WAYANG WONG LANGEN LESTARI BUDOYO DONOMULYO SEBUAH KAJIAN GAYA WAYANG WONG PEDESAAN

JOGED ◽  
2013 ◽  
Vol 3 (1) ◽  
pp. 70
Author(s):  
Mr. Surojo
Keyword(s):  
Rural Communities ◽  
Contemporary Art ◽  
Social Culture ◽  
Cultural Center ◽  
Traditional Art ◽  
Cultural Diffusion ◽  
The Arts ◽  
Art Form ◽  
Arts Community ◽  
Art Style

Wayang wong Lestari Budaya Donomulyo who was born and developed in rural communities Donomulyo an individual and collective expression of the rural art style. This Wayang wong was founded in1932 by R. Sanghadi as a palace of Yogyakarta Sultanate courtiers.This transformation and culture ofpalace formality was a cultural diffusion of the cultural center of the (palace) to a small cultural center(rural), thus giving birth to an art style that is different from the original. This diffusion certainly related tothe role Kridha Beksa Wirama in 1918 as an arts institution devoted to the general public, including peoplefrom the countryside The rural of wayang wong is a rustic contemporary art form of the distribution and development of theforegoing, where the elements that influence complex either in a linear kesejarahannya of Kridha BeksaWirama and social culture. That is, in the process of formation of wayang wong arable quality, especiallychoreography has a unique claim as the expression of which is produced by the artist that is a blend of rusticpalace of art with the art of rural tradition "ndeso". This traditional art is an art form that originates andstems as well have been perceived as belonging to the arts community. Hasil accepted as tradition, theinheritance devolved from the older to the younger generation. Keyword : wayang wong, traditional, rural style, the diffusion

Creature Comforts and the Ties that Bind

Public ◽  
2019 ◽  
Vol 31 (59) ◽  
pp. 14-25
Author(s):  
Patricia Olynyk
Keyword(s):  
Contemporary Art ◽  
Scientific Community ◽  
Art And Science ◽  
Interspecies Communication ◽  
The Arts ◽  
Arts Community ◽  
Systematic Program

This essay is a meditation on the ways in which the scientific community and the arts community alike are feeling their way through the transdisciplinary subject of interspecies communication and how, in the absence of a single systematic program, both art and science can provide their own platforms to challenge how humans habitually think about communicating with animals.Creature Comforts begins with an exploration oflaboratory animals and their relationshipswith their handlers, and ends with a probing look at the use and inclusion of lab animals in contemporary art.

The Mind, the Brain, and the Moving Body

2021 ◽  
pp. 208-212
Author(s):  
Bettina Bläsing ◽  
Beatriz Calvo-Merino
Keyword(s):  
Empirical Research ◽  
Cognitive Neuroscience ◽  
Performing Arts ◽  
Well Being ◽  
Aesthetic Perception ◽  
The Arts ◽  
Art Form ◽  
The Mind ◽  
The Impact ◽  
Arts Community

Dance has become a topic of increasing interest for empirical research in cognitive neuroscience and psychology. The study reviewed in this chapter aimed to reach a multifaceted community of scholars and practitioners interested in the blending between neuroscience and dance as an art form. It includes a revision on dancers’ physical expertise and skilled motor execution, studies on dancers’ timing and online synchronization abilities, and learning and memory processes, as well as a consideration of expert dancers as skilled dance observers. Following the authors’ comment on the article, they acknowledge major developments since its publication, in particular regarding recent lines of research on emotional components of dance, creativity, aesthetic perception, improvisation, entrainment, empathy, and well-being. Finally, the authors emphasize the impact of empirical research in dance beyond cognitive neuroscience and psychology and consider the potential of multidisciplinary expert teams that include the performing arts community to contribute to discourses in the arts and the sciences.

Art-and-Technology: Recent Efforts in Materials and Media

MRS Bulletin ◽  
1992 ◽  
Vol 17 (1) ◽  
pp. 18-23
Author(s):  
Otto Piene
Keyword(s):  
Contemporary Art ◽  
Science And Technology ◽  
Science And Engineering ◽  
Medical Apparatus ◽  
The Past ◽  
Art And Technology ◽  
The Arts ◽  
Art Form ◽  
Scientists And Engineers ◽  
Space Art

