Krokodil’s Format and Visual Language

2019 ◽  
pp. 35-72
Keyword(s):  
Visual Language

Analisis Tata Ungkap Dalam Dan Luar Pada Film Animasi Pendek Death Of The Firstborn Egyptians

2019 ◽  
Vol 2 (02) ◽  
pp. 31-42
Author(s):  
Citra Kemala Putri
Keyword(s):  
Technological Progress ◽  
Qualitative Method ◽  
Space Time ◽  
Visual Language ◽  
Language Theory ◽  
Still Images ◽  
Language System ◽  
Visual Study ◽  
Moving Images ◽  
Animated Films

Visual Language is a knowledge that can be used to interpret various images those presented without text. Primadi Tabrani divides this Visual Language into 2 systems, the visual language system called NPM (Naturalist-Perspective-Momenopname) and another visual language system is STP (Space-Time-Plane). At this time which the technological progress has been developing very rapidly, we met many types of images, not just still images, but also moving images such as animated films, one of them is Death Of The Firstborn Egyptians directed by Nina Paley. This research uses qualitative method and uses the Visual Language Theory in analyzing the various visual towards the visuals of this film. The results of a visual study of this film revealed that there was a slice between Modern ‘Tata Ungkap Dalam’ and Traditional ‘Tata Ungkap Dalam’. Meanwhile,  the researh found that Modern ‘Tata Ungkap Luar’ is dominantly use on the film. Thus it can be concluded that the RWD visual language system is not used to produce traditional images only, but also can be combined with NPM visual language system, those could enrich the result of finishing visual.

Translating Verbal and Visual Language in The Piano

Perspectives ◽  
2007 ◽  
Vol 15 (3) ◽  
pp. 177
Author(s):  
Z. Pettit
Keyword(s):  
Visual Language

scholarly journals The Language of Vision*

Perception ◽  
2021 ◽  
pp. 030100662199149
Author(s):  
Patrick Cavanagh
Keyword(s):  
Visual System ◽  
Language Planning ◽  
Spoken Language ◽  
Visual Language ◽  
Visual Scene ◽  
Visual Environment ◽  
Acquisition Process ◽  
Visual Processes ◽  
First Pass

The descriptions of surfaces, objects, and events computed by visual processes are not solely for consumption in the visual system but are meant to be passed on to other brain centers. Clearly, the description of the visual scene cannot be sent in its entirety, like a picture or movie, to other centers, as that would require that each of them have their own visual system to decode the description. Some very compressed, annotated, or labeled version must be constructed that can be passed on in a format that other centers—memory, language, planning—can understand. If this is a “visual language,” what is its grammar? In a first pass, we see, among other things, differences in processing of visual “nouns,” visual “verbs,” and visual “prepositions.” Then we look at recursion and errors of visual grammar. Finally, the possibility of a visual language also raises the question of the acquisition of its grammar from the visual environment and the chance that this acquisition process was borrowed and adapted for spoken language.

Lucid Mapping: Information Landscaping and Three-Dimensional Writing Spaces

Leonardo ◽  
1999 ◽  
Vol 32 (4) ◽  
pp. 261-268 ◽  
Author(s):  
Matthew Kirschenbaum
Keyword(s):  
Virtual Reality ◽  
Three Dimensional ◽  
Visual Language ◽  
Modeling Language ◽  
Interactive Graphics ◽  
Rhetorical Strategies ◽  
Digital Arts ◽  
Virtual Reality Modeling Language ◽  
Electronic Environments ◽  
Mapping Information

This paper documents an interactive graphics installation entitled Lucid Mapping and Codex Transformissions in the Z-Buffer. Lucid Mapping uses the Virtual Reality Modeling Language to explore textual and narrative possibilities within three-dimensional (3D) electronic environments. The author describes the creative rationale and technical design of the work and places it within the context of other applications of 3D text and typography in the digital arts and the scientific visualization communities. The author also considers the implications of 3D textual environments on visual language and communication, and discriminates among a range of different visual/ rhetorical strategies that such environments can sustain.

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