Self Me: Interpretation of Self-Injury in the Context of Healing

The work Self Me focuses on the topic of self-injury, which is influenced by a number of factors, including bullying and mild to severe stress. The purpose of this study is to process the expression of pain from self-injury into a dance work. Self Me is in the form of research-based work using asymmetrically arranged wood and ropes as a medium for symbolic expression. The dancers involved use one dancer who represents several backgrounds. There are five segments of Self Me's work, the first is how a person tries to accept life symptoms that can become self-injury. The second segment is the feel-good phase of self-injury. The third segment expresses comfort in solitude, the fourth is about being stuck with problems that are difficult to get out of and the fifth expresses various emotions asynchronous feelings and thoughts. This research revealed self-concept findings, meaning that difficulties may be overcome when we confront ourselves. All issues and answers that decide are self, thus self means self and I means myself

“Dinamika Merantau”: Perwujudan Kristalisasi Memori dalam Karya Lukis

Penelitian ini bertujuan untuk mengetahui proses penciptaan karya lukis dan wujud visualisasi karya berdasarkan ekspresi personal terhadap dinamika kehidupan yang terjadi di perantauan. Pustaka ini mengandung nilai kesadaran dan motivasi untuk mengarungi hidup dari sudut pandang pencipta sebagai mahasiswa perantau. Pada bagian proses penciptaan karya terdapat beberapa tahapan antara lain; 1) pemanfaatan sumber data literasi, 2) riset media meliputi eksperimen bentuk visual, eksperimen teknik garap dan tahap perenungan. Visual tampilan wujud karya lukis bernuansa hitam putih menggunakan eskpresi simbolik personal. Penciptaan karya lukis dengan tema “dinamika merantau” menghasilkan tiga buah karya lukis yang berjudul “home sweet home”, kedua “dream in forest”, dan ketiga “belenggu kebebasan”.This research aims to find out the process of creating paintings and the visualization of works based on personal expressions of the dynamics of life that occur in the field. This library contains the value of awareness and motivation to wade through life from the creator's point of view as a nomad. In creating work, there are several stages, namely 1) the utilization of literacy data sources, 2) media research including visual form experiments, work engineering experiments and contemplation stages. Visual display of black and white paintings using personal symbolic expression. The creation of paintings with the theme "regional dynamics" resulted in three paintings entitled "home sweet home", both "dream in a forest", and third "shackles of freedom".

Wisdom and Mystical Thoughts on The Mirror-Tiles Art in Safavid Architectural Space and its Relationship With Sufism

The Mirror-tiles artwork is one of the latest initiatives of Iranian spiritual art which with its symbolic expression and mysterious character, conveys the revelations and mystical thoughts in the cover of matter and form to its audience and affects them consciously and unconsciously. This art is an esoteric language to convey intuitive concepts and to remind the way of their inherited life from the predecessors as traditional art has always been based on symbols and allegories and expresses the spirit of its time. The first peak of the Mirror-tiles used in architectural spaces in Iran coincided with the fusion of Sufism and Shi’ism in the early period of the Safavid Empire. The Safavid dynasty had Sufi roots and lineage, and among the Sufis, the inner language is the language of Shari’a and Truth, and the tools of that language are the symbol and indication. Has been rejected or neglected due to a lack of interest and attention to the registration of special documents, the secrets governing this system, new historical conditions, and profound and obvious developments in the realm of contemporary history. With the aim of the influence of the Persian mystical thoughts about the Mirror, this study with the available historical and contemporary sources and analyzing them deals with the hidden meanings in this art and reveals its connection with Sufism and Mysticism through mystical literature and its historical process.

The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions

This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in the process of creating this work was a creative approach that combined appreciation and interpretation of the object of the creative idea. The artwork was made of plastic clay taken from the southern area of Malang regency, East Java, Indonesia, which was formed using a manual technique of direct hand massage and fired at a temperature of 900 °C. The COVID-19 phenomenon is imagined and visualized as a ceramic installation sculpture consisting of the imaginative figures of COVID-19 troops, led by the king of COVID-19 who is shown fighting with Lord Krishna. The result is a visual expression of the COVID-19 troops and their king, in several imaginative forms, carrying various weapons of war, in combat with the imaginary figure of Lord Krishna. The distinction of this work is its portrayal of a battle between positive and negative forces that have become a part of human life during the COVID-19 pandemic, expressed in a symbolic visual narrative through the arrangement of a set of ceramic sculptures.

Eschatology, Power, Sociality and Architecture in Russian Spiritual Tradition

The article is devoted to the study of the symbolic expression in architecture of the connections between eschatology, power concepts and sociality in the history of Russian spiritual culture. The author examines Heavenly Jerusalem concepts expressed in Orthodox liturgical tradition. The author comes out with the suggestion of the connection between Catholic second scholasticism and the concept of spiritual Antichrist in radical Old Belief. He offers the comparison of two types of prayer rooms of Fedoseevtsy in Ivanovo.

