scholarly journals DEKONSTRUKSI DIRI SENDIRI DALAM PROSES PENCIPTAAN KARYA SENI

Imaji ◽  
2015 ◽  
Vol 5 (2) ◽  
Author(s):  
Ign. Hening Swasono Ph

Self deconstruction is a means of breaking down the established art creation, representing individual identity and abandoning modern art or conventional art creation. It was applied in a work of art, whose forms were cracked wood constructed like paintings. In the new concept of art creation, self-deconstruction of Derrida and Nagajurna was applied. The deconstruction as a concept of creating and acting bravely to break down reality and imitating self creation was applied until the zero point. In other words, the emptiness is stability. “All possible” is the concept of creation applied by the writer. The concept was realized by using used wood as a medium of expression of artistic moments. The installation was composed of several different media such as wood, plastic and iron. The concept also abandoned single medium (the modern view of art creation). This art creation used the integration of creation and recreation as well. The creation technique applied was assemblage, collage, and knock­down system with shifting understanding, namely function replacement. The knock-down system in the installation was made based on the artist's will or on the art viewers, display areas and the surrounding. In the name of deconstruction, the writer believes that the created arts are multi-interpretable. Key words: deconstruction, installation art and interpretation

CORAK ◽  
2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Dyah Retno Fitriani

Passion, love, and interest can be an inspiration to an artist. That thing can be a stimulation in creating a work of art. Some scene of film Life of Pi shows an ocean view which glows at night became such an admiration to the writer. The astonishment then stimulated curiousities of the writer about that phenomenon. Finally, there came out the word Radiolaria. Radiolaria are tiny sized planktons which have holes and spikes in their bodies. The shape and texture of Radiolaria became an inspiration that later will be deformed and shaped into a ceramic instalation. Innovation and creation that arise in this work were also displayed using phospor as a medium to show the phenomenon of Bioluminesensi. The intention to introduce the shape and function of Radiolaria gives an enormous stimulation to the writer, so that this artwork was made to give an education through this work of art. The creation of this artwork began with making skecth planning, material choosing, up to the stage of creating which was done by some techniques, which are a cire perdue, pinch, slab, and decorating stage with the technique of piercing and twisting. After that, there was a drying stage, biscuit burning, glacing, glacing burning, phospor finishing, and displaying. Furthermore, the artwork was strenghten by some supporting theories, such as: ceramic theory, deformation, instalation, semiotic, and aesthetic theory. This work is a ceramic applied art which was displayed in the varied colors and shapes instalation. Semiotic contains were slipped in this artwork and were hoped to create a good communication with the society and art lovers. This Radiolaria themed work of art was made to introduce Radiolaria to people in general with applying the touch of personal expression touch so that originality of this work would remains the same without fading the impression of the real Radiolaria. Key Words: Deformation, Radiolaria, Ceramic Instalation.   Kesukaan, kecintaan, ketertaikan akan suatu hal dapat menjadi sebuah inspirasi bagi seorang seniman, tentunya hal tersebut dapat menjadi sebuah rangsangan dalam menciptakan sebuah karya seni. Film Life of Pi yang dibeberapa scene nya memperlihatkan pemandangan laut yang dapat berpijar dimalam hari memberikan rasa takjub sehingga merangsang rasa ingin tahu tentang apa yang menyebabkan adanya fenomena tersebut, yang kemudian didapatlah kata Radiolaria. Radiolaria merupakan plankton yang berukuran sangat kecil dengan ciri khas memiliki lubang-lubang dan duri-duri pada tubuhnya. Bentuk dan tekstur Radiolaria ini dijadikan sumber ide yang kemudian akan dideformasi dan dijadikan keramik instalasi. Inovasi dan kreasi yang muncul dalam karya ini juga ditampilkan dengan menggunakan fosfor sebagai media untuk menunjukkan peristiwa Bioluminesensi. Rasa ingin memperkenalkan akan bentuk dan manfaatRadiolaria memberikan dorongan yang begitu besar, sehingga diciptakanlah karya ini agar dapat memberikan edukasi baru melalui karya keramik instalasi.Penciptaan karya ini diawali dengan membuat sketsa perancangan, pemilihan bahan, hingga tahap perwujudan yang dilakukan dengan beberapa teknik yaitu cetak tuang, pinch, dan slab dan tahap pendekorasian dengan teknik krawang, dan pilin. Kemudian tahapan pengeringan, pembakaran biskuit, pengglasiran, pembakaran glasir, finishing dengan fosfor, dan pendisplayan. Lalu diperkuat dengan beberapa teori pendukung seperti : teori keramik, deformasi, instalasi, semiotika, dan estetika.Hasil karya ini merupakan seni kriya keramik yang didisplay secara instalasi yang memiliki variasi bentuk dan warna, dan kandungan semiotika yang disisipkan pada setiap karyanya sehingga diharapkan karya ini dapat berkomunikasi dengan masyarakat, dan penikmat seni dengan baik. Karya keramik dengan tema Radiolaria ini dimakudkan untuk memperkenalkan Radiolaria dikalangan awam dengan menerapkan sentuhan ekspresi pribadi sehingga orisinalitas karya tetap terjaga tanpa mengurangi kesan dari Radiolaria yang aslinya. Kata Kunci : Deformasi, Radiolaria, Keramik Instalasi.


