Era Modenisme dan Pascamodenisme: Suatu Transformasi Seni Visual dalam Konteks Sosio-Budaya

This paperwork discusses some theories between modernist and post-modernist thinking that have been evolved in society. The presence of post-modernist thought is said to be anti-modernist. Thus, the question is whether it emerges as anticipation or the occurrence of a transformation shift at its pace in driving the development of art and culture. The objective of this study is to discuss the changing trends of art practitioners in the context of visual art and culture phenomenon today since the era of modernism. However. to what extent is the presence of post-modernist thinking that is said to be anti-modernism put into practice or is modernist thinking dead? The statement also dissects various notions or is it true that there is no precise and clear interpretation or understanding between "modern art" and "postmodern art"? This is also marked by the emergence of various interpretations and the existence of polemics or discussions among scholars, especially in the discourse of art and culture. This study is using secondary research based on various theories of disciplines and conducting an interview with art critics and art historians in resolving this question. Although there are various doubts in the separation between "modernism" and "postmodernism" but it provides an interesting input that is often associated with the emergence of some characteristics of the postmodern era thought and style that differs in terms of ideas, concepts, approaches, materials, appearance, presentation, ideas, interpretation and it is meaning that leads to the transformation of visual arts in the current socio-cultural context.

Batik Patterns in the South of Thailand

“Batik” or “Pateh” is an important cloth in the south of Thailand. Its unique features such as pattern, colour, and production process make Batik different from other cloth in the other part of Thailand. Traditionally, Batik was originated in Indonesia and India where people used paraffin wax as a dye-resist paint. It was also reported that other Asian countries such as Japan and India made Batik fabric in their country. In Thailand, local people in the south made their clothes from Batik fabric and wore them in daily life or during special social events. They designed pattern and applied wax-resist dyeing by hand or blocks on the fabric to create colourful and creative designs. Batik is a cultural identity of the south of Thailand. The study found that the process of creating pattern and colour for Batik was used a long time ago. In the past, artisans primarily employed wooden molds or blocks and wax to create patterns. Through the accumulation of knowledge and experience over time, the development of metal blocks makes Batik’s patterns more delicate and vivid. In addition, the research aimed to study about Batik pattern in the southern provinces of Thailand.It can be said that Batik is a uniquely beautiful fabric that should be collected as a national heritage and for the future study of this fabric. The study of Batik pattern in the south revealed that former patterns simply used basic geometric shapes such as lines, squares, and circles. Then, these patterns have been developed by integrating rhythms and spaces to create more distinctive and delicate designs. Moreover, the patterns of Batik in the south were inspired by nature, religious beliefs, and ways of life. Warm tone colours such as red, brown, yellow and cool tone colours such as blue and green were employed. It was also found that the materials used in the past were primarily from plants and nature. Nowadays, artificial colors are also used because they allow vivid and durable effects.

Recycling from SI+SA Exhibition in the Context of Visual Arts

This study was conducted to discuss and identify the potential of discarded recycled materials from the daily use of society in Malaysia and turns them to produce creative artworks. The study was conducted based on the observations of the artworks exhibited during the SI+SA Exhibition at the Shah Alam Gallery, Selangor. This research focuses on the creation process, form and value of the creative artworks originating from recycled materials. The art study approach, where the foundations are derived from a qualitative approach that emphasizes descriptive and holistic explanatory systems, has been used and linked through a conceptual framework developed by the relevant concepts as the frame of its analysis. Data was collected through primary methods such as interviews and observations and secondary sources such as books, journals, newspaper clippings and magazines. The results show that the works from the SI+SA Exhibition attempted to convey a message to address humanitarian problems such as responsibility, behaviour, awareness and sacrifice. The structure of the message conveys content that represents the meaning of the values of health, hygiene and creativity that ultimately encourages the community to play their respective roles in addressing the issue of waste management and recycling on a global scale. It is hoped that this research can show that using recycled materials as an alternative to producing creative artwork is a practical approach. Indirectly, raising awareness about recycling is no longer an option but rather an obligation to all levels of society to be cultured in daily life to ensure the environment's future is secure.

A Study of Hybrid Art Practices Among the Artworks of Selected Malaysian Artists

The revolution in art practices has led Malaysian artists to discover greater possibilities in art, especially in terms of media exploration. In this paper, the researchers conducted a study of hybrid art practices among the artworks of selected Malaysian artists. The research objective of this paper is to identify and trace, among the selected artworks, hybrid art practices as a way of creating hybrid artworks. The researchers applied direct observation and extracted the artists’ statements for documentation. The results show that most of the artworks applied modern technology and have an element of interaction with the audience. In addition, media exploration has expanded to technological and scientific knowledge. In conclusion, the diversity of media and the discipline have enabled artists to explore more media when producing creative artworks. These collaborations have expanded to produce new findings and allow new perspectives on disciplines in art.

