scholarly journals HARMONISASI MINYAK DAN AIR MELALUI EKSPERIMENTASI FOTOGRAFI

2019 ◽  
Vol 3 (2) ◽  
pp. 110-119
Author(s):  
Sigit Setya Kusuma
Keyword(s):  
Creative Process ◽  
Water Mixture ◽  
Light Refraction ◽  
The Creation ◽  
Art Photography ◽  
The Difference ◽  
Boundary Fields ◽  
Effect Of Light

AbstrakPenciptaan karya fotografi yang dibuat adalah “Harmonisasi Minyak dan Air melalui Eksperimentasi Fotografi”. Penciptaan ini mempunyai tujuan yaitu: (1)menghadirkan corak baru dalam karya fotografi dengan harmonisasi efek bias cahaya pada campuran minyak dan air. Selain itu, (2) mengeksplorasi harmonisasi efek bias cahaya pada campuran minyak dan air dalam visual fotografi, sehingga menghasilkan warna dan bentuk yang dapat terwujud pada karya penciptaan fotografi yang estetis, khas, unik, indah, menarik dan imajinatif.Harmonisasi minyak dan air menghadirkan efek pembiasan cahaya pada campuran minyak dan air melalui eksperimentasi fotografi, efek pembiasan merupakan pembelokan cahaya ketika cahaya melewati bidang batas dua medium yang berbeda indeks biasnya. Minyak dan air merupakan zat yang sama yaitu zat cair tetapi berbeda molekul sehingga minyak dan air tidak bisa disatukan. Perbedaan yang tidak bisa disatukan menjadi hal yang menarik ketika divisualisasikan melalui media fotografi. Fotografi makro menjadi teknik yang dipakai untuk mendukung eksplorasi karya. Fotografi makro mengubah sudut pandang dalam perspektif minyak dan air, bagaimana objek yang terlihat kecil menjadi besar dan detail dalam teknik fotografi makro.Hasil dari peciptaan karya fotografi ini adalah secara detail menjadi pengetahuan tentang proses kreatif membuat sebuah karya fotografi seni. Selain matang secara konsep, dapat memiliki pengalaman seni tentang efek bias cahaya dan campuran minyak dan air. Ketertarikannya dengan pilihan objek harmonisasi minyak dan air yaitu dapat menghasilkan warna dan bentuk-bentuk yang tidak terduga dan menarik. Proses ini mampu menghasilkan proses kreatif yang mampu menghasilkan foto yang artistik sekaligus menjadi penalaman baru. Kata kunci: harmonisasi, minyak dan air, eksperimentasi, fotografi AbstractHarmonization of Oil and Water through Experimentation of Photography.  The creation of photographic works was "the harmonization of oil and water through photographic experimentation". This creation has a purpose: (1) to bring a new pattern in photographic work by harmonizing the effect of light refraction on oil and water mixtures. In addition, (2) explore the harmonization of light refraction effects on the mixture of oil and water in visual photography, resulting in colors and shapes that can materialize on the creation by measure of aesthetically pleasing, distinctive, unique, beautiful, attractive and imaginative as photographic creations. The harmonization of oil and water provides the effect of light in the oil and water mixture through the experimentation of photography, the refractive effect of light when the light passes through the boundary fields of two different medium indices. Oil and water are the same substance that is liquid but different molecules so that oil and water cannot be put together. The difference cannot be put together to be interesting when visualized the photography media. Macro photography became a technique used to support the exploration of works. Macro photography Changes the viewpoint in the perspective of oil and water, how small-looking objects become large and detailed in a macro-photography technique. The result of this photographic creation is in detail a piece of the creative process of creating an art photography work. In addition to mature conceptually, it can have an art experience about the effects of light refraction and oil and water measly. Its interest with the choice of oil and water harmonization objects is that it can produce unpredictable colors and shapes. This process is able to produce a creative process that is able to produce artistic photos as well as a new overnight.  Keywords:  harmonization, oil and water, experimentation, photography

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

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

Perancangan Boneka Edukasi Terinspirasi oleh Pencipta Boneka Si Unyil

2018 ◽  
Vol 1 ◽  
Author(s):  
Azhari Amri
Keyword(s):  
Design Process ◽  
Urban Culture ◽  
Urban Life ◽  
Rural Region ◽  
The Public ◽  
The Creation ◽  
The Difference ◽  
The City ◽  
Simple Materials

Film Unyil puppet comes not just part of the entertainment world that can be enjoyed by people from the side of the story, music, and dialogue. However, there is more value in it which is a manifestation of the creator that can be absorbed into the charge for the benefit of educating the children of Indonesia to the public at large. The Unyil puppet created by the father of Drs. Suyadi is one of the works that are now widely known by the whole people of Indonesia. The process of creating a puppet Unyil done with simple materials and formation of character especially adapted to the realities of the existing rural region. Through this process, this research leads to the design process is fundamentally educational puppet inspired by the creation of Si Unyil puppet. The difference is the inspiring character created in this study is on the characters that exist in urban life, especially the city of Jakarta. Thus the results of this study are the pattern of how to shape the design of products through the creation of the puppet with the approach of urban culture.

scholarly journals Breyten Breytenbach en die Simbolisme - ’n voorlopige verkenning

