closing The Loop ◽  
The Creation

In this statement, we envision a futuristic direction of art creation that explores the uncharted possibilities of incorporating programmable inspirations into the creative process. We invited three artists to draw an object called Programmable Sphere, which dynamically changed its shape and texture in response to the artist’s movement. From this experiment, in which an artist and an external object are dynamically coupled, we discuss new possibilities of artistic expression when inspiration is not isolated from the creation process.

scholarly journals The Process Is Not Enough: Children and Teachers Creating Multimodal Digital Stories in Kindergarten

2020 ◽  
Author(s):  
Marianne Undheim
Keyword(s):  
Young Children ◽  
Creative Process ◽  
Digital Technology ◽  
Research Question ◽  
Kindergarten Teacher ◽  
Kindergarten Children ◽  
Pedagogical Strategies ◽  
Creation Process ◽  
Digital Story ◽  
The Creation

This PhD study is a contribution to the contemporary debate on the educational uses of digital technology with young children in early childhood education and care (ECEC) institutions. For young children growing up in the 21st century, digital technology is intertwined in their everyday lives. Nevertheless, children’s use of digital technology in ECEC is still limited, especially with regards to creative use of technology. Several researchers call for more empirical studies of young children’s creation with digital technology. In this study, digital technology is emphasised as a tool to create, by which the children and the teachers are the creators of their own products to be shared with others. The purpose is to contribute with research-based knowledge of children’s and teachers’ collaborative, technology- mediated story creation processes. The overall research question is as follows: What emerges when kindergarten teachers involve groups of children (age 4-5 years) in technology-mediated story creation processes? The study has a qualitative multiple-case study approach with two cases, focusing on observable contemporary events. In both cases, six children and one kindergarten teacher have created a multimodal digital story together: an e-book and an animated movie. The empirical material consists of video-recorded field-observations of the process, interviews with the participants and the final products. The research question is operationalised into three sub-questions that address the overall question from three perspectives: the participants, the creation processes, and the final products. In Article I, the technology- mediated creation process is explored, which can be described as a complex interplay of traditional non-digital activities and new digital activities. For the children, to record sound and to share were found to be the most important. In Article II, the teachers’ pedagogical strategies during the creation process with the children is emphasised. The three most frequently used pedagogical strategies were inviting to dialogue, explaining the practical, and instructing for results. In Article III, the animated movie is explored in-depth through a focus on how different modalities and literacy devices contribute to the development of the story. The importance of including the process, the product, the literacy devices, and all of the modalities in the analysis is highlighted, as well as the importance of being open for the magic during young children’s creation processes. Through the analysis of the three articles, four new themes have arisen: emerging possibilities due to digital technology; creators in a creative process; an interplay of multiple knowledge areas; and the process is not enough. In the discussion I argue that a technology-mediated story creation process with a group of kindergarten children and a teacher can be interpreted as a collaborative creative process. A synergy of ideas arises through the collaborative co-construction process. Each single part of the creative process may not be viewed as being inherently creative; however, the fusion of these parts into a final multimodal digital story makes it an example of the creative use of digital technology. The children and teachers collaborate and create a product that is new, original and meaningful for them. The process is vital; however, the process itself is not enough—the product also matters—especially for the children. Teachers’ capacity and knowledge of how to integrate technology and pedagogy with other relevant knowledge areas such as creativity and creative processes are crucial when using digital technology with children in ECEC. The final products may seem complicated to create; however, it is easier than it seems. The study contributes with research- based knowledge of creative use of digital technology with groups of young children, important for the ECEC field and kindergarten teacher education.

Mirror As Inspiration In The Creation Of Artworks

2021 ◽  
Vol 7 (3) ◽  
pp. 1009
Author(s):  
Kerine Claudya Wijaya ◽  
Ariesa Pandanwangi ◽  
Belinda Sukapura Dewi
Keyword(s):  
Qualitative Study ◽  
Experimental Method ◽  
Creative Process ◽  
The Body ◽  
Inner Life ◽  
Work Of Art ◽  
Creation Process ◽  
Works Of Art ◽  
The Creation ◽  
Relationship Of

<p>Every artist has the goal of creating works of art that cannot be separated from the spiritual feelings experienced daily. The creative process of creating this work of art is initiated from the mirror which will be explored in the work of art. The method used is descriptive qualitative study and experimental method. The problem in this creation process is how the phenomenon that occurs when humans feel unhappy in their inner life so that they feel depressed, even judged between individuals, both physically and non-physically. The result of this creation process is a puzzle arrangement which is a metaphor for the results of reflection as well as the spiritual relationship of the soul with the body that has been experienced in living and contemplating life. The message conveyed through this work is that humans must understand each other.</p><p>Setiap seniman memiliki tujuan menciptakan karya seni yang tidak lepas dari perasaan spiritual yang dialami sehari-hari. Proses kreatif penciptaan karya seni ini digagas dari cermin yang akan dieksplorasikan pada karya seni. Metode yang dipergunakan adalah studi metode deskriptif kualitatif dan metode eksperimental. Permasalahan dalam proses penciptaan ini bagaimana fenomena yang terjadi ketika manusia merasakan perasaan tidak bahagia dalam kehidupan batinnya sehingga merasa tertekan, bahkan dinilai antar individu, baik secara fisik maupun non fisik. Hasil dari proses penciptaan ini adalah susunan puzzle yang merupakan metafora dari dari hasil refleksi sebagaimana hubungan spiritual jiwa dengan tubuh yang telah berpengalaman dalam penjalanan hidup dan perenungan hidup. Pesan yang disampaikan melalui karya ini adalah manusia harus saling memahami antara satu dengan lainnya</p>

scholarly journals Tokoh Kabayan Sebagai Inspirasi Torotot Heong the Song of Kabayan

2013 ◽  
Vol 9 (1) ◽  
Author(s):  
DEDEN HAERUDIN
Keyword(s):  
Creative Process ◽  
Cultural Resources ◽  
Creation Process ◽  
Communicative Performance ◽  
Mise En Scene ◽  
The Creation ◽  
Identification Stage ◽  
And Performance

Kabayan as an Inspiration of Torotot Heong The Song Of Kabayan. The theater art creation of Torotot Heongthe Song of Kabayan is a process that is inspired by the characters of folklore in Sundanese literature, Kabayan. InSundanese society, Kabayan is a stunt character from parable, a symbolic story, in the community as a media tonotify precept or wisdom. Kabayan is regarded as character with characteristic of Sundanese culture that hold on to“Cageur jeung Bageur” living guide (hale and healthy, and kind hearted). The creation process of Torotot Heongthe Song of Kabayan is performing into several stages and working methods according to Patri Pavis. It is startedby selecting the Kabayan’s Story to under take into the script. The next stage is doing some preparation for StagingProcess. The creating process is conducted through the mise en scene show’s appearance, perform into idea identification stage, artistic observation of cultural resources, the artist perspective and performance realization. TorototHeong the Song of Kabayan performances are the ultimate stage for the creative process of the hardworking teamwith a lot of effort to accomplish a communicative performance and appreciate well by the audience.

scholarly journals Malang Local Culture Expression: Interior Aesthetic Elements and Ceramic Art Creation

2020 ◽  
Author(s):  
Ponimin . ◽  
Badrul Bin Isa ◽  
Okta Viviana Asmi Nusantari
Keyword(s):  
Creative Process ◽  
Economic Value ◽  
Local Culture ◽  
Ceramic Product ◽  
Creation Process ◽  
Aesthetic Development ◽  
Ceramic Art ◽  
Initial Idea ◽  
The Creation

Malang local culture has various features and philosophical values. In this creative economics era, many things can be developed; in Malang, a typical aesthetic development is found in ceramic art creation which not only enriches local culture but also offers economic value. The creation process requires a method to factor these elements into the artwork idea. Following the initial idea and concept refinement, the next phase is visualization, shaping ceramic from clay to its firing procedure. This article discusses the creative process which evolved inspired by the figurative figure in the Garudea story. The story inspired the researcher to create a ceramic product. This creation is expected to enrich Malang ceramic varieties. Keywords: ceramic art, creation, Malang

How To Write A Narration

2019 ◽  
Vol 7 (4) ◽  
pp. 43-49
Author(s):  
Katyaa Nakova-Tahchieva
Keyword(s):  
Research Paper ◽  
Fifth Grade ◽  
Artistic Creation ◽  
Creation Process ◽  
Literature Education ◽  
The Creation ◽  
Education Process

The present work is part of a research paper for which I extend my heartfelt thanks to Assoc. Prof. Dr. Valko Kanev. It examines some specifics of the artistic creation process that lead to the creation of one of the types of written student texts - the narration. Its variations - "narration by imagination" and "narration by set supports" are regulated in the new fifth grade curriculum. The requirements for writing a narration and the exemplary thematic curriculum of optional literature classes in the 7-tgrade have proven to be applicable in the literature education process.

scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

DRAMATURGI KESENIAN TRADISIONAL DALUPA PRODUKSI SANGGAR SENI DATOK RIMBA DI WOYLA ACEH BARAT

2021 ◽  
Vol 10 (1) ◽  
pp. 15
Author(s):  
Susandro Susandro ◽  
Rika Wirandi ◽  
Hatmi Negria Taruan
Keyword(s):  
New York ◽  
Creative Process ◽  
Creation Process ◽  
Folk Tale ◽  
The Third ◽  
The People ◽  
Third Stage ◽  
Three Stages ◽  
Banda Aceh

Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by considering the dramatic element; arrangement of a series of events that tell the beginning of the appearance to the end of the Dalupa story. This study aims to record and describe how the process of creating the Dalupa art, as mentioned in the third stage. The method used is qualitative with the dramaturgy approach. This study shows the results that the art of Dalupa presents a story about the origin of the appearance of Dalupa with the manifestation of organized events. On this basis, it can be concluded that Dalupa art can be categorized as dramatic or theater art.Keywords: dalupa, creation process, dramatic, dramaturgy.AbstrakKesenian Dalupa muncul dari proses kreatif masyarakat Aceh Barat yang dapat direntangkan menjadi tiga tahap. Pertama, Dalupa mulanya merupakan cerita rakyat atau folklor yang dinarasikan secara turun-temurun. Kedua, Dalupa kemudian mewujud (seseorang yang mengenakan kostum tokoh Dalupa) sehingga dapat disaksikan secara langsung. Pada tahap ini, tokoh Dalupa mewujud tidaklah dalam bentuk kesenian teater atau tari. Kehadirannya hanya bertujuan untuk menghibur atau meramaikan suatu acara, seperti pernikahan, arak-arakan, kampanye dan sebagainya. Ketiga, tokoh Dalupa dihadirkan dengan mempertimbangkan unsur dramatika; penataan rangkaian peristiwa yang menceritakan awal kemunculan hingga akhir kisah Dalupa. Penelitian ini bertujuan mencatat serta memaparkan bagaimana proses penciptaan kesenian Dalupa, sebagaimana disebut pada tahap ketiga. Metode yang dilaksanakan yaitu kualitatif dengan pendekatan dramaturgi. Penelitian ini menunjukkan hasil bahwa kesenian Dalupa menyajikan cerita tentang asal mula kemunculan Dalupa dengan perwujudan peristiwa-peristiwa yang tertata. Atas dasar tersebut, dapat dismpulkan bahwa kesenian Dalupa dapat dikategorikan sebagai seni dramatik atau teater.  Kata Kunci: dalupa, proses penciptaan, dramatika, dramaturgi. Authors: Susandro : Institut Seni Budaya Indonesia Aceh Rika Wirandi : Institut Seni Budaya Indonesia Aceh Hatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. New York: Routledge.Harymawan. (1993). Dramaturgi. Bandung: Rosdakarya.Herman, RN. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi XVII. Banda Aceh: JKMA Aceh.Koster, G.L. (1998). Kacamata Hitam Pak Mahmud Wahid Atau Bagaimanakah Meneliti Puitika Sebuah Sastra Lisan?, dalam Pudentia MPSS (Ed.), Metodologi Kajian Tradisi Lisan. Jakarta: Yayasan Obor Indonesia dan Yayasan Asosiasi Tradisi Lisan.Moleong, Lexy J. (2005). Metodologi Penelitian Kualitatif, Ed. Revisi cetakan keduapuluhsatu. Bandung: Rosdakarya.Pramayoza, Dede. (2013). Dramaturgi Sandiwara: Potret Teater Populer Dalam Masyarakat Poskolonial. Yogyakarta: Penerbit Ombak.Soedarsono, R.M. (2001). Metodologi Penelitian Seni Pertunjukan dan Seni Rupa. Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia).SSDR. (2019). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.Stokes, Jane. (2007). How to do Media and Kultural Studies: Panduan Untuk Melaksanakan Penelitian dalam Kajian Media dan Budaya. Terj. Santi Indra Astuti. Yogyakarta: Bentang.Taruan, H.N. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.  Wirandi, R. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.

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