Symbolic Images in the Video Performance, The Gauze Rinsing Girl

2019 ◽  
Vol 6 (1) ◽  
pp. 23-26
Author(s):  
Renai Xie ◽  
Surng Gahb Jahng
Keyword(s):  
Symbolic Images ◽  
Video Performance

Pilsēta Jāņa Hvoinska dzejā

2021 ◽  
pp. 233-242
Author(s):  
Anda Kuduma
Keyword(s):  
Concept Formation ◽  
Edmund Husserl ◽  
Artistic Style ◽  
Life And Death ◽  
Jean Paul ◽  
The World ◽  
Depth Dimension ◽  
Symbolic Images ◽  
Main Ideas ◽  
The City

The article is dedicated to the evaluation of creative work by poet and translator Jānis Hvoinskis, and it characterises the content and artistic qualities of Hvoinskis’s poetry process. The main focus is on the representation of the phenomenon of the city as an essential and characteristic poetic chronotope segment in Hvoinskis’s poetry. The study aims to identify and assess the characteristic kinds of city concept formation and their importance in building Hvoinskis’s artistic style. The article highlights and evaluates the techniques for designing the artistic structure of the indivisible chronotope in Hvoinskis’s poetry. This view is based on the fundamental principles of phenomenology, i.e., an individual phenomenon (phainómeno) is crucial in the reflection of consciousness, inner temporality, intentionality, intersubjectivity, and lifeworld. In turn, the highlight of poetry subject’s primary condition and existential motifs is logically linked to the main ideas of existentialism in their attitude towards the reason of an individual’s existence, relationships to life and death, freedom of will and choice, determinism. The study’s theoretical and methodological basis includes the ideas of phenomenology theoreticians (Edmund Husserl, Maurice Merleau-Ponty, and others) and the theories of existentialism philosophers (Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre). Hvoinskis’s poetry allows us to speak about a city as a concept, i.e., as a universal and capacious generalising notion (which includes images, notions, symbols) from which its associative components – poetry themes, motifs, images – derive. Thus, it is possible to speak about the depth dimension of the city phenomenon. The city phenomenon in Hvoinskis’s poetry is the landscape that has been adopted as the centre of the world of the lyric subject in both poetry collections that have come out to date: “Lietus pār kanālu e” (Rain over the Channel e, 2009) and “Mūza no pilsētas N” (Muse from City N, 2019). The depth dimension in Hvoinskis’s poetry appears in the natural synthesis of mythical and real chronotope, associatively impressive and plastic imagery, expressive style kindred to surrealism poetics. The city appears as a modernism project created by the logic of industrialisation, simultaneously revealing a metaphysical dimension where symbolic images as constituents of a myth preserve the memory of wholeness of the world. The emotional atmosphere of Hvoinskis’s poetry is defined by the highly existential atmosphere – despite the harsh indifference created by the city, the sadness of existential loneliness, social distance, and aversion towards life, the poet makes the tragic and ugly strangely appealing without losing the feeling of lightness and hope. The poet’s intense intuition and imagination exhibit the congeniality with the 20th-century French modernists. Hvoinskis’s poetry muse is death, which implies life.

Dieva mīlestības koncepts saistībā ar bāreņu tēmu latviešu tautasdziesmās

2021 ◽  
pp. 22-33
Author(s):  
Eva Mārtuža
Keyword(s):  
Folk Songs ◽  
Process Theology ◽  
Concept Of God ◽  
God's Love ◽  
Self Worth ◽  
The Subject ◽  
Symbolic Images ◽  
The One ◽  
Creative Self ◽  
Aesthetic Values

The Latvian folk songs include the version of God’s love and the concept of God as a creative creature, which I will see in relation to the subject of mourning, pregnant women, orphans (for the sake of clarity, orphans) as a particularly sensitive reflection of society. The poetic layer of these songs reveals Latvian mentality, basic ethical and aesthetic values, and the nation’s understanding of God’s love for the most vulnerable members of society, using vivid symbolism and metaphors. Orphans do not question the existence of God, they see it as a comprehensive, unifying, self-respecting, compassionate, and understanding creature. We do not find proof that there is no God at all. In symbolic images, there is a proven belief in one God you understand. In this sense, there is a similarity with the assumption of process theology about God’s existence as an open concept in a situation where it is impossible to offer any other proof of God’s existence. In their lives, orphans encounter God as a responsive, creative, optimistic love; God encourages an orphan to learn, be smart, be morally complete, live with pleasure, not indulge in pessimism, and be creative. The abstract nature of God is depicted in two ways. On the one hand, God has all the power that a creature may have; on the other hand, God does not have all the power that exists because the creatures he creates also have the power that allows them to choose good or evil opportunities in their own lives. Evil is the choice of people to be cruel to the weaker. The folklore researchers also believe that this set of folk songs belongs to the most realistic, even natural songs because they are based on the direct observation of life, express frustration with this life, and the desire to make what they want into reality seeking support from God. In this situation, God is both responsive and compassionate to a human and a person who does not interfere in events. The orphan must learn to see the positive power of the love offered by God and, together with God’s involvement, to discover human self-worth, create the beautiful, seek creative self-fulfilment and creativity as the most desirable expression of spiritual existence. God exists as the originator of this process.

