scholarly journals LAKON PUNAKAWAN DALAM KARYA FOTOGRAFI SENI

2019 ◽  
Vol 3 (2) ◽  
pp. 90-97
Author(s):  
Gea Rosa ◽  
Arti Wulandari ◽  
Oscar Samaratungga
Keyword(s):  
Digital Imaging ◽  
Fine Art ◽  
Young Generation ◽  
The World ◽  
The Creation ◽  
Art Photography ◽  
Traditional Arts

Abstrak Penciptan karya seni ini bermula dari keprihatinan terhadap pementasan wayang yang sudah mulai ditinggalkan di era milenial ini, sangat disayangkan apaila pementasan tersebut hilang begitu saja. Padahal kesenian ini sangat banyak memberikan pelajaran yang dapat membentuk karakter generasi muda menjadi lebih baik. Sebagai seorang yang lahir dan besar di Jawa, berkewajiban untuk turut andil dalam melestarikan kesenian peninggalan nenek moyang ini. Penciptaan karya seni ini mengambil tokoh Punakawan yang beranggotakan Semar, Gareng, Petruk dan Bagong. Tokoh-tokoh wayang tersebut diambil karena perannya dalam dunia pewayangan sangat besar. Penciptaan karya seni ini memvisualkan cuplikan lakon Punakawan ke dalam karya fotografi seni. Selain itu, ingin menyampaikan pesan moral yang terdapa dalam lakon Punakawan di  karya fotografi seni. Karya visual ini  mengandung elemen-elemen  pendukung sesuai dengan topik yang diangkat. Elemen-elemen  tersebut digabungkan dengan teknik montase yang diproses menggunakan digital imaging dan dicetak di media kertas foto.   Dengan demikian, visual yang dihadirkan sesuai dengan harapan dan pesan yang akan disampaikan bisa tersampaikan dengan baik. Kata kunci : lakon, Punakawan, fotografi seni Abstract Punakawan Play in Fine Art Photography. The creation of this art work originated from the concern about puppet showa that already  abandoned in this millenial era. It is unfortunate if the show just disappear. Exen trough this art provides a lot of knowledge that can estabilish young generation  character to be better. As a person born and raised in Java,  emerged a sense of  having an obligation to take part in perserving traditional arts. The creation of this art work takes in the figure of a slownman who consist of Semar, Gareng, Petruk and Bagong.  The Puppet caracter is taken, because of the role in the world  of puppetry is very large. The creation of this artwork visualizes snoppet of the clown. Storie into photographic artwork. Moreover, want  to convey a moral  message contained in the storie of clowns into photography artwork. The creation contain elemens that supporting as compatible as the topic raised. The  elements  combaineed with montage technique that proceeded using digital imaging and printed on photo paper, so the visual that served consistent to the hope. Also the message delivered,conveyed well. Keywords: Punakawan, play, fine art photography

scholarly journals "YOUTH SHOULD NOT FIT INTO READY-MADE TEMPLATES...": М. HRUSHEVSKY AND THE UKRAINIAN STUDENTS

2019 ◽  
Vol 32 ◽  
Author(s):  
NATALIIA MYSAK
Keyword(s):  
Young People ◽  
Financial Support ◽  
Scientific Activity ◽  
Young Generation ◽  
Scientific Society ◽  
Material Support ◽  
The World ◽  
History Of ◽  
The Creation ◽  
Academic Building