Author(s):  
Mohsina Aaftab

Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. For conceptual artists art need not look like a traditional work of art. Presented study focuses on the installation work of Indian artists. Four artists were selected by the researcher viz. Subodh Gupta, Shilpa Gupta, Bharti Kher and ChintanUpadhaya. Researcher investigates the concepts behind the art work of selected artists, their methods and materials they have used in their art work. The selection of artist in current study is on the bases of their fame and popularity. Method of the current study is analytical.


Panggung ◽  
2017 ◽  
Vol 27 (3) ◽  
Author(s):  
Esthi Nimita ◽  
Mustika Yundari

ABSTRACTThis article discusses the concept of creating a work of art within a traditional framework. Therefore we need to understand how a work of art was created in the context of tradition, and the difference with the creation of art in the modern world. This article also a discourse on what is actually called a traditional art, and the distiction between traditional art and modern art. In this case, the example is a tradisional dance of Java. The choice is in the hand of the artist, or an art connoisseur nevertheless, through a deeper understanding of the traditional arts and how it was created, so a person may have perspective about life, and the conjunction with God.Keywords:Art, Traditional Art, Modern Art, Creation Process, Flow, TaksuABSTRAKArtikel ini membahas konsep penciptaan suatu karya seni, dalam lingkup seni tradisional. Persoalan yang diangkat mengenai perlunya kita memahami bagaimana sebuah karya seni itu diciptakan dalam konteks tradisi, dan apa bedanya dengan penciptaan karya seni pada konteks modern, dengan pembahasan apa itu seni tradisional dan apa itu seni modern.Dalam hal ini, kebetulan yang dicontohkan adalah seni tari tari tradisi Jawa. Pilihan memang ada ditangan seniman atau penikmat seni,namun dengan memahami secara lebihdalam apa itu seni tradisional dan bagaimana karya seni tradisional itu diciptakan, maka seseorang dapat memiliki perspektif yang lebih baik mengenai hidup, kehidupan, dan hubungannya dengan Sang Pencipta.Kata Kunci:Seni, Seni Tradisional, Seni Modern, Proses Penciptaan, Flow, Taksu. 


PARADIGMI ◽  
2009 ◽  
pp. 127-139
Author(s):  
Elio Franzini

- This essay interprets the notion of image as being the correlate of a symbolic experience. From this perspective, it is possible to discuss philosophically the reality of the image, while avoiding either reducing it to a neuronal phenomenon, or positioning it in a non-conceptual dimension. The image constitutes a central moment in the genesis of objectuality, which is immanent to representational intentionality. It constitutes the hinge between visible and invisible, represented and non-representable, spatiality and temporality. A conception of image which is vital and capable of producing figures constitutes a specifically philosophical instrument capable, on the one hand, to clarify the dynamics of representational phenomena, and on the other the reality of the creation of the work of art, especially in our time. The images that art is looking for are those which lead to the dimension of primitiveness, understood in terms of reality as of a vital genetic dimension, and in those of abstraction as the emergence of a form.Key words: Image, Symbol, Representation, Art, Abstraction, Sensibility.Parole chiave: Immagine, Simbolo, Rappresentazione, Arte, Astrazione, Sensibilitŕ.