Assessment of Workplace Safety Symbols

1981 ◽  
Vol 25 (1) ◽  
pp. 552-552
Author(s):  
B. L. Collins ◽  
N. D. Lerner ◽  
B. C. Pierman
Keyword(s):  
Safety Information ◽  
Workplace Safety ◽  
First Aid ◽  
Preference Ranking ◽  
Similar Data ◽  
Intended Meaning ◽  
Protective Gear ◽  
Industrial Sites ◽  
Symbolic Images ◽  
Emergency Equipment

Written signs are commonly used in industrial sites to provide hazard warnings and safety information. The use of safety symbols and pictorials may increase the effectiveness of safety communication, however, because such signs are language-free, and because they can be recognized more rapidly and accurately even under some conditions of interference and distraction. The effectiveness of safety symbols critically depends upon the selection of symbolic images which are readily understandable to the intended audience. A three-phase evaluation of a set of selected workplace symbols is described in the following paragraphs. First, thirty-three messages (referents) important to workplace safety were selected, based upon industrial site visits, sign catalogue review, and safety standard examination. These messages were divided into five categories: hazards; protective gear; first aid and emergency equipment; prohibited actions; and egress. Secondly, two to forty symbolic images were collected for each of the thirty-three referents. These images were rank-ordered according to their appropriateness for a given referent by thirty participants drawn from the graphics and safety communities. Three to five images for each referent (for a total of ninety-one images) were selected from the preference rankings for further experimentation, except for five messages where nationally standardized images already exist. These include laser, biohazard, radiation, fire extinguisher, and standpipe. The final set of images for each referent represented a range of abstraction, complexity, activity, and use of the human figure. (It was hypothesized that less abstract figures engaging in activity might be better understood.) The final phase consisted of two portions: determination of understandability and preference ranking. In the first portion, participants from industrial sites in three disparate geographical locations provided a short definition of the meaning of each image. The images were shown one at a time in a random order. Subjects saw only one symbolic image for each referent. Secondly, all the images for each referent were presented along with the meaning, and participants selected the image that best conveyed the intended meaning and indicated any reasons for the preference. Similar data were obtained from a pilot group of participants who were not familiar with workplace hazards, so that the effects of workplace experience on symbol understandability could be examined. Symbol understandability, in terms of percentage of correct responses and confusions, varied widely for the thirty-three referents and for the images tested for each referent. Despite standardized use for a number of years, the radiation, biohazard, and laser symbols were frequently mis-identified. Symbols for protective gear, first aid and emergency equipment were generally correctly identified. The different images selected for various hazards show the greatest range in understandability, with versions for entanglement, electricity, corrosion, and overhead hazard being quite different. Referent messages for which all symbolic versions received less than 85% correct responses included radiation, laser, biohazard, general warning, poison, combustible, eyewash, exit, no entrance and no exit. The first four referents do particularly poorly for both informed and naive participants. The preference data generally supported the understandability data, with the most correctly identified image usually being the most preferred image. Participants also provided insightful comments about the reasons for their choices, including ideas about the visibility, representativeness, and effectiveness of the images proposed for each referent.

scholarly journals THE WORLD OF IMAGES IN SANTTU KARHU’S POETRY

2019 ◽  
Vol 13 (2) ◽  
pp. 248-257
Author(s):  
Natalia Valerievna Chikina
Keyword(s):  
Language Poetry ◽  
Language And Culture ◽  
Life And Death ◽  
Systemic Analysis ◽  
The World ◽  
The Subject ◽  
Symbolic Images ◽  
Good And Evil ◽  
Folk Poetry ◽  
Original Concept