M. Hrushevsky is a remarkable figure in the Ukrainian history of the late 19 – early 20th century. In recent decades there have been a lot of papers devoted to his scientific and political activities, personal life, and analysis of his scientific heritage. However, M. Hrushevsky's relations with the Ukrainian youth are still one of the unsolved aspects. The main idea of the article is an attempt to analyze the scientist's interpretation of the role and key tasks of the students in the process of national self-identification of the Ukrainians. The aims are to explore the nature of M. Hrushevsky's relationship with young people in educational, scientific, private spheres of life, and to specify the professor's contribution in the case of material support of youth. The scientist was clearly aware of the exceptional role and mission of youth in the processes of the Ukrainian nation formation and construction of the Ukrainian state, and therefore he tried to promote its establishment and development in every way. He was convinced that the youth is the bearer of the nation's potential and that the future of the Ukrainians depends on its character and well-being. M. Hrushevsky was assured that his own task and the task of the public are the creation of the conditions for the young generation formation, the development of such qualities as initiative, independence, creativity, and responsibility. The main sphere of relations between M. Hrushevsky and youth was education. In 1894 professor headed the World history department at the philosophy faculty at Lviv University, with a special emphasis on Eastern Europe. He believed that the main condition of the formation of the Ukrainian youth is the creation of the ability to get an education in the native language, as well as the opportunity of being involved in the scientific activity. M. Hrushevsky read original lecture courses in Ukrainian, which were attended by students of different faculties. At the university, he also conducted the practical classes ("historical exercises"), during which he tried to stimulate students' scientific activity and develop their critical view of the world. Professor had the private lessons, too, during which he provided students with the consultations, listened to the research works, and estimated those. Moreover, he allowed students to use his library. M. Hrushevsky encouraged young people to study science. In the summer of 1904, with the assistance of the Shevchenko Scientific Society, he founded in Lviv the Ukrainian academic vacation courses. The last ones gave to the Ukrainian youth the opportunity to meet and communicate with the Ukrainian scientists from Galicia and the Dnieper Ukraine. M. Hrushevsky himself taught courses on the history of Ukraine. The professor encouraged students to work in the archives and collect materials for the research. He helped them to obtain permission to work in the archives in different countries and searched the financial support for such assignments. And, as an editor of scientific publications, he promoted publication of the articles by his students. Sometimes the relationship between professor and his students acquired a private character. The students often visited M. Hrushevsky's home with the aim to talk or report the news, accepted his invitations for lunch, dinner, and holidays. Some of them had a vacation in a professor's house in Kryvorivnia village. M. Hrushevsky always was sincerely concerned about the financial problems of Ukrainian students. For the financial support of the young scientists on the professor's initiative, several scholarship funds were established in the Shevchenko Scientific Society. M. Hrushevsky also initiated the fundraising for the construction of a dormitory for the Ukrainian youth – "Academic building" in Lviv. He curated the construction of this institution during 1904–1905. M. Hrushevsky, in every way, supported student organizations in various aspects of their activities, as well as the political initiatives of young people. For numerous times, he participated in various events organized by youth societies. The scientist entirely supported the students in the struggle for the opening of the Ukrainian University in Lviv. Thus, in the paper, it is proved that M. Hrushevsky was aware of the exceptional role of students in the formation of the Ukrainian nation and believed that youth is the basis of the intellectual elite foundation process. The relations between the scientist and the Ukrainian youth were close and diverse. In M. Hrushevsky's activities, the priority was given to the versatile political, scientific, moral, and material support of students. Keywords: M. Hrushevsky, youth, students, education, science, Lviv University, Academic building.

scholarly journals PAKU SEBAGAI REPRESENTASI DIRI DALAM FOTOGRAFI EKSPRESI

2019 ◽  
Vol 2 (2) ◽  
pp. 145-158
Author(s):  
Tri Mukti Yuliana ◽  
Arti Wulandari ◽  
Syaifudin Syaifudin
Keyword(s):  
Functional Relation ◽  
Fine Art ◽  
Symbolic Meaning ◽  
Personal Perspective ◽  
Social Phenomenon ◽  
Social Environments ◽  
Self Development ◽  
The World ◽  
Art Photography

AbstrakSebuah foto selain berfungsi untuk merekam realitas objektif juga dapat memberikan ruang berekspresi secara personal bagi fotografernya. Karya fotografi yang diciptakan di sini mengangkat persoalan diri dan direpresentasikan melalui objek paku bersama objek-objek lain yang mendukung narasi tentang diri. Eksistensi diri tentunya tidak lepas dengan lingkungan yang ditinggali. Manusia lahir dalam sebuah keluarga dan kemudian bertemu dan berinteraksi dengan berbagai macam lingkungan sosial. Narasi tentang diri dihadirkan secara tersirat dan mengangkat persoalan seperti fenomena lingkungan yang mempengaruhi terbentuknya diri. Visualisasi penciptaan karya fotografi ini menggunakan teknik penggabungan foto untuk menghasilkan karya sesuai dengan narasi yang dibangun. Selain itu, untuk memvisualisasikan representasi diri melalui objek paku, objek paku juga akan dieksplorasi dan diinteraksikan dengan objek-objek pendukung. Objek-objek tersebut belum tentu memiliki hubungan fungsi dalam dunia nyata. Narasi yang akan dibangun melalui objek paku ini ialah dengan mencari kode serta makna-makna simbolis objek sehingga hasil visual dalam foto menjadi beragam dan menarik.Kata kunci: paku, representasi diri, fotografi ekspresi, simbol   AbstractNail as Self Representation in Fine Art Photography. A photograph, aside of capturing reality, it can be used as a space to express photographer's feeling and his personal perspective about the world. Photographs created here were about self matters represented through nail alongside with another objects as the story of self. Self existence is always related with the place of someone’s lives. People are born in a family and interact with many social environments. These matters of self talks about social phenomenon that affect personal self development. The narations which already gathered were presented implicitly in the photos. These photographs' creation were visualized by combining several photos into one, creating surreal image. Besides, visualizing the idea was applied by exploring and interacting the nail with another objects which were considered relevant with the concept. These object sometimes had no functional relation in reality. The concept of narration here was built up from symbolic meaning of the objects so the visualization of the photographs could be various and became more interesting.Keywords: nail, representation of self, fine art photography, symbol

