scholarly journals The Poetics of Unism in Music

2015 ◽  
Vol 12 (1) ◽  
pp. 127-136
Author(s):  
Krzysztof Szwajgier
Keyword(s):  
Creative Process ◽  
The Other ◽  
Unity In Diversity ◽  
Artistic Work

Abstract Zygmunt Krauze is the founder of a new current in art: unistic (unitary) music. He developed this concept in the first period of his artistic work, inspired by the unistic paintings of Władysław Strzemiński. Traces of this style are also detectable in Krauze’s later post-unistic works. Unistic music is characterised by a paradoxical unity in diversity. Most of the composer’s statements collected in this paper refer to specific features of unism in music. Other, more general comments concern the essence of music, the composer’s personal stance, the creative process, the autonomy of the composer, the audience and the performers, etc. Two longer texts by Zygmunt Krauze have been quoted in full. One can be considered as a unistic manifesto, while the other is a kind of personal credo.

Listening for the Pictures

Resonance ◽  
2021 ◽  
Vol 2 (2) ◽  
pp. 182-191
Author(s):  
D. Michael Cheers
Keyword(s):  
Civil Rights ◽  
Creative Process ◽  
Cape Town ◽  
The Other ◽  
Pulitzer Prize ◽  
Civil Rights Era ◽  
Nelson Mandela ◽  
The World ◽  
The Moment ◽  
The Many

This essay is inspired by the words of Pulitzer Prize–winning Chicago Sun Times photographer John White, who once told me to “listen for the pictures.” His message rang clear but never more so than when in 1990 we were covering the release of Nelson Mandela in Cape Town, South Africa. The Cape Town scene was alive and filled with so much vibrance. I was keenly aware that I must not just look, but I must listen, and use all my God-given senses to take it in. I can only describe the moment I started listening to the layer of sound, which was my own clicking camera superimposed on the chorus of sounds that surrounded me as both meta and sonorific. There was a certain rhythm to the sensation I felt in being one with my camera. It transported me to a wonderful place in time where visuals and cadences danced together. I realized there was alchemy in this and in all the other moments and locations I had spent behind a camera developing and exercising that “inner ear” my ancestors, some gone, like Gordon Parks, but others here, like White, taught me to revere. This essay is a snapshot of some of those moments—a proof sheet, if you will—from a life that began, as did the civil rights era, with instances of terror and triumph. This essay chronicles my journey as a young photographer and the many influences that shaped my creative process and eventually my worldview. This essay is an invitation to travel with me through time and see life as my camera and I witnessed it, and to hear and sense the world as I do.

scholarly journals When the border educates: Malín Alegria’s Sofi Mendoza’s Guide to Getting Lost in Mexico (2007)

2016 ◽  
Vol 16 (1) ◽  
pp. 19
Author(s):  
Amaia Ibarraran-Bigalondo
Keyword(s):  
United States ◽  
Young Adults ◽  
The United States ◽  
The Other ◽  
Moral Consciousness ◽  
Vast Array ◽  
Getting Lost ◽  
Artistic Work ◽  
The Way

<p>The border between the United States and Mexico, since it was first conceived in 1848, has marked the lives of those who live on both of its sides, as well as of those who want to cross it. It has also become the source of a vast array of theoretical and artistic work. Chicano writers have written about it, and so have theorists dealt with its meaning and conceptual implications. The aim of this essay is to observe the way Malín Alegrías <em>Sofi Mendoza’s Guide to Getting Lost in Mexico</em> (2007), a novel for young adults, serves as a way for young adults to “evolve a moral consciousness” (Scharf 1980), through a process of “critical witnessing” (López 2009) of what it means to be on one or the other side of <em>la frontera.</em></p>

The Computer Medium in Digital Art's Creative Process

2011 ◽  
pp. 1-25 ◽  
Author(s):  
Adérito Fernandes Marcos ◽  
Pedro Branco ◽  
João Álvaro Carvalho
Keyword(s):  
Information Content ◽  
Creative Process ◽  
Design Space ◽  
Digital Art ◽  
Raw Material ◽  
Art Objects ◽  
State Of Mind ◽  
Computer Based ◽  
Artistic Work ◽  
Digital Artists

Art objects might be described as symbolic objects that aim at stimulating emotions. They reach us through our senses (visual, auditory, tactile, or other). They are displayed by means of physical material (stone, paper, wood, etc.) and combine some patterns to produce an aesthetic composition. They convey some message, normally to suggest some state of mind or to induce an emotion and the consequent feeling on the side of the viewer. Digital art differs from conventional art pieces by the use of computers and computer-based artifacts that manipulate digitally coded information, inheriting the almost unlimited possibilities in interaction, virtualization and manipulation of information the computer medium offers. In this chapter the authors propose to analyze and discuss the concepts and definitions behind digital art, emphasizing how the computer medium is itself the tool and the raw material in its creation, especially if we stress the fact that the conception and design of artistic information content is at the heart of any artistic work. Furthermore the authors present a framework for digital art creation that consists of a common design space where digital artists can smoothly progress from the concept until the final artifact while exploring the computer medium to its maximum potential.