Author(s):  
Dira Herawati

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images


2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Elsa Karino

Production is an activity to convert inputs into outputs through the transformation process. Input in the form of man, money, method, material, machine. While the output is in the form of goods or services. The purpose of production in general is to meet individual needs. There are several factors that influence production namely land and all economic potential that is processed and cannot be separated from the production process, labor is directly related to the demands of property rights through production, and capital, management and technology. In production there are various types of production, namely production which is intermittent and continuous. The production, if viewed from an Islamic perspective, it must fulfill the following principles. First, produce in a halal circle. Second, managing natural resources in production is interpreted as the process of creating wealth by utilizing natural resources must rely on the vision of the creation of this nature and along with the vision of human creation, namely as a blessing for all nature. Third, the Caliph on the earth is not only based on the activity of producing the usefulness of an item but work is done with the motive of benefiting to seek the pleasure of Allah SWT. Key Words: Production, Red Sugar, benefiting


Author(s):  
Джээнбүбү Бегеева

Аннотация. В статье анализируется качество переводов рассказов В.Шукшина, осуществленных в середине 70-х годов С. Наматбаевым. Переводоведческий анализ вывил многочисленные стилевые расхождения между оригиналом и переводом. При переводе одного из лучших рассказов Шукшина «Чудик» искажения стиля не передали психологические тонкости рассказа. При переводе рассказа «Дядя Ермолай» философский аспект рассказа выпал, так как переводчик исказил жанровую специфику. Перевод рассказа «Два письма» оказался более качественным по сравнению с предыдущими. Переводчик рассказа «Два письма» сумел приблизиться к оригиналу, расшифровать его основную тональность, воспроизвести атмосферу напряженных поисков истины героем рассказа Николаем Иванычем. Этот перевод оказался более качественно выполненным по сравнению с предыдущим рассказом «Дядя Ермолай». Причину переводческого успеха можно объяснить, прежде всего, доступностью содержания рассказа, да и сам герой не столь сложная и глубокая личность, как повествователь в рассказе о дяде Ермолае. В целом, переводы С.Наматбаева являются своеобраз- ным этапом в переводческом деле. В настоящее время необходимо более полное и глубокое восприятие творчества В.Шукшина и создания новых адекватных переводов. Ключевые слова: качество переводов, стилевые расхождения, психологические тонкости, философский аспект, этапом. Аннотация. Макалада В.Шукшиндин аңгемелеринин кыргыз тилине которуудагы сапаты каралат, котормолор 1970-жылдары котормочу С.Наматбаев аркылуу жаралган. Котормонун сапатына талдоо жүргүзгөндө көпчүлүк каталар табылган, алардын эң олуттуусу стилдердин айырмасы, негизги чыгарма менен котормонун ортосунда. Мисалы, “Чудик” деген аңгеменин психологиялык мүнөздөмөсү жоголуп кеткен. “Ермолай байке” деген аңгемеде жанрдын туура эмес берилишинен жазуучунун негизги ою жоголуп кеткен. “Эки кат” деген аңгеме беркилерге караганда сапаттуу которулган. Котормочу " Эки кат" деген аңгемени оригиналга жакындатып которгон. Башкы каарман Николай Иванычтын изденүүлөрүн, ойлорун, чындыкты табууга аракеттерин Шукшинден кем эмес окуучуларга жеткирген. Котормочунун жетишкендиги аңгеменин түшүнүктүү мазмуну менен түшүндүрсө болот, жана Николай Ивановичтин жөнөкөйлүгү менен. С.Наматбаевдын котормолору каталарына карабастан котормочулук иште алдыга жылуу болгон. Бирок, азыркы заманда сапаттуу котормо жаратууда мезгил келди. Түйүндүү сөздөр: которуудагы сапаты, стилдердин айырмасы, психологиялык мүнөздөмөсү, негизги ою жоголуп. Annotation. The quality of translation of the Shukshins stories is analyzed in the Middle 70- years. By S.Namatbaev. The translation analysis had idenh hed numerous style discrepancies between the original and the translation. The psychological feature of the compasihion were not be hansfered by the translation one the bestand famous story by. V.Shukshin due to distorhion of the style. By the translation of the story “The uncle Ermolai” had full a phisichal aspect of the story, because the translator had distorted the genre specifics. The translation of the stories “Two letters” was wade more qualitative comparated with another stories. Generally, the Namatbaevs translation are a sui generis stage in the translatiobs. We need currently more total and profound perception of the creation by V.Shukshin. The create of the new adeavate translation is the main task. The head of the theory and history of Russian literature department. V. Shukshin’s stories and problems of translation them into Kyrgyz language. This article is analysed the quality of translation of V. Shukshin’s stories, which were written in 70 th with S. Namatbaev. Translation analyse deduced many stylistic variations between translated version and original. There is a misrepresentation, was not transmitted psychological subtleties of the story in translation of one of the best V. Shuk- shin’s story “Wierdo”. Metaphysical dimension is disappeared in translation of the story “Uncle Ermolai”, since translator destort the genre specificity. The translation of the story “Two letters” has been more qualitative in comparison with previous translations. In common, S. Namatbaev’s translation is a genius stage in translation. It needs more full and deep comprehension of S. Shukshin’s work and to establish new suitable translation. Key words: Quality of translation, stylistic variation, psychological subtleties, metaphysical dimension, stage.