To avoid misinterpretation, the term “art-and-technology” should be hyphenated because we are looking at an integrated art form which developed, roughly, during the past 70 years (since Naum Gabo's virtual volume, Kinetic Construction, Berlin, 1920). Art-and-technology results from “incorporated” contributions of art, science, and technology or, better, from artists, scientists, and engineers (plus industry, business, government, etc.). Although art-and-technology has frequently been bad-mouthed or even pronouned “dead” by advocates and practitioners of pure art as well as science and technology, it is alive and well and enjoying more vitality, variety, and expansion than ever before. It is currently the only expanding field in the arts; it feeds vitally into technology and industry—most visibly in entertainment but it also provides stimulus beyond fun to areas of science and engineering where “art applications” have abounded since the advent of photography and its vast consequent uses in science.We can claim an eloquent tradition for art-and-technology in ancient historic, cultural manifestations such as the Egyptian pyramids and their “environmental” scale or the Greek theater with its elaborate stage machines. We are aware of elements of that tradition when we observe contemporary art-and-technology such as sky and space art (Figures 1 and 2), computer-generated virtual reality, performance with medical inquiry and medical apparatus, and art concepts inspired by molecular biology (Figure 3). Emphasis of search—whether artistic/expressive, conceptual/philosophical, or inquisitive/scientific—depends on taste and motivation. However, Leonardo is an undisputed idol to both artists and scientists.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals PERAN KESENIAN REYOG KENDHANG SANGTAKASTA SEBAGAI SARANA BEREKSPRESI MASYARAKAT DESA TUGU KECAMATAN SENDANG KABUPATEN TULUNGAGUNG

2019 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Mayendra Rifai Yahya
Keyword(s):  
Young People ◽  
Contemporary Art ◽  
Descriptive Analysis ◽  
Traditional Art ◽  
Current Trends ◽  
The Arts ◽  
Efficient Information ◽  
Changing Times ◽  
The Times ◽  
Traditional Arts

Keberadaan Sangtakasta memiliki daya tarik tersendiri untuk dijadikan sebagai objek penelitian. Kesenian-kesenian tradisional dihadapkan dengan modernitas kemajuan zaman di era globalisasi yang serba canggih ini. Perubahan kebudayaan suatu daerah sedikit banyak dipengaruhi oleh perubahan-perubahan masyarakatnya. Kesenian-kesenian tradisional dengan konsep-konsep lama semakin sulit mencari peminat, setelah para generasi mudanya kurang tertarik karena tidak adanya suatu pembaharuan. Anak-anak muda lebih cenderung menyukai bentuk kesenian yang kekinian atau masa kini. Munculnya grup-grup kesenian di Kabupaten Tulungagung dengan kreativitasnya masing-masing, sedikit banyak memberi angin segar terhadap pelestarian kearifan lokal daerah. Kesenian tradisional seperti Reyog Kendhang tak luput dari objek ajang berkreativitas dalam berkesenian. Sangtakasta sebagai sanggar seni yang berada di Desa Tugu Kabupaten Tulungagung ini, saat ini sangat berperan penting dalam hal memfasilitasi minat dan bakat anak-anak muda yang ingin terjun langsung dalam berkesenian. Konsep garapan baik tarian atau musikal, semuanya disesuaikan dengan perkembangan zaman atau tren masa kini tanpa meninggalkan dasar-dasar dari kesenian itu sendiri. Kesenian tanpa adanya sebuah pembaharuan mustahil akan tetap eksis melintasi generasi ke generasi, sebab sebuah kesenian akan selalu berkembang sesuai dengan perubahan zaman. Reyog Kendhang sebagai kesenian ikon dari Kabupaten Tulungagung saat ini juga tidak luput dari sebuah pembaharuan, karena kearifan lokal akan hilang tanpa adanya masyarakat pendukung. Pendekatan etnomusikologi,sosiologi dan antropologi digunakan sebagai sarana untuk memperoleh informasi yang lebih efisien dengan metode deskriptif analisis. Hasil daripada penelitian ini bahwasanya sebuah kesenian akan terus berkembang sesuai dengan perubahan zaman, mengikuti alur perkembangan zaman sah-sah saja asalkan tidak meninggalkan dasar dari kesenian itu sendiri. Musik Reyog Kendhang Sangtakasta saat ini mampu menyesuaikan zaman sesuai dengan minat masyarakat pendukungnya.Sangtakasta's existence has its own attraction to be used as the object of research. Traditional arts are confronted with modernization in globalization era. Changes of the culture in region are influenced by changes of society. Traditional arts with old concepts are difficult to find enthusiasts, after young people generation is less interested because there is no update in traditional art. Young people prefer contemporary art forms. The emergence of art groups in Tulungagung Regency with their respective creativity, gave a fresh update to the preservation of the local wisdom of the region. Traditional arts such as Reyog Kendhang is always as an objects of creativity in the arts. Sangtakasta as an art studio located in Tulungagung Regency Tugu Village currently plays an important role in facilitating young people’s talent who want to get involved in art. The project of sangtakasta studio is dance and musical, all adapted to the current trends without leaving the basics of the art itself. Art without update is can’t exist across generations, because an art will always develop in accordance with changing times. Reyog Kendhang as an iconic art from Tulungagung Regency is currently has an update, because local wisdom will be lost without the support community. Ethnomusicology, sociology and anthropology approaches are used to obtain more efficient information with descriptive analysis methods. The results of this study that an art will continue to develop in accordance with the changing times, follow the flow of the development of the times is fine as long as it does not leave the basis of art itself. Reyog Kendhang Sangtakasta Music is currently able to adjust the times according to the interests of the supporting community

scholarly journals PERSEPSI MAHASISWA TERHADAP SENI RUPA TRADISI DAN KONTEMPORER SERTA RELASI PROSES PENJELAJAHAN IDE KREATIF DALAM BERKARYA

