TYPE+CODE II: A Code-Driven Typography

Leonardo ◽  
2016 ◽  
Vol 49 (2) ◽  
pp. 168-168 ◽  
Author(s):  
Yeohyun Ahn ◽  
Ge Jin
Keyword(s):  
Programming Language ◽  
Computer Art ◽  
Graphic Art ◽  
Mathematical Expressions ◽  
The Aesthetic ◽  
Type Code

TYPE+CODE II explores the aesthetic of an experimental code-driven typography created with the Processing programming language. It crosses boundaries between calligraphy, graphic art, typography and computer art. TYPE+CODE II reinterprets typography by combining aspects of traditional hand-drawn calligraphy with contemporary elements based on mathematical expressions and algorithms.

CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE

2021 ◽  
pp. 127-138
Author(s):  
Galina S. Gultyaeva ◽  
Keyword(s):  
20Th Century ◽  
Filial Piety ◽  
Chinese Society ◽  
Classical Literature ◽  
Graphic Art ◽  
Political Processes ◽  
The People ◽  
Metaphoric Language ◽  
Academic Painting ◽  
The Aesthetic

Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

Programming Language for Severely Retarded Children

1978 ◽  
Vol 9 (4) ◽  
pp. 213-219
Author(s):  
Carol McCall Davis
Keyword(s):  
Programming Language ◽  
Mentally Retarded ◽  
Mentally Retarded Children

This article describes methods of language programming for profoundly mentally retarded children that are based on linguistic principles. Examples of program contents are drawn from research reports and include cuing procedures, as well as progress from receptive through imitative behaviors, labeling responses, and grammatical sequencing.

Fluency as a determinant of the aesthetic-usability effect

2014 ◽  
Author(s):  
Takahashi Tomoyo ◽  
Shinji Kitagami
Keyword(s):  
The Aesthetic
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