Literator ◽  
1992 ◽  
Vol 13 (1) ◽  
pp. 15-28 ◽  
Author(s):  
H. Viljoen
Keyword(s):  
Cape Town ◽  
Strong Duality ◽  
Great Emphasis ◽  
Rich Source ◽  
The Creation ◽  
Breyten Breytenbach ◽  
The Rich ◽  
The Difference ◽  
Present World

This article is an attempt to outline the difference between Breytenbach's poetic method and that of the Symbolists. Although it touches on aspects of the symbolist poetic method like the rich suggestiveness, the creation o f a meaningful alternative world (and the effort of doing this), it focuses mainly on Breytenbach’s use of metaphor to create an impossible alternative world in a poem, only to relativize and destroy it again in the end. This process is illustrated in an analysis of poem 8.1 from Lotus. This analysis also shows up five well-known cardinal traits of Breytenbach’s poetry, viz. its carnality, the universal analogy between body, cosmos and poetry and the great emphasis on journeys, discoveries and transformations by means of language. It is also claimed that the Zen-Buddhisi Void plays an analogous role in Breytenbach's poetry to the theory of correspondances in the Symbolists: it is a rich source of metaphor. Breytenbach's poetry shows a strong duality between the present world and a meaningful alternative sphere. Being in and of this alternative sphere only aggravates the poet’s isolation (a typically symbolist trait), making him literally and figuratively an exile, as exile poems like "tot siens, kaapstad" (see you again, cape town) and "Walvis in die berg" (Whale on the mountain) and, of course, his prison poetry, clearly show.

scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

scholarly journals Put Your Style at Stake: A New Use of Sustainable Entrepreneurship

2017 ◽  
Vol 39 (2-3) ◽  
pp. 397-415 ◽  
Author(s):  
Christian Garmann Johnsen ◽  
Lena Olaison ◽  
Bent Meier Sørensen
Keyword(s):  
Creative Process ◽  
Environmentally Friendly ◽  
Social Practices ◽  
Organization Studies ◽  
Sustainable Entrepreneurship ◽  
Conceptual Distinction ◽  
The Creation ◽  
Point Of Departure

This article uses the concept of style to rethink sustainable entrepreneurship. Our point of departure is the conceptual distinction between organization as style made durable and entrepreneurship as the disruption of style. We show that style is not simply an aesthetic category, but rather what ties different social practices together. While organization makes the connections between social practices durable, entrepreneurship disrupts such patterns. We further elucidate how organization and entrepreneurship are two intermingled processes – those of durability and disruption – that together enable the creation of new styles. In order to conceptualize this creative process, we explore how play can create disharmonies within the organization, but we also maintain that any new practice will remain marginal without a collective assemblage capable of adopting it. On this basis, we argue that sustainable entrepreneurship consists of making an environmentally friendly and socially conscious style durable, but also of disrupting such a style. In order to illustrate our argument, we use the example of the sustainable smartphone producer Fairphone. In conclusion, we argue that the concept of style may strengthen the dialogue between entrepreneurship studies and organization studies.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

PERBEDAAN MORALITAS SISWA ANTARA YANG BERSTATUS SANTRI DAN NON SANTRI DI MTS PERGURUAN MU’ALLIMAT CUKIR DIWEK JOMBANG

2019 ◽  
Vol 2 (2) ◽  
Author(s):  
Qurotul Nguyun
Keyword(s):  
Design Research ◽  
Test Validity ◽  
Research Field ◽  
Quantitative Approach ◽  
Validity And Reliability ◽  
Research Instrument ◽  
Purposive Sampling ◽  
The Creation ◽  
The Difference

Research on the differences Between Students Morality that is a Rasta and Non Rasta Mu'allimat Cukir College Diwek Mts Jombang. The purpose of  research is to know the morality of students are santri, to know the morality of non-status santri, and students to do know the difference between students of morality that is a Rasta and non Rasta in Mts College Mu'allimat cukir diwek stubs.This research uses a quantitative approach with design research Ekspost Facto with the kind of research field comparisons/Man Whitne, study researchers use research instrument in the creation of research instrument must be passing the test validity and  reliability in advance so that the instrument can be trusted their validity. By using purposive sampling, taking of the sample into account the techniques students are santri and non santri of students, 50 students comprising students are santri and students who are non santri.After the analysis, it was shown that the Sig value, 0.199> 0.05, which means H0 was accepted and HA was rejected, which means there was no difference in student morality between students with non-santri status in MTs of the Mualimat Cukir Diwek  in Jombang. Keywords: morality of students, students, non-santri

Larger Than Life

2019 ◽  
pp. 201-229
Author(s):  
Deborah J. Brown ◽  
Calvin G. Normore
Keyword(s):  
Natural Philosophy ◽  
Body Politic ◽  
The Body ◽  
Mind And Body ◽  
The Creation ◽  
The Difference ◽  
Political Unions

If two or more substances, distinct in essence not merely in number, can form a union, it is little wonder that collections of such composites can also form unions. The difference between the union of mind and body and social and political unions, however, is that the latter depend not upon God (directly) but upon the wills of individual humans who create them. The force behind the creation of communities is a passion, love, which Descartes defines as a willing to join oneself in union with others. As a passion, love is dependent upon the body, and as an act of will, upon the divine element within the soul. It is argued in this chapter that such unions rely on organizational and mereological principles similar to those which account for the integrity of organic bodies. It is from here that the idea of a “body politic” emerges, demonstrating the continuity of Descartes’ thinking in natural philosophy, politics, and ethics.

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