2019 ◽  
Vol 10 (2) ◽  
pp. 101
Author(s):  
Narsen Afatara ◽  
Sigit Purnomo Adi ◽  
Sayid Mataram ◽  
Nadia Sigi Prameswari
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Fine Art ◽  
Art Students ◽  
Traditional Art ◽  
The Arts ◽  
Arts And Culture ◽  
Ancient Times ◽  
University Level ◽  
The University

<p align="center"><strong><em>ABSTRACT</em></strong></p><p><em>The essence of art is creating beauty. Since ancient times beauty is something that is always sought after by humans. The beauty is getting worse due to traditional art increasingly abandoned. Traditional art is all things related to values in a particular community which are maintained purely from generation to generation. In contrast to contemporary art, one of the most prominent and prominent characteristics in contemporary art is the disappearance of boundaries between art. Both forms and styles of fine arts need to be preserved by students as the next generation. The importance of preserving art is part of the preservation of the arts and culture of the nation's heritage. Traditional and contemporary art are taught in the realm of education, especially at the university level through fine arts courses. The purpose of this study is to find out the perceptions of art students on traditional art and contemporary art, so that students as young people can identify and determine their interest in one form and style between traditional and contemporary art.</em></p><p><em> </em></p><p><strong><em>Keywords: Fine Art, Contemporary and Traditional</em></strong></p>

How Art Works

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Statistical Analysis ◽  
Data Collection ◽  
Social Science ◽  
Modern Art ◽  
Hard Work ◽  
Objective Truth ◽  
The Arts ◽  
Art Form ◽  
Art Works ◽  
Truth Value

This book is an examination of what psychologists have discovered about how art works—what it does to us, how we experience art, how we react to it emotionally, how we judge it, and what we learn from it. The questions investigate include the following: What makes us call something art? Do we experience “real” emotions from the arts? Do aesthetic judgments have any objective truth value? Does learning to play music raise a child’s IQ? Is modern art something my kid could do? Is achieving greatness in an art form just a matter of hard work? Philosophers have grappled with these questions for centuries, and laypeople have often puzzled about them too and offered their own views. But now psychologists have begun to explore these questions empirically, and have made many fascinating discoveries using the methods of social science (interviews, experimentation, data collection, statistical analysis).

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

scholarly journals The rediscovery of an Adoration of the Shepherds by Jacques Jordaens: a multidisciplinary approach combining dendroarchaeology and art history

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Johannes Edvardsson ◽  
Andrea Seim ◽  
Justin Davies ◽  
Joost Vander Auwera
Keyword(s):  
Art History ◽  
Multidisciplinary Approach ◽  
Traditional Art ◽  
Secondary Sources ◽  
The Arts ◽  
Oak Trees ◽  
Dendrochronological Analysis ◽  
Religious Paintings ◽  
Production Period ◽  
Panel Paintings

AbstractThe implementation of multidisciplinary research approaches is an essential prerequisite to obtain comprehensive insights into the life and works of the old masters and their timeline in the production of the arts. In this study, traditional art history, cultural heritage, and natural science methods were combined to shed light on an Adoration of the Shepherds painting by Jacques Jordaens (1593–1678), which until now had been considered as a copy. From dendrochronological analysis of the wooden support, it was concluded that the planks in the panel painting were made from Baltic oak trees felled after 1608. An independent dating based on the panel maker’s mark, and the guild’s quality control marks suggests a production period of the panel between 1617 and 1627. Furthermore, the size of the panel corresponds to the dimension known as salvator, which was commonly used for religious paintings during the period 1615 to 1621. Finally, the interpretation of the stylistic elements of the painting suggests that it was made by Jordaens between 1616 and 1618. To conclude, from the synthesis of: (i) dendrochronological analysis, (ii) panel makers’ punch mark and Antwerp Guild brand marks, (iii) re-examination of secondary sources, and (iv) stylistic comparisons to other Jordaens paintings, we suggest that the examined Adoration of the Shepherds should be considered as an original by Jordaens and likely painted in the period 1617–1618. The study is a striking example of the effectiveness of a multidisciplinary approach to investigate panel paintings.

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