Author(s):  
Anastasia Splodytel

The article deals with the possibility of the system creation of Vinnytsia region Econet geological nature monument of local importance «Lipovetsk-Illinetski astrobleme.» All factual material of field investigations is analyzed and summarized. The main limits of geostructure are distinguished and the history of the formation and identification of the crater is examined. Key words: astrobleme, ecological network, autogenous breccias, impaktyt, shock metamorphism.


2019 ◽  
Vol 6 (2) ◽  
pp. 542-567
Author(s):  
یادگار ڕەسوڵ حەمەدەمین & كەیفی محەمەد عەزیز

  Abstract: The abstract of this paper is part of a PhD. Thesis, and for the purpose of publishing an extracted study, we presented Identity as an Exile Aftermath with Reference to some Kurdish novels as its title. The impacts of identity towards the details of exile has been shown in the AbdullAllah Sarajʼs WNGA , Farhad Peerbalʼs Hotel Awrupa, Ahmad Malaʼs Panahanda, Deedar Maseefiʼs Elshya and Rewas Ahmadʼs Zhin. This paper focused on the conditions of being exile, people's daily lives with those who are indigenous peoples and those who, just like them, are exiled .Further, it points out how they showed their identity as a way to defend themselves not to lose their identity among the foreign nations over there. They employed identity as a tool for their existence. For this purpose, those who have been exiled used their individual identity as well as their national identity.   Key words: Assimilation and Integration, Discrimination, Association, Self-Identity, National-Identity.


La Palabra ◽  
2014 ◽  
pp. 143
Author(s):  
Andrea Paola Vargas Quiroz

El objetivo de este artículo es mostrar que la postura escritural de Hélène Cixous como práctica de la miopía, constituye el fundamento para la postura estética de la escritura del ver no viendo, cuyo efecto refractario fecunda la creación artística. El método comparativo pone en contacto el nacimiento de laescritura por la miopía, la epistemología desde el cuerpo de Ellie Epp (2005) y la naturaleza de la obra de arte de Maurice Blanchot (2012). Se concluye que para anclar la postura del ver no viendo de los artistas, es necesario mantener un equilibrio miope entre lo inconsciente y lo consciente en su relación con el lenguaje, el sujeto y la vida.Palabras clave: escritura, creación ar tística, miopía, epistemología desde el cuerpo.AbstractThe objective of this article is to demonstrate the writing position of Hélène Cixous as a myopic practice, which constitutes the foundation for an aesthetic of writing as seeing without seeing. The comparative method puts into contact the birth of writing through myopia, embodiment theory byEllie Epp (2005) and the nature of the work of art by Maurice Blanchot (2012). It is concluded that in order to root the position of seeing without seeing of artists, it is necessary to maintain a myopic equilibrium between the conscious and the unconscious, in its relation to language, subjectivity andlife. Key Words: Writing, artistic creation, myopia, embodiment.


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