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Author(s):  
Robert Burgoyne

This chapter explores the unprecedented formal experiments of Richard Mosse and Ai Weiwei in their attempts to capture the signature global event of our time, the mass movements of refugees and immigrants across geopolitical boundaries. In Mosse’s Incoming, a thermal camera registers the heat emanating from human bodies from some 30 miles away, providing images of refugees in lifeboats, transport trucks, and refugee camps that are both other-worldly, almost mutant in their strangeness, and deeply moving—images that rivet the gaze. In Ai Weiwei’s Human Flow, drone cameras render the vast scale of human displacement around the world—a view from above is interspersed with the close witnessing of cell phone video, using the visual language of spontaneous documentation in counterpoint with a technology associated with military surveillance. In both films, Giorgio Agamben’s concept of “bare life” is articulated within an advanced optical and technological framework that brings new critical questions into view.


Author(s):  
Olga Sergeevna Davydova

This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.


2022 ◽  
Vol 6 ◽  
Author(s):  
Fredrik Breien ◽  
Barbara Wasson

STEAM education enables the cross-curricular study of subjects based on their naturally occurring relationships through holistic and integrated methods. Narratives are enablers of STEAM learning environments, something that is evident in the exploration of narrative learning from pre-recorded history until present. Narrative Digital Game-Based Learning (DGBL) use narratives to drive the game. The extended Ludo Narrative Variable Model (the Variable Model) is a narratological model for categorization of narrative DGBL. Empirical evidence from categorizing narrative DGBL on the Variable Model shows that there is a particular set of categories that incur positive effects on engagement, motivation, and learning. This article introduces the eLuna co-design framework that builds on these categories and empowers educators to participate alongside game developers in multidisciplinary design and development of narrative DGBL. eLuna comprises 1) a four-phase co-design method, and 2) a visual language to support the co-design and co-specification of the game to a blueprint that can be implement by game developers. Idun’s Apples, a narrative DGBL co-designed, co-specified, and implemented into a prototype using eLuna, is presented to illustrate the use of the method and visual language. Arguing that narrative DGBL are vessels for STEAM learning, seven eLuna co-designed games are examined to illustrate that they support STEAM. The article concludes that narrative DGBL co-designed using the eLuna framework provide high opportunity and potential for supporting STEAM, providing educators and game developers with a STEAM co-design framework that enforces positive effects on engagement, motivation, and learning.


2022 ◽  
Author(s):  
Mihaela Motaianu ◽  
◽  
Cornelia Motaianu ◽  

Although we have the impression that we understand the urban texture in which we live, the city still holds surprises in the way it communicates everyday aspects, situations, and cultural history.The experience of the urban explorer, that flâneur/stroller mentioned by Guy Debord (1955) and the Situationist school, was until recently only a literary experience. The emotion of discovering the unusual in the urban daily life was communicated only in the form of textual narratives (Sinclair, 1997). Recently the psychogeographical approach to the city has become again a topic of interest. Although contemporary design transposed the behavioral codes of urban life into signs, it did not propose emoticons for the phenomenological experience of one who experiences the city. The original purpose of this paper is to translate the phenomenological experience of the urban explorer into infographics (which translates complex concepts into signs with condensed meaning) and to quantify and communicate emotionally and visually, the experience of the "invisible" [out of sight] cultural details to the hurried passerby. This paper will discuss the phenomenological (psychogeographical) experience of the city transferred into visual signs will be presented. The authors insist on the communicative value of infographics in making visible the hidden beauty of the city, the historical and esthetical details that are not seen by the passersby on the street, proposing a new urban visual language accompanied by visual design theory and cultural history explanations.


2022 ◽  
Vol 15 ◽  
Author(s):  
Patrick Herbers ◽  
Iago Calvo ◽  
Sandra Diaz-Pier ◽  
Oscar D. Robles ◽  
Susana Mata ◽  
...  

An open challenge on the road to unraveling the brain's multilevel organization is establishing techniques to research connectivity and dynamics at different scales in time and space, as well as the links between them. This work focuses on the design of a framework that facilitates the generation of multiscale connectivity in large neural networks using a symbolic visual language capable of representing the model at different structural levels—ConGen. This symbolic language allows researchers to create and visually analyze the generated networks independently of the simulator to be used, since the visual model is translated into a simulator-independent language. The simplicity of the front end visual representation, together with the simulator independence provided by the back end translation, combine into a framework to enhance collaboration among scientists with expertise at different scales of abstraction and from different fields. On the basis of two use cases, we introduce the features and possibilities of our proposed visual language and associated workflow. We demonstrate that ConGen enables the creation, editing, and visualization of multiscale biological neural networks and provides a whole workflow to produce simulation scripts from the visual representation of the model.