1968: On Social, Epistemic, and Historiographic(?) Revolutions

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Roberto D. Hernández
Keyword(s):  
Ethnic Studies ◽  
A Priori ◽  
Negative Consequences ◽  
The World ◽  
The Creation ◽  
Young Students ◽  
Historic Significance ◽  
Agent Of Change

This article addresses the meaning and significance of the “world revolution of 1968,” as well as the historiography of 1968. I critically interrogate how the production of a narrative about 1968 and the creation of ethnic studies, despite its world-historic significance, has tended to perpetuate a limiting, essentialized and static notion of “the student” as the primary actor and an inherent agent of change. Although students did play an enormous role in the events leading up to, through, and after 1968 in various parts of the world—and I in no way wish to diminish this fact—this article nonetheless argues that the now hegemonic narrative of a student-led revolt has also had a number of negative consequences, two of which will be the focus here. One problem is that the generation-driven models that situate 1968 as a revolt of the young students versus a presumably older generation, embodied by both their parents and the dominant institutions of the time, are in effect a sociosymbolic reproduction of modernity/coloniality’s logic or driving impulse and obsession with newness. Hence an a priori valuation is assigned to the new, embodied in this case by the student, at the expense of the presumably outmoded old. Secondly, this apparent essentializing of “the student” has entrapped ethnic studies scholars, and many of the period’s activists (some of whom had been students themselves), into said logic, thereby risking the foreclosure of a politics beyond (re)enchantment or even obsession with newness yet again.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

MORPHOLOGICAL STRUCTURE OF AVIATION TERMS

2020 ◽  
Vol 1 (3) ◽  
pp. 206-210
Author(s):  
Ra`no Ergashova ◽  
◽  
Nilufar Yuldosheva
Keyword(s):  
Morphological Structure ◽  
The World ◽  
The Creation ◽  
Terminology System

The creation, regulation, lexical and grammatical research and interpretation of the system of terms in the field of aviation in the world linguistics terminology system are one of the specific directions of terminology. Research on specific features is an important factor in ensuring the development of the industry. This article discusses morphological structure of aviation terms. The purpose of the article is to analyze the role of aviation terms in the morphology of the Uzbek language and its definition.

A book of protection: Hoja Ahmad Yassawi's "Devoni Hikmat"

2020 ◽  
Vol 3 (1) ◽  
pp. 156-160
Author(s):  
Khurshida Salimovna Safarova ◽  
Shakhnoza Islomovna Vosiyeva
Keyword(s):  
Moral Status ◽  
The World ◽  
The Creation ◽  
The Universe

Every great fiction book is a book that portrays the uniqueness of the universe and man, the difficulty of breaking that bond, or the weakening of its bond and the increase in human. The creation of such a book is beyond the reach of all creators, and not all works can illuminate the cultural, spiritual and moral status of any nation in the world by unraveling the underlying foundations of humanity. With the birth of Hoja Ahmad Yassawi's “Devoni Hikmat”, the Turkic nations were recognized as a nation with its own book of teaching, literally, the encyclopedia of enlightenment, truth and spirituality.

O curso de Geografia Física de Immanuel Kant (1724-1804): uma contribuição para a história e a epistemologia da ciência geográfica

GEOgraphia ◽  
2010 ◽  
Vol 10 (19) ◽  
pp. 103
Author(s):  
Alexandre Domingues Ribas ◽  
Antonio Carlos Vitte
Keyword(s):  
Immanuel Kant ◽  
Epistemic Justification ◽  
Physical Geography ◽  
Transcendental Philosophy ◽  
Philosophical Reflection ◽  
General Surface ◽  
The World ◽  
The Subject ◽  
The Creation ◽  
Modern Geography