Estimation of COVID-19 Epidemiology Curve of the United States Using Genetic Programming Algorithm

Estimation of the epidemiology curve for the COVID-19 pandemic can be a very computationally challenging task. Thus far, there have been some implementations of artificial intelligence (AI) methods applied to develop epidemiology curve for a specific country. However, most applied AI methods generated models that are almost impossible to translate into a mathematical equation. In this paper, the AI method called genetic programming (GP) algorithm is utilized to develop a symbolic expression (mathematical equation) which can be used for the estimation of the epidemiology curve for the entire U.S. with high accuracy. The GP algorithm is utilized on the publicly available dataset that contains the number of confirmed, deceased and recovered patients for each U.S. state to obtain the symbolic expression for the estimation of the number of the aforementioned patient groups. The dataset consists of the latitude and longitude of the central location for each state and the number of patients in each of the goal groups for each day in the period of 22 January 2020–3 December 2020. The obtained symbolic expressions for each state are summed up to obtain symbolic expressions for estimation of each of the patient groups (confirmed, deceased and recovered). These symbolic expressions are combined to obtain the symbolic expression for the estimation of the epidemiology curve for the entire U.S. The obtained symbolic expressions for the estimation of the number of confirmed, deceased and recovered patients for each state achieved R2 score in the ranges 0.9406–0.9992, 0.9404–0.9998 and 0.9797–0.99955, respectively. These equations are summed up to formulate symbolic expressions for the estimation of the number of confirmed, deceased and recovered patients for the entire U.S. with achieved R2 score of 0.9992, 0.9997 and 0.9996, respectively. Using these symbolic expressions, the equation for the estimation of the epidemiology curve for the entire U.S. is formulated which achieved R2 score of 0.9933. Investigation showed that GP algorithm can produce symbolic expressions for the estimation of the number of confirmed, recovered and deceased patients as well as the epidemiology curve not only for the states but for the entire U.S. with very high accuracy.

ASUH ASAH BABAKEH: ARYA TARI SEBAGAI UNGKAPAN KERINDUAN CUCU KEPADA ATUK

Asuh Asah Babakeh merupakan karya yang terinspirasi dari pengalaman empiris tentang kasih sayang seorang Atuk terhadap cucu. Atuk (bahasa Minang: kakek) merupakan salah satu orang yang berperan penting dalam pendidikan awal mengenali kehidupan penata tari. Beliau yang mengajar ilmu pengetahuan, agama, beragam cara hidup di dunia melalui nyanyian, cerita dan contoh peristiwa. Atuk telah wafat meninggalkan kesan yang mendalam sampai saat ini. Karya tari ini merupakan persembahan ucapan terima kasih untuk Almarhum dari lubuk hati yang terdalam. Asuh Asah Babakeh merupakan koreografi kelompok dengan garap kontemporer yang berakar dari tradisi Minangkabau. Garap gerak berpijak pada tari Babuai yang bernafaskan budaya Minangkabau. Demikian juga musik tarinya yang dikomposisi khusus untuk koreografi ini diharapkan dapat membangun nuansa budaya Minangkabau serta imajinasi tema untuk menguatkan dramatisasi pada setiap bagian koreografinya. Tema pada karya ini adalah ungkapan rasa rindu pada kasih sayang antara cucu dengan Atuk. Menggunakan tipe tari dramatik serta cara ungkap simbolis. Struktur Koreografi dibagi menjadi empat adegan. Menggunakan properti tari lampu togok (lampu minyak yang sudah dimodifikasi), serta properti panggung untuk menambah estetika penampilan serta menguatkan ekpresi tarinya. Karya ini ditarikan oleh 9 orang penari dan dipentaskan di panggung proscenium stage. ABSTRACT Asuh Asah Babakeh is a creation inspired by the empirical experience of a choreographer about the closeness and affection of a Atuk for grandchildren. Atuk (Minang language: grandfather) is one that plays an important role in early education in recognizing the lives of dance stylists. He teaches science, religion, various ways of living in the world through songs, stories and examples of events. Atuk has died leaving a deep impression until this day. This dance an offering of thanks to the deceased from the bottom of my heart. Asuh Asah Babakeh is a group choreography with contemporary work rooted in the Minangkabau tradition. Work on movements resting on the Babuai dance that breathes Minangkabau culture. Likewise, the dance music composed specifically for this choreography is expected to build the nuances of Minangkabau culture as well as the theme's imagination and strengthen the dramatization of each part of the dance. The theme in this work is an expression of longing for affection between grandchildren and Atuk. Using the type of dramatic dance and symbolic expression. The structure of Choreography is divided into four scenes. Using the togok lamp dance property (modified oil lamp), as well as the stage property to add aesthetic appearance and strengthen the dance expression. This work was danced by nine dancers and performed on the proscenium stage

Women, body and war: Kurdish female fighters through Commander Arian and Girls’ War

The historical relationship between women and war is largely mediated by their body, used as a symbolic expression of the process of occupation, extermination and subjugation of one people by another through the systematic violation of women and girls. Kurdish women live a triple struggle: against the Daesh, against the national oppression of their people by the different states of the Middle East into which Kurdistan is divided, and last – but not least – against patriarchy. In this fight, their body is their weapon: Daesh fighters are put into panic by them, since if they die at the hands of a woman they will not go to paradise. Commander Arian (2018) directed by Alba Sotorra and Girls’ War (2016) directed by Mylène Sauloy portray the struggle of Kurdish women against Daesh in the area of Rojava (Syrian Kurdistan). This article explores the media frame used in those documentaries to explain the relationship that these women establish with violence, a relationship allegedly denatured but sustained throughout history.