Utilizing and Evaluating of Virtual Tours in Art Exhibition Amidst Global Pandemic

Covid-19 has sojourned the world as we know then into a cessation. It affects various disciplinary fields to a standstill which includes art and tourism. In Malaysia, to adapt to the global pandemic; new opportunities have emerged and dealt with it no longer becomes optional but rather a solution. Therefore, this research is mainly focused on implementing virtual tours to cope with the new norms; and evaluates its implication specifically in showcasing art exhibitions. The researcher uses the concept of Google Street View to capture virtual spaces; combining with Pano2Vr software as constructing tools; for audiences to interact and discusses its usefulness based on their ease of accessibility. Through the usage of this software, the researcher was able to reconstruct the actual gallery into series of interconnected images that trajectories within a web hosting server which are accessible over various platforms. The researcher purposely uses 360 panoramic images to maintain the ingenuity and actuality of the exhibition surroundings; due to most audiences are more complacent to the practicality compared to 3D digital replication. The advantages and disadvantages of this particular application of Virtual Tours (VTs) are then assessed through data collected based on the accessed devices, accessed locations, and total participation to see whether this concept can be used as a new alternative tool in showcasing art exhibitions in the effort of avoiding the pandemic widespread while still keeping the art activity at a sensible pace.

Virtual skin: Assessing Player Experience of Attractiveness with the User Experience Questionnaire (UEQ)

There are numerous subfields within visual communication, one of which is new media, alongside conventional practices such as advertising, photography, the web, animation, and signage. Blogs, social media, video games, email and the pervasiveness of smartphones have all resulted in the emergence of new media that are inextricably linked to the internet and the online environment. since the first mobile game, "Tetris", in 1994 and “Snakes" in 1997, the visual element in mobile games has evolved significantly, culminating in the modern-day mobile gaming world. These changes have involved progress from the black and white images of the early games to the variety of colours used in game visuals today and the creation of virtual goods in-app games. A skin is one of these virtual goods or items and is synonymous with a virtual appearance, outfit or cosmetic item that can be used to modify and enhance the appearance of a player's avatar. This is a cosmetic item and purely aesthetic in nature, serving no functional purpose. Among players, the desire for a skin is undeniable. Apart from the "beauty factor," another hidden value is inherent in players' perceptions of their interactions with purely aesthetic items. To determine the attractiveness of the skin in mobile games, preliminary research on skin evaluation was conducted to ascertain players' perceptions of recent virtual skins they had used in-game. The purpose of the study was to identify players’ perceptions of the attractiveness of the skin they used. To conduct the research, the Standard User Experience Questionnaire (UEQ) was used to determine the attractiveness of the skin as a virtual product. The UEQ is composed of six scales and twenty-six items that assess attractiveness on a hedonic and pragmatic level. Thirty respondents were chosen, and data analysis was performed using UEQ Data Analysis Tools. The product's benchmark was divided into five UX quality categories: excellent, good, above average, below average, and bad. The results indicate that stimulation is an excellent proxy for the UX quality of skin and efficiency is above average; meanwhile, attractiveness, perspicuity, dependability, and novelty were below average.

Konsep Mimesis Dalam Seni Melayu

The Malays have long utilized natural resources to meet their daily basic needs. Natural resources serve as the basis not only in nutrition, medicine, and equipment but also the basis of inspiration in Malay art. It begins with careful observation and reasoning and then the natural resources are utilized wisely by the Malays. Since most of them live in villages, life is well integrated with the rural environment such as plants, and other various natural elements. With the concept of hometown, they make nature to fulfill their economic and social functions and, also to fill the gap between ethical and aesthetical values, for cultural development. This paper discusses the concept of mimesis or imitation by Malay artisans in the production of art and design motifs. The objective of this study was to document the concept of mimesis in the production of Malay art. There are many art and design motifs that are sourced from nature. It is based on the process of imitation is found in songket weaving motifs, weaving, batik, wood carving, telepuk and others. The research of this study is based on observation methods and interviews with individuals and cultural expert figures. It is hoped that every Malay art will continue to be appreciated and understood as a rich artistic heritage with its values and philosophy that support the community and the culture. The essence of such methodology or procedure is to highlight nature as the source of aspiration and inspiration of art treasures that will ensure the greatness of the Malay art universally.