Resumo: Há um relativo depauperamento no tocante ao nosso conhecimento a respeito da relação entre a filosofia kantiana e a constituição da geografia moderna e, conseqüentemente, científica. Esta relação, quando abordada, o é - vezes sem conta - de modo oblíquo ou tangencial, isto é, ela resta quase que exclusivamente confinada ao ato de noticiar que Kant ofereceu, por aproximadamente quatro décadas, cursos de Geografia Física em Königsberg, ou que ele foi o primeiro filósofo a inserir esta disciplina na Universidade, antes mesmo da criação da cátedra de Geografia em Berlim, em 1820, por Karl Ritter. Não ultrapassar a pueril divulgação deste ato em si mesma só nos faz jogar uma cortina sobre a ausência de um discernimento maior acerca do tributo de Kant àfundamentação epistêmica da geografia moderna e científica. Abrir umafrincha nesta cortina denota, necessariamente, elucidar o papel e o lugardo “Curso de Geografia Física” no corpus da filosofia transcendental kantiana. Assim sendo, partimos da conjectura de que a “Geografia Física” continuamente se mostrou, a Kant, como um conhecimento portador de um desmedido sentido filosófico, já que ela lhe denotava a própria possibilidade de empiricização de sua filosofia. Logo, a Geografia Física seria, para Kant, o embasamento empírico de suas reflexões filosóficas, pois ela lhe comunicava a empiricidade da invenção do mundo; ela lhe outorgava a construção metafísica da “superfície da Terra”. Destarte, da mesma maneira que a Geografia, em sua superfície geral, conferiu uma espécie de atributo científico à validação do empírico da Modernidade (desde os idos do século XVI), a Geografia Física apresentou-se como o sustentáculo empírico da reflexão filosófica kantiana acerca da “metafísica da natureza” e da “metafísica do mundo”.THE COURSE OF PHYSICAL GEOGRAPHY OF IMMANUEL KANT(1724-1804): CONTRIBUTION FOR THE GEOGRAPHICALSCIENCE HISTORY AND EPISTEMOLOGYAbstract: There is a relative weakness about our knowledge concerningKant philosophy and the constitution of modern geography and,consequently, scientific geography. That relation, whenever studied,happens – several times – in an oblique or tangential way, what means thatit lies almost exclusively confined in the act of notifying that Kant offered,for approximately four decades, “Physical Geography” courses inKonigsberg, or that he was the first philosopher teaching the subject at anyCollege, even before the creation of Geography chair in Berlin, in 1820, byKarl Ritter. Not overcoming the early spread of that act itself only made usthrow a curtain over the absence of a major understanding about Kant’stribute to epistemic justification of modern and scientific geography. Toopen a breach in this curtain indicates, necessarily, to lighten the role andplace of Physical Geography Course inside Kantian transcendentalphilosophy. So, we began from the conjecture that Physical Geography hasalways shown, by Kant, as a knowledge carrier of an unmeasuredphilosophic sense, once it showed the possibility of empiricization of hisphilosophy. Therefore, a Physical Geography would be, for Kant, theempirics basis of his philosophic thoughts, because it communicates theempiria of the world invention; it has made him to build metaphysically the“Earth’s surface”. In the same way, Geography, in its general surface, hasgiven a particular tribute to the empiric validation of Modernity (since the16th century), Physical Geography introduced itself as an empiric basis toKantian philosophical reflection about “nature’s metaphysics” and the“world metaphysics” as well.Keywords: History and Epistemology of Geography, Physical Geography,Cosmology, Kantian Transcendental Philosophy, Nature.

Archiving the British Raj

2018 ◽  
Author(s):  
Sabyasachi Bhattacharya
Keyword(s):  
Public Sphere ◽  
Colonial Rule ◽  
Historical Records ◽  
The Public ◽  
British Raj ◽  
National Archives ◽  
The World ◽  
The Creation ◽  
The Public Sphere ◽  
Central Archive

The archives are generally sites where historians conduct research into our past. Seldom are they objects of research. Sabyasachi Bhattacharya traces the path that led to the creation of a central archive in India, from the setting up of the Imperial Record Department, the precursor of the National Archives of India, and the Indian Historical Records Commission, to the framing of archival policies and the change in those policies over the years. In the last two decades of colonial rule in India, there were anticipations of freedom in many areas of the public sphere. These were felt in the domain of archiving as well, chiefly in the form of reversal of earlier policies. From this perspective, Bhattacharya explores the relation between knowledge and power and discusses how the World Wars and the decline of Britain, among other factors, effected a transition from a Eurocentric and disparaging approach to India towards a more liberal and less ethnocentric one.

Contemplating Compilations

2017 ◽  
Author(s):  
Joseph Pate ◽  
Brian