Insight

2017 ◽  
Author(s):  
Susanne van Els
Keyword(s):  
Creative Process ◽  
The Other ◽  
Symbiotic Relationship

The creative process extends in Susanne van Els’s Insight from the act of making music right through to aspects of programming and CD production. It articulates an exciting symbiotic relationship between these distinct activities, each feeding the other, and firmly dispels any myth of performance and production mindsets being mutually exclusive.

scholarly journals Creation and renunciation in Ricoeur’s political ethics of compromise

2020 ◽  
pp. 019145372097274
Author(s):  
Dries Deweer
Keyword(s):  
At Risk ◽  
Creative Process ◽  
New World ◽  
Shared Vision ◽  
The Other ◽  
Political Ethics ◽  
Social Imagination ◽  
The Social ◽  
The Cost ◽  
Collective Narrative

Ricoeur interpreted the work of compromise as a creative process to imagine a new world by projecting ourselves into other people. The challenge of compromise is to learn to tell our own story differently within the contours of a broader collective narrative, in compliance with the paradigm of translation. As such, Ricoeur’s political ethics of compromise is at risk of highlighting the element of creation, which refers to the social imagination of a shared vision of a better society, at the cost of recognition of the element of renunciation, which refers to the reciprocal shelving of ideas and desires that the other side considers to be truly intolerable. However, I argue that we can read a delicate connection between forgetting, forgoing and forgiving in Ricoeur’s thought. It is, then, the model of forgiveness, as part of the paradigm of translation, that gives due respect to the importance of renunciation through the emphasis on the unjustifiable, for which renunciation even cannot suffice. The ‘poetics of pardon’ brings creation and renunciation together and, by doing so, it highlights that compromise always remains an object of hope.

The Mocking Mermaid: Maps And Mapping In Kenneth Slessor’s Poetic Sequence The Atlas, Part Four

2015 ◽  
pp. 22-53
Author(s):  
Adele J. Haft
Keyword(s):  
Creative Process ◽  
Full Scale ◽  
The Other ◽  
The World

Midway through composing his five-poem sequence The Atlas (ca. 1930), the acclaimed Australian poet Kenneth Slessor suddenly wrote “Southerne Sea” in his poetry journal. He’d just chosen John Speed’s famous double-hemisphere map, A New and Accurat Map of the World (1651/1676), as the epithet of his fourth poem “Mermaids.” Unlike the cartographic epigraphs introducing the other poems, however, this map has little to do with “Mermaids,” which is a riotous romp through seas of fantastic creatures, and a paean to the maps that gave such creatures immortality. The map features a vast “Southerne Unknowne Land,” but no mythical beasts. And while it names “Southerne Sea” and “Mar del Zur,” neither “Mermaids” nor The Atlas mentions Australia or the Southern Sea. Moreover, Slessor’s sailors are “staring from maps in sweet and poisoned places,” yet what the poem describes are “portulano maps,” replete with compass roses and rhumb lines—features notably absent on A New and Accurat Map of the World. My paper, the fifth part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, retraces his creative process to reveal why he chose the so-called Speed map. In the process, it extricates the poem from what Slessor originally called “Lost Lands Mermaids” in his journal, details his debt to the ephemeral map catalogue in which he discovered his epigraph, and, finally, offers alternative cartographic representations for “Mermaids.” Among them, Norman Lindsay’s delightful frontispiece for Cuckooz Contrey (1932), the collection in which The Atlas debuted as the opening sequence. 

Provoking, Disturbing, Hacking: Media archaeology as a framework for the understanding of contemporary DIY composers’ instruments and ideas

2013 ◽  
Vol 18 (3) ◽  
pp. 266-273 ◽  
Author(s):  
Sanne Krogh Groth
Keyword(s):  
Media Studies ◽  
Computer Music ◽  
Critical Discussion ◽  
The Other ◽  
Media Archaeology ◽  
Other Hand ◽  
Conventional Technology ◽  
Artistic Work ◽  
The One

The article is a discussion of works by two Danish composers who both, with self-constructed instruments, challenge computer music as genre, the understanding and use of conventional technology, and the music's relation to history. At first glance, the use of homemade instruments appears to be a common characteristic. But, when one takes a closer look, different discourses and various discussions of media and materiality are revealed. In the article the various positions are unfolded through discussions within the theoretical field of media archaeology – a science with its roots in media studies, but also an important framework for the production and understanding of a variety of DIY practices.The overall purpose with the article is twofold: on the one hand it illustrates how theories from the field of media archaeology contribute interesting perspectives to discussions of artistic work within the area of DIY. On the other hand, it also serves as a critical discussion of media archaeology as not necessarily the solution to every aspect of artistic practices. The two artists are Morten Riis and Goodiepal.