The paper analyzes the works of a well-known poet and rock musician S. Karhu, who writes in the Karelian language. The aim of the study is to highlight the author’s artistic system of images. The following tasks were set for the study: to formulate the poet’s original concept, to scrutinize and comment on the images in Karhu’s lyrics. The object is verses from the first and so far only volume. The subject of the study is the specific ethnic traits of Karhu’s poetry, as seen in the system of images. Literary-historical and comparative methods were used in the analysis. The scientific novelty is in the absence of similar studies on the poet’s works. Systemic analysis of the ethnic sources, the evolution and genre choices of the Karelian language literature associated with the changing artistic consciousness are coming to the foreground in this time of global change, when preserving the people’s cultural heritage is especially important. The poet’s personal background has brought him into the sphere of artistic creativity, enabled him to verbalize the world of ethnic life that had been opened up to him. The article points out some specific features of the world of images, language and culture of the Karelian people. Karelian literature shows a tendency to use folklore heritage. The transformation of folk poetic symbolic images is arguably the most characteristic trait of folklorism in contemporary Karelian-language poetry, where folk poetry symbols tend to be equaled with the image of the native land. Karhu’s philosophical verses increasingly pose and confidently resolve the questions of good and evil, happiness and pain, life and death. It is essential for him that the character retains the folklore origins, for he deems it to be the spiritual source of modernity.

scholarly journals Method for transforming symbolic radar marks of low-noticeable moving objects based on the Talbot effect

Radiotekhnika ◽  
2021 ◽  
pp. 129-137
Author(s):  
V. Zhyrnov ◽  
S. Solonskaya
Keyword(s):  
Moving Objects ◽  
Radar Data ◽  
Pulse Frequency ◽  
Asymptotic Equality ◽  
Talbot Effect ◽  
Radar Images ◽  
Frequency Code ◽  
Semantic Dependencies ◽  
Symbolic Images ◽  
Synchronous Pulse

In this paper a method to transform radar images of moving aerial objects with scintillating inter-period fluctuations, sometimes resulting to complete signal fading, using the Talbot effect is considered. These transformations are reduced to the establishment of a certain correspondence of the asymptotic equality of perception of visual images, arbitrarily changing in time and space, in the statement about the conditions of simple equality of perception of images of radar marks that have different frequencies of fluctuations. It is shown how this approach can be used to analyze radar data by transforming and smoothing scintillating signal fluctuations, invisible in the presence of interference, into visible symbolic images. First, to detect and recognize the aerial objects from the analysis of relations and functional (semantic) dependencies between attributes, second, to make a decision based on semantic components of symbolic radar images. The possibility of using such transformation to generate pulse-frequency code of fluctuations of the symbolic radar angel-echo images as an important characteristic for their recognition has been experimentally verified. Algorithms for generating symbolic images in asynchronous and synchronous pulse-frequency code are formulated. The symbolic image represented by such a code is considered as an additional feature for recognizing and filtering out natural interferences such as angel-echoes.

scholarly journals DESPACHO CULTURAL: treze horas de espera e dois meses de fabulação

2020 ◽  
Vol 21 (37) ◽  
pp. 163-178
Author(s):  
Beatriz Pimenta Velloso
Keyword(s):  
Bruno Latour ◽  
Video Performance

A partir da vídeo-performance Despacho Cultural ­– realizada pela autora em residência na Escócia –, da antropologia simétrica de Bruno Latour, do perspectivismo de Viveiros de Castro e do conceito de acumulação primitiva revisto por Silvia Federici, este texto compara o despejo dos escoceses das Highlands às políticas de imigração da atualidade.

scholarly journals ASSOCIATIVE LANDSCAPE IN THE SPACE OF VISUAL AND SEMIOTIC EXPERIENCE

2021 ◽  
Vol 11 (1) ◽  
pp. 169-174
Author(s):  
Elena V. SHLIENKOVA ◽  
Anastasia V. DOLGOVA
Keyword(s):  
Natural Environment ◽  
Graphic Design ◽  
Cultural Landscape ◽  
Space Perception ◽  
Visual Spatial ◽  
Spatial Category ◽  
The Subject ◽  
Symbolic Images

The article is devoted to the concept of an associative landscape and the phenomenon of the visual nature of its perception. The aim of the work is to study the sign-symbolic images of nature on the example of a cultural landscape and their visualization of graphic design. The article examines the features of associative landscapes, the semiotic concept of the cultural landscape and its semantic reading as a text, the concept of semiosphere and noosphere. The object of the research is the associative landscape as a special type of space perception based on a visual-semiotic language. The subject of the research is the cultural landscape as a visual-spatial category, expressed in sign-symbolic images and directly related to the natural environment.

