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2021 ◽  
Sourav Dakua

This project-based research in the form of a visual essay along with reflective summary will gaze into the political aesthetics of art and history collaborated with its communicative approach and correlation in the global appearance. The motto of this essay is the representation of political aesthetics and class struggle through modern day arts, images and graphic from Psychoanalytic, semiotic, iconic, realism and Marxist viewpoint and their impacts on the communication and correlation. As images could be read from various perspectives, how the formalism and visual form of art alongside psychoanalytic and connoisseurship point of view could encounter the reflection as a limitation, would also be elaborated. In order to perform that and to achieve a concrete establishment according to the finding, thirteen images will be evaluated in relation to their political aesthetic to find out their influences, political aesthetics and class-struggle perspectives on global-scale appearances from Psychoanalytic, semiotic, iconic, symbolic, realism and Marxist viewpoint. Apart from the accomplishment of the evaluation of their nature of communication, this essay would also enlighten the theoretical dimension of arts and images in contrast to the point of interests.

2021 ◽  
pp. 74-98
Jordan Schonig

This chapter examines the phenomenological and aesthetic effects of “durational metamorphoses,” slow movements of incremental change that result in a sense of visual transformation, such as a sunrise or the shape-shifting of clouds. These movements have become hallmarks of “slow cinema” in the last twenty years, but also can be traced back to the non-narrative experiments of structural film such as Fogline (Gottheim, 1970) or the landscape films of James Benning (e.g., Ten Skies, 2004). By analyzing sequences featuring durational metamorphoses across narrative films and video installations such as Silent Light (Reygadas, 2007), The Locked Garden (Viola, 2000), and Cemetery of Splendor (Apichatpong, 2015), this chapter demonstrates how a phenomenology of durational metamorphoses can help rethink the discourse of cinematic slowness, which often treats slowness and stasis as occasions to retreat away from the perception of the screen and toward contemplation. Against this common understanding of slowness, this chapter argues that durational metamorphoses compel perceptual encounters with slowness as a form of movement, one that presents Bergsonian duration in visual form.

2021 ◽  
pp. 765-776
Kara Keeling

This chapter considers the ways in which Black film enlists the past when engaging in present struggles. It demonstrates how Rodney Evans’s film Brother to Brother (2004) redresses the elision of queer history from accounts of the Harlem Renaissance. Through a close reading of the film’s spatial metaphors, sound design, and visual form, the chapter shows how realism and the disruption of habituation exist side by side as mechanisms for new visions of Black queer life. It concludes that Evans harnesses the power of sound and image to remake history and to account for Black queer desire and erotic life.

2021 ◽  
Vol 7 (2) ◽  
pp. 57-63
Alex Cristian Justisia Ginting

Seni lukis Byzantine adalah salah satu warisan kesenian dunia yang belum banyak dibahas oleh kalangan akademisi seni di Indonesia. Warisan seni lukis Byzantine sering disamakan dengan Ikonografi, yaitu gambar-gambar suci yang sampai hari ini masih dipertahankan fungsinya dalam gereja-gereja yang menggunakan ritus Byzantine (Gereja Orthodox dan Gereja Katolik Ritus Byzantine). Seni Byzantine dibagi tiga periode, yaitu awal, tengah, dan akhir, dimana pada periode Tengah-Akhir muncul ikon berjenis Menologion. Seni lukis Byzantine dikaji menggunakan Ikon Pesta Transfigurasi yang merupakan digitalisasi dari ikon aslinya yang berasal dari abad ke-16 untuk menjelaskan bentuk visual, struktur dan hubungannya dengan narasi. Kajian  menemukan ada kesamaan antara visualisasi narasi ikon dengan struktur pesta Gerejawi yang memiliki tiga pola (Pra Pesta – Pesta – Pasca Pesta/Apodosis).Byzantine painting is one of the world's artistic heritage that art academics have not widely discussed in Indonesia. The legacy of Byzantine painting is often equated with iconography, which is sacred images that still retain their function in churches that use the Byzantine rite (Orthodox Church and Byzantine Rite Catholic Church). Byzantine art had developed in three periods, namely beginning, middle, and end, wherein the Middle-Late period, an icon of the Menologion type appears. The byzantine painting was studied using the Transfiguration Feast Icon, digitizing the original icon dating from the 16th century to explain its visual form, structure, and relationship to narrative. The study found similarities between the visualization of the iconic narrative and the ecclesiastical party structure with three patterns (Pre Pesta – Pesta – Post-Pesta / Apodosis). 

2021 ◽  
Vol 7 (2) ◽  
pp. 90-97
Haidarsyah Dwi Albahi

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".

Gizela Horvath

After the pictorial turn, it is not surprising that political messages are more and more often presented in a visual form. Today, the battle between great ideas is not only fought via texts, but also through real and virtual images, or, through imagetexts. This paper tackles the image politics of the Romanian post-2016 anti-government popular resistance through some typical cases of imagetext: hashtags, symbols, video mapping, posters and some cases of visible space-occupation. These examples can present the anonymous (in some cases professional) artistic creativity, which helps the formation of social solidarity and crystallizes the message of the resistance.

2021 ◽  
Vol 6 (2) ◽  
pp. 91-97
Noor Enfendi Desa ◽  
Noor A'yunni Muhamad ◽  
Syed Alwi Syed Abu Bakar ◽  
Azian Tahir ◽  

The effects from thinking will result in the production of perception. This perception exists in both positive and negative situations. It focuses on the cognitive that explains how human brain responds to the perceptions received from their respective methods of understanding. The exhibition of “Kami 8: SI + SA" has managed to exhibit creative artwork produced by academic staffs from the Faculty of Art and Design UiTM Perak, with the appreciation of the theme "SI + SA" will change the way of delivery or meaning, according to the circumstances and methods of individual personal perception. The research design is based on J.J. Winklemann in producing art works. Data collection consisting of sampling and equipment based on ideal imagery observation methods. Also, samples and equipment were analyzed based on the production of the proposed artwork based on the studio-based research. The artwork "free memories" is produced based on perception and understanding by the author translating in visual form.

2021 ◽  
Vol 2021 ◽  
pp. 1-15
Dazhuang Li ◽  
Emad Saadi Alkathir

As one of the cultural forms of human beings, ceramic murals transcend the dimension of time and space and transcend the single cognition of materialism in the sense of purely material materials. The emergence of computer vision technology has also provided conditions for developing ceramic murals in terms of concepts and technical forms. This article first studies the visual communication language research in ceramic mural art, at the same time comprehensively analyzes the design principles of ceramic mural art, and interprets the visual form of ceramic mural art from the perspective of actual projects in the thesis; then, it boldly analyzes the future of ceramic mural art Development trend. Finally, this article analyzes the composition in ceramic mural art, the graphics in ceramic mural art, the color in ceramic mural art, the scale in ceramic mural art, the lighting in ceramic mural art, and the design principles in ceramic mural art. The experimental results show that there are significant differences in the artistic design principles of ceramic murals P < 0.05 , and there are significant differences in the artistic design principles of ceramic murals P < 0.05 . Therefore, the artistic design principles of modern ceramic murals should mainly follow elegant and prominent forms.

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