The Concept of Tumbuk in Javanese Gamelan Tuning

This study aimed to reveal the concept of Tumbuk in Javanese gamelan tuning, namely gamêlan agêng with Sléndro and Pélog. This study used a qualitative method with an ethical emic perspective. The data collection was done by conducting literature review, observation, interviews, and studio work, then processed with data analysis. The data analysis then was followed up through data interaction by interpreting the relationship reactions of the three elements of analysis consisting of data collection, data reduction, and data presentation. The interpretation of the data was done inductively, so that the conclusion was drawn entirely from the development of the data according to the realities of the field. The results showed that tumbuk was not only limited to a note that has the same high and low, but it is a musical concept that integrates the Sléndro and Pélog scales in the tuning of a set of gamelans. There are basically only two types of tumbuk: nêm tumbuk and lima tumbuk. Other than those, it means that they are the strut. The thing is,tumbuk has a central tone that serves as a benchmark and a supporting tone whose position strengthens the integration of each type of tumbuk. As a concept, it was found that tumbuk plays several important roles including equalizing the highs and lows of certain notes, equalizing the range of certain notes, and conditioning the range of notes or the addition of the tune.

Promoting a Pro-Ecological View: The Effects of Art on Engineering Students’ Perceptions of the Environment

In an effort to suggest an extended role that art could play in promoting a pro-ecological worldview, this study reviews a two-week artist-led workshop, organized as part of an undergraduate art course offered by a university specializing in engineering and the natural sciences. To explore the potential impact of studio work on engineering student perceptions, we collected data from multiple sources, including field notes, participant observations, outcomes of the group projects, and participants’ responses to studio work during the workshop. In particular, to provide educational implications, our review focused on the findings from post-project surveys collected through online questionnaires and in-person interviews. In order to make suggestions on art courses that are specifically designed to cultivate engineering students’ perceptions of the environment, we carried out online surveys based on the New Ecological Paradigm (NEP) scale. The results of the NEP-based surveys indicated that engineering students’ anti-anthropocentrism, rejection of human exceptionalism, and acknowledgement of the possibility of an eco-crisis were significantly correlated with a belief in public welfare. By comparison, respondents’ stronger public welfare beliefs were not associated with beliefs in limits to growth and the fragility of nature’s balance. This study responds to today’s complex socio-environmental issues by contributing to the discussion about the need to integrate interdisciplinary approaches into engineering education on environmental sustainability.

Pablo Palazuelo e Victoria Vesna. Arte e Ciência, Laboratório de Formas

ResumoA exposição retrospetiva PABLO PALAZUELO Proceso de Trabajo. MACB-5-12-06 a 18-2-07; e a conferência (ln) Tangibles: Nanopercepció i Mon Quantic. Vitoria Vesna, David Peat, CCCB- 24-3- 07, criam uma perspetiva da relação Arte-Ciência-Tecnologia. Essa perspetiva é aqui apresentada nos argumentos evidenciados pela obra deste artista e desta nanocientista. A obra, na sua função figurativa emergente, flui entre dois tempos: o da vida de Palazuelo (Madrid, 1915-2007) e Vesna (Washington D.C.,1960). Estas figurações materializam-se através da pintura e escultura em PaIazueIo e em instalações interativas, ambientes digitais virtuais, performances polisensoriais, em Vesna. Palazuelo, em 1976, falava deste plano de interceções do seguinte modo: "La ciencia penetra cada vez más profundamente en eI misterio de Ia materia formada, y el arte puede hacerlo también por sus propios medios, buscando allí otras cosas que aún no han sido reveladas." Este "tête a tête", conquista um espaço introdutório para a criação de obras unidas numa temática: a Mandala. O trabalho de atelier do pintor Palazuelo (Madrid, 1915-2007) e a obra nanomandala realizada pelos monges tibetanos de Gaden Kangtsen - County Museum de L.A. e Picolab.UCLA. A transição entre imagens de grãos de areia que revelam ondas padrão aparecendo a uma escala nanométrica, é evidente na referência formal e concetual na obra de Palazuelo. Assim sendo, as formas na matéria emergem seja pela via de atelier ou pela via de laboratório.Palavras-chave: Arte-Ciência, Laboratório, Linguagem Gráfica AbstractThe retrospective exhibition PABLO PALAZUELO Proceso de Trabajo. MACB-5-12-06 a 18-2-07; and the conference (ln) Tangibles: Nanopercepció i Mon Quantic. Vitoria Vesna, David Peat, CCCB24-3-07, create a perspective of the Art-Science-Technology relationship. This perspective is presented here in the arguments evidenced by the work of this artist and this nanocientist. The work, in its emergent figurative function, flows between two times: that of the life of Palazuelo (Madrid, 1915-2007) and Vesna (Washington D.C., 1960). These figurations materialize through the painting and sculpture in PaIazueIo and in interactive installations, digital virtual environments, polysensorial performances, in Vesna. Palazuelo, in 1976, spoke of this plan of interceptions as follows: "La ciencia penetra cada vez más profundamente en eI misterio de Ia materia formada, y el arte puede hacerlo también por sus propios medios, buscando allí otras cosas que aún no han sido reveladas."This "tête a tête", conquers an introductory space for the creation of works united in a theme: Mandala. The studio work of the painter Palazuelo (Madrid, 1915-2007) and the nanomandala work by the Tibetan monks of Gaden Kangtsen - County Museum of L.A. and Picolab.UCLA. The transition between images of sand grains that reveal standard waves appearing on a nanoscale scale is evident in the formal and concetual reference in Palazuelo's work. Thus, the forms in matter emerge either by atelier or by laboratory.Keywords: Art-Science, Laboratory, Graphic Language