scholarly journals Glitch Ontology (A Video Performance)

2016 ◽  
Vol 19 (2) ◽  
Author(s):  
Mark Amerika
Keyword(s):  
Video Performance

Reception of the Apostolic Text in the Poem of V. A. Zhukovsky ‘Agasfer’

2020 ◽  
pp. 264-276
Author(s):  
Светлана Владимировна Бурмистрова
Keyword(s):  
Research Methods ◽  
Old Testament ◽  
Spiritual Healing ◽  
Biblical Text ◽  
Apostle Paul ◽  
Main Research ◽  
Spiritual Change ◽  
Philosophical Aspect ◽  
The New Testament ◽  
Symbolic Images

В статье анализируется рецепция апостольского текста в поэме в. а. Жуковского «Агасфер». основные методы исследования: интертекстуальный, рецептивный, историко-литературный. средневековая легенда об Агасфере осмысляется Жуковским в религиозно-философском аспекте: как сюжет о грехопадении и духовном воскресении. ключевой момент в сюжете духовного перерождения героя связан с темой покаяния, которая осмысляется в контексте священного предания как внутренний переворот, как духовное изменение. тема покаяния в поэме аллюзивно соотносится с образом апостола Павла и его посланиями. восстановление ценностно-смысловых ориентиров героя осуществляется в контексте откровения Иоанна Богослова. Значение апокалипсиса открывается герою во сне, что указывает на то, что вместе с духовным исцелением он также получил пророческий дар. Библейский текст играет важную роль в моделировании образной системы поэмы. один из центральных символических её образов - образ дверей, формируется на пересечении евангельских и апостольских аллюзий. отсылки к апостольскому тексту позволяют конкретизировать сюжетную, мотивную, хронотопическую организацию поэмы. в то же время включение прецедентного текста в структуру поэмы сообщает ей дополнительную символическую кодировку. Семиосфера апостольского текста в поэме «Агасфер» объёмна и пластична; она пересекается с евангельским и ветхозаветным контекстом, включает не только канонические книги Нового Завета - Деяния святых апостолов, их послания и апокалипсис, но также сочинения мужей апостольских, например, послание к Римлянам священномученика Игнатия Антиохийского. к особенностям функционирования прецедентного текста в поэме можно отнести, во-первых, перекодировку чужого (апостольского) слова в слово героя: апостольские цитаты вводятся в поэму как слово героя, как фрагменты его исповеди; во-вторых, отсутствие границ между разными книгами священного писания (библейские книги как богодухновенные произведения дополняют друг друга, составляя единое целое). The article analyzes the reception of the Apostolic text in V. A. Zhukovsky’s poem «Ahasuerus». The medieval legend of Ahasuerus is interpreted by Zhukovsky in a religious and philosophical aspect: as a plot about the fall and spiritual resurrection. The key moment in the plot of the spiritual rebirth of the hero is connected with the theme of repentance, which is understood in the context of sacred Tradition as an internal revolution, as a spiritual change. The theme of repentance in the poem allusively correlates with the image of the Apostle Paul and his Epistles. Restoration of value-semantic orientations of the hero is carried out in the context of the Revelation of John the theologian. The significance of the Apocalypse is revealed to the hero in a dream, indicating that along with spiritual healing, he also received a prophetic gift. The biblical text plays an important role in modeling the figurative system of the poem. One of its Central symbolic images - the image of doors, is formed at the intersection of Evangelical and Apostolic allusions. References to the Apostolic text allow to concretize the plot, motive, chronotopic organization of the poem. At the same time, the inclusion of the precedent text in the structure of the poem gives it an additional symbolic encoding. The semiosphere of the Apostolic text in the poem «Ahasuerus» is voluminous and plastic; it intersects with the Evangelical and old Testament context, includes not only the canonical books of the New Testament-the Acts of the Holy apostles, their Epistles and the Apocalypse, but also the writings of the Apostolic men, for example, the Epistle to the Romans of the Holy Martyr Ignatius of Antioch. The peculiarities of the functioning of the precedent text in the poem include, firstly, the recoding of someone else’s (Apostolic) word into the word of the hero: Apostolic quotes are introduced into the poem as the word of the hero, as fragments of his confession; secondly, the absence of boundaries between different books of Scripture (biblical books as inspired works complement each other, forming a single whole). Main research methods: intertextual, receptive, historical and literary.

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