2021 ◽  
Vol 6 (01) ◽  
pp. 40-57
Author(s):  
Nadine Noor Adhitya Putri ◽  
Indri Astrina

Abstract - As a visual language, architectural expressions can be understood through arrangements of its elements with certain patterns or techniques. According to Rob Krier (1988), the assessment of geometric expressions cannot be separated from the composition of architectural forms, including proportion, rhythm, ornament, shape, material, color and texture. Along the way, Tulang Bawang Barat, which was later abbreviated as Tubaba, became a stopover for migrants from various regions. Regent Umar Ahmad pursued the construction of Tulang Bawang Barat by building a mosque and a convention hall to fill the empty fields in Tulang Bawang Barat. The architectural expression of Balai Adat Sesat Agung – with its modernity – considered as success in reproducing historical and cultural identity of Nusantaran architecture. In identifying the expressions of Nusantaran architecture, the analysis of Sesat Agung architecture is carried out in three areas: site, building, and structure. Through descriptive-analytical methods, this research begins by formulating the properties and compositions of Nusantaran architecture expressions forming through related theories, including Nusantaran architectural theory, concepts of properties and composition, and anatomy of architecture theory. Furthermore, the properties and composition of Sesat Agung are studied to identify the expressions of Nusantaran architecture which manifested in the architecture of the Balai Adat Sesat Agung. This study found that the architectural expression of the Sesat Agung has printed a new architectural identity in Tulang Bawang Regency. However, regardless of the form and the aesthetics it carries, one thing that is missing from Sesat Agung architecture is its spatial quality.   Key Words: expression, Nusantaran architecture, Sesat Agung.  


2021 ◽  
Vol 6 (2) ◽  
pp. 129-147
Author(s):  
Henry Melki ◽  

Despite the incremental improvement and inclusion of immersive technologies in entertainment, training simulation, fine art, inclusive design, academia, and education; Virtual Reality (VR) still faces issues regarding its ability to compete with films and animation in visual storytelling without merging into the realm of video games. In 2015, Pixar’s Ed Catmull warned moviemakers that Virtual Reality is “not storytelling” and argued that the linear aspect of narratives poses an obstacle that cannot be overcome with VR. In contrast, Catmull argued that VR has immense application in games. However, VR creators have been pushing the boundaries and possibilities of delivering narratives in virtual spaces. In 2019, the VR experience “Gloomy Eyes” was presented at the Sundance festivals featuring a 30-minute story split between 3 episodes. The simulation is structured to provide its audience with some degrees of freedom while guiding them intuitively through the virtual space. In 2021, Blue Zoo also released a VR project titled “The Beast” featuring a cyclist powering up a snow-covered mountain. The short film was entirely created in Quill VR with the intention of being treated like a theatrical play rather than a film. While the creators of “The Beast” have explicitly mentioned the influence of theatre, “Gloomy Eyes” draws its visual language from similar theatrical roots. This paper argues that VR has been mistakenly compared to film and animation when it should be associated with theatre. The audience of both are not passive as they are during the screening of a film or animation. The space and the medium demands participation through their presence in the same space with the actors/characters. Theatre presents a promising candidate for extracting criteria that could be used to develop a visual language for VR. This research aims to formulate a framework for developing a VR visual language through comparison between character-driven narratives in VR such as “Gloomy Eyes” and “The Beast”. The comparative study establishes overlapping criteria and characteristics found in the structure, literacy, sound, and delivery format of narratives in a theatrical performance. These criteria are then outlined and discussed, drawing from affordance theory and discussions on aural and visual attention in theatre, to form a holistic view in approaching VR literacy.


2021 ◽  
pp. 105-113
Author(s):  
N. V. Chuprina ◽  
D. O. Malysh ◽  
Ye. O. Golovchanska ◽  
D. O. Gerasymenko ◽  
O. Yu. Mykhajluk

The purposeof this work is to identify the characteristics of the visual language of posters of Ukrainian folk and pop music, the search for relevant graphic solutions for further use in modern design. Methodology.The research method is to observe and compare design objects.The study was based on posters of musical events and folk and pop music groups of Ukraine, developed in different stylistic, figurative and design variants and genres.The chronological boundaries of the study are determined by the period of poster art of Soviet Ukraine in the second half of the XX century and the post-Soviet period of the XX century (1960 – 1999). Results.Features of the development of the visual component of music and song posters of the second half of the XX century was divided into several genre trends in the specified time frame.The analysis of the composition, colors, plot, decorative elements and fonts of posters of folk and pop music of Soviet and post-Soviet Ukraine, in order to identify relevant and outdated graphic solutions. Scientific novelty.The analysis of stylistic features of music and song Ukrainian-Soviet posters according to certain features, elements of visual symbols and graphic components is carried out in the work.Relevant and outdated image-design solutions in the design of posters of the second half of the XX century are revealed. Practical significance.The proposed research and the results presented in the articles can be used in scientific works used with further study of the design elements of Ukrainian posters;in the educational process for the study of case studies.


2021 ◽  
pp. 113-138
Author(s):  
Stephan Faust

This chapter investigates the role of authorities in the production of images in Roman culture. It focuses on imperial art of the Julio-Claudian period by analyzing significant visual and literary evidence in order to reconstruct social interactions and power relations among agents such as the emperor, the Senate and People of Rome, provincial elites, artists, and soldiers. The first part of the chapter addresses the question of how the images of public monuments erected within the city of Rome reflect the interests of the parties involved. This leads to some general considerations about authority and auctoritas in Roman society. The following section discusses the intentions of the local elites who initiated the construction of imperial monuments in provincial cities, interpreting the specific visual language of the decoration of these monuments. Finally, the impact of imperial motifs and themes on images in the military and private realm is discussed.


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