Freelancer Adrian Rollini

This chapter describes Rollini's many activities as a member of various jazz groups that did studio work. The first was Red Nichols's Five Pennies, followed by accompaniments for singers Annette Hanshaw and Jay C. Flippenand the forming of Joe Venuti's Trio. Kirkeby continued to organize record dates under several names such as Ted Wallace and his Orchestra. Rollini would be a fixture.

Music in Perumah Begu Ritual of Karo Tribe (Study of Form and Music Functions)

This study wants to examine the phenomenon of the ritual of summoning the spirits of people who have died in the Karo community which involves the presence of musical sounds in the stages of the procession. What is interesting in this case is how the form of ritual, and the form of music used in accompanying each stages of the procession of Perumah Begu rituals will be studied in depth. The method used in this study is descriptive qualitative, that are the steps to make field research, interviews, studio work, and analyze data. Techniques of analysis data are carried out by the process of systematically analyzing and compiling data that obtained from interviews, field research, and studio work, then conducting data sections and organizing data into categories, describing them into units, synthesizing, arranging into patterns, choose which ones are important, and will be studied, and make conclusions so that they are easily understood by themselves and others. Based on the study, it can be concluded that the findings are as follows: 1) Perumah Begu’s ritual is a culture of summoning spirits or ghosts of deceased people to solve problems with their families that have not been completed until the day of his/her death. This ritual was carried out on the first night after the body was buried. This ritual is led by a shaman or (guru si baso) as a media that can mediate between the spirit world and the human world. The implementation is divided into three stages: the preparation, implementation and closing. 2) The musical accompaniment used in the Perumah Begu’s ritual is the gendang lima sendalanen ensembles. In general, the gendang lima sendalanen ensembles is known by three forms of reportoar known as: a) Simalungun rayat b) Odak-odak, c) Patam-patam. 3) The connection of the three forms of music reportoar above are very binding on Perumah Begu's ritual journey from the beginning to the end. Each form has its role and function in the Perumah Begu's ritual that is carried out by the Karo community.

Krull, Germaine (1897–1985)

Germaine Krull was one of the major photographers of the interwar European avant-garde, producing work that was highly diverse in both subject matter and technique. Her most characteristic early images include nudes exploring lesbian sexuality and street scenes of Berlin. She is best known for Métal (1928), a portfolio that gathers together sixty-four industrial photographs taken in Holland, France, and Germany. Métal embodies a new kind of industrial aesthetic, in which concentration on decontextualized details and fragments rather than the entirety of machines and buildings seeks to highlight the beauty of modern industrial forms. Krull lived in Paris from 1926 to 1935, and played a major role in importing the avant-garde photographic techniques of Neues Sehen (New Vision) into France from Central Europe. Her French period is marked by studio work, pioneering photo-reportage, and street photography, the latter of which is partially collected in the book 100 x Paris (1929), in which conventional images of the metropolis are interspersed with street scenes employing avant-garde techniques. During World War II, Krull worked as coordinator of the Free French photographic service in Africa. After 1945, she lived largely in Thailand and India, and her later photographs document the lives of Tibetans in India.

CREATIVE ENGAGEMENT ON ECOLOGICAL ISSUES: STUDIO WORK EXPERIENCE IN A CONTEXT OF INTERDISCIPLINARY LEARNIN

The complexity of contemporary environmental issues demands a more holistic and interdisciplinary response. However, despite broad recognition of the educational benefits of interdisciplinary learning contexts, a review of the relevant literature reveals that research interest in the potential of such approaches remains fairly limited and exerts little influence on established pedagogical practices. The paper contributes to the research on interdisciplinary approaches by augmenting empirical understanding of how art can help to promote creative engagement with ecological issues. After describing the process and outcomes of a collaborative ecological art project involving engineering students, the paper reviews some interesting findings from the post-project survey asking about the students’ studio work experience. The paper concludes with a discussion of art’s potential role in promoting creative engagement in interdisciplinary learning contexts.