Duncan Winder: architectural photographer

<p>In 1960s New Zealand, Duncan Winder (1919-1970) transitioned from architect to architectural photographer. With his architectural eye, Winder produced distinctive and seminal images of New Zealand post-war architecture and these images have an enduring relevance today. Despite this significant contribution to local architectural culture, contemporary knowledge of Winder’s legacy and output has remained limited. This research sought to raise awareness of his life and work. To contextualise Winder’s work, a framework for image analysis was developed which drew on the visual languages of two architectural movements which were prominent during Winder’s period of practice, Townscape and New Brutalism. In addition, a visual survey of New Zealand architectural photography from 1930 to 1970 was undertaken. This enabled contextualisation of Winder’s photography with the work of other local photographers operating at the time. From the analysis, it is clear that Winder’s photography shows aspects of both Townscape and New Brutalism, in terms of its compositional approach. This is not only interesting for the fact that these movements have historically been seen as oppositional, but because it exposes some of the ways in which their visual languages were related. The analysis also highlighted the 1960s as a particularly healthy decade for the production of New Zealand architectural photography. This was demonstrated through the progressive improvement in the quality of published architectural photography and the increase in number of architectural photographers practicing locally. It is positive that in recent years Winder’s archive of photographs has been digitised and made publicly accessible, and that digitisation has enabled this research to provide original and thorough commentary on Winder’s photography. The research has identified distinctive and memorable qualities of Winder’s style, including his compositional use of thirds, his off-centre perspectives, and his attentiveness to tone and materiality. In this way, the research has provided appropriate ways to understand and value Winder’s photography, and appreciate his significant contribution to New Zealand’s architectural culture and history.</p>

Duncan Winder: architectural photographer

<p>In 1960s New Zealand, Duncan Winder (1919-1970) transitioned from architect to architectural photographer. With his architectural eye, Winder produced distinctive and seminal images of New Zealand post-war architecture and these images have an enduring relevance today. Despite this significant contribution to local architectural culture, contemporary knowledge of Winder’s legacy and output has remained limited. This research sought to raise awareness of his life and work. To contextualise Winder’s work, a framework for image analysis was developed which drew on the visual languages of two architectural movements which were prominent during Winder’s period of practice, Townscape and New Brutalism. In addition, a visual survey of New Zealand architectural photography from 1930 to 1970 was undertaken. This enabled contextualisation of Winder’s photography with the work of other local photographers operating at the time. From the analysis, it is clear that Winder’s photography shows aspects of both Townscape and New Brutalism, in terms of its compositional approach. This is not only interesting for the fact that these movements have historically been seen as oppositional, but because it exposes some of the ways in which their visual languages were related. The analysis also highlighted the 1960s as a particularly healthy decade for the production of New Zealand architectural photography. This was demonstrated through the progressive improvement in the quality of published architectural photography and the increase in number of architectural photographers practicing locally. It is positive that in recent years Winder’s archive of photographs has been digitised and made publicly accessible, and that digitisation has enabled this research to provide original and thorough commentary on Winder’s photography. The research has identified distinctive and memorable qualities of Winder’s style, including his compositional use of thirds, his off-centre perspectives, and his attentiveness to tone and materiality. In this way, the research has provided appropriate ways to understand and value Winder’s photography, and appreciate his significant contribution to New Zealand’s architectural culture and history.</p>

The Adaptation and Remediation of Comic to Film: A Critical Analysis of the Remediation of a Comic Trope in Function and Form

Because graphic novels and film both contain a strong visual element, they continue to have an effect on each other’s development. Aspects from comics have been succesfully remediated into film, and vice-versa. There are, however, clear distinctions between the two mediums. This paper explores the adaptations of comics to film, noting how some film adaptations merely adapt the narrative, while others apply some of the aesthetic qualaties and visual communication tropes of the graphic novel into the film. Examples like “Dick Tracey”, “300”, and even more so, “Scott Pilgrim versus the World” show how remediation of comics in film can work. The more recent “Spiderman: Into the Spiderverse”, is probably the film which remediates comics better than any other film, including brief moments where juxtaposed panels showing sequential actions are used. This being, according to many comic scholars, the main defining feature of the comic medium. It is the trope which I will be exploring in more detail in further studies, attempting to remediate it into film in a way which reflects its use in comics more accurately. This paper serves as a literature review, which provides detailed understanding of the comic and film visual languages, the differences and similarities between them, and will be the basis upon which further research is built.

T-Scheduler, Integrated Website and Mobile Apps Design Based on 4DX for the Acceleration of Thesis Completion Dhara Alim Cendekia, Andreas Syah Pahlevi, Azhar Ahmad S

During COVID-19, thesis tutoring is more challenging. Offline meeting consistency is hard to maintain online. To solve this problem and keep students motivated to finish their thesis, we proposed developing a website based on the 4DX theory. The theory of 4DX is setting Wildly Important Goals (WIG), acting the lead measure, presenting a motivating scoreboard, and creating the rhythm of accountability, which are represented in the visual languages of the interfaces of the developed website. The website and apps were designed to visualize those four theories by using M. Asimov methodologies. The students can set WIG (for when the thesis exam is planned) and lead measure (in the task form) in the calendar interface. The lecturer can check their progress. The scoreboard page presents their thesis milestones, and all students working with one lecturer can see each other’s profiles. There are chat rooms, teleconference facilities, and reminder tools that can be plugged in to mobile apps for support. Thus, a creative and innovative solution was developed for guidance on completing a thesis in higher education by using gamification through a scoreboard. Keywords: 4DX, online thesis guidance, website, mobile apps

Situación actual de la educación artística en España

This article aims to present the research results on the current situation of art education as a discipline in Spain, in addition to assessing the importance of the arts in the educational process, as well as the knowledge of visual languages that allow conducting educational research not only in this branch of knowledge. After the advances that had occurred in recent decades, despite the development of different educational laws on adverse occasions, the current moment is one of uncertainty because the presence of the arts in education is questioned, and it is not understood that it is related to other scientific areas which it helps to solve didactic problems, through the development of different audiovisual languages. Failure to promote an educational specialization in the area, may have repercussions on students who will not have a way to develop a learning of visual culture, through artistic experiences organized from teaching, as well as teachers, by relegating the artistic subject to a elective without specific content, it could be developed by any educator who does not always seek to solve expressive, aesthetic or creative problems.