scholarly journals Kromosomer – an Experience in Shared Creative Work and Expression

2013 ◽  
Vol 6 (2) ◽  
Author(s):  
Heidi Dahlsveen ◽  
Catarina Carneiro de Sousa
Keyword(s):  
Social Media ◽  
Virtual Worlds ◽  
Second Life ◽  
Creative Process ◽  
Virtual World ◽  
The Other ◽  
Creative Work ◽  
Stage Design ◽  
Main Work ◽  
Work Method

This article is a reflection on the Kromosomer project, a storytelling performance held in both physical and virtual worlds, which was implemented and disseminated through digital, virtual and social media. The aim of the whole project was to search for an expression that could combine physical experience with virtual world. The project was also looking at how to deal with social inclusion.The motto for this enterprise was the traditional Norwegian legend characters who represent “the other,” the “not-normal,” as a pretext to address the question of alterity. These legends’ characters were re-created as avatars in the metaverse, where they were also freely distributed in virtual installations as unfinished artifacts, open to mutation. In the Second Life virtual world, participants could pick up avatars and create their own stories through snapshots, machinima, etc. The physical performance later used these participants/produsers’ interpretations and narratives of the avatars in stage design and in the storytelling performance itself.We describe and analyse the main work method used for this project — a shared creative process of collective and distributed creativity. The project encompasses different forms of expression therefore we will also focus on how metaphors constitute themselves as paramount to our way of working.

scholarly journals IDENTITAS SOSIAL DALAM KONSEP MULTI-IDENTITAS DI INDONESIA PERSPEKTIF AHMAD SYAFII MAARIF

2020 ◽  
Vol 3 (1) ◽  
pp. 1
Author(s):  
Muhammad Iqbal Rahman
Keyword(s):  
Conflicts Of Interest ◽  
Collective Responsibility ◽  
Ego Identity ◽  
The State ◽  
The Other ◽  
Government Policies ◽  
The People ◽  
Unity In Diversity ◽  
The Difference ◽  
Identity Problems

This article seeks to elaborate Ahmad Syafii Maarif's thoughts on the issue of diversity of identities in Indonesia. The reflection is related to the main problems about the state, religion, and morality that are triggered by conflicts of interest and political (ego) identity. Basically, diversity is a social reality for the people of Indonesia, as a country based on Pancasila and Bhinneka Tunggal Ika (Unity in Diversity). According to Syafii Maarif, in the case of multi-identity problems in Indonesia, this requires government intervention, although Syafii Maarif also criticizes government policies, because this problem is related to collective responsibility. On the other hand, diversity is also a divine reality that is taught in the holy revelations (the Qur'an) as a guide for life. Syafii Maarif has emphasized that the majority of Muslims in Indonesia need to express their faith. Therefore, the contextualization of the Qur'an as faith and intellectual practice requires wisdom and deep contemplation. The contextualization of these values is always needed at all times, as the function of the Qur'an as al-furqān (the difference between right and wrong). Finally, Syafii Maarif's thought on the issue of multi-identity was an attempt to realize Islamic humanist values and bridge them with Pancasila.

scholarly journals Historia del documental: orígenes, soportes y vanguardias del Ecuador / Documentary History: Origins, Supports & Ecuadorian Avant-Gardes

2019 ◽  
Vol 6 (2) ◽  
pp. 95-100
Author(s):  
Esteban Celi ◽  
Edison Foncseca
Keyword(s):  
Creative Process ◽  
The Other ◽  
Black And White ◽  
Documentary History ◽  
The Masses

ABSTRACTThis article talks about the Documentary and its beginnings, its process, its classification, the creative process and the elements that make it up, while analysing its history in Ecuador based on important references. It also contains the approach that indicates the concept of technology as a vehicle of the audio-visual avant-gardes. The cinematographic supports, the first discoveries, give rise to the cinema, and to a moment of the art that will tattoo the memory of the masses to the point that the black and white transmits certain information to us, that will be enriched by the other elements of the narratives. RESUMENEste artículo aborda el Documental y sus inicios, su clasificación, el proceso creativo y los elementos que lo componen, analizando su historia en el Ecuador a partir de referencias importantes. También contiene el enfoque que indica el concepto de tecnología como vehículo de las vanguardias audiovisuales. Los soportes cinematográficos, los primeros descubrimientos, dan lugar al cine, ya un momento del arte que tatuará la memoria de las masas hasta el punto de que el negro y el blanco nos transmiten cierta información, que será enriquecida por los demás elementos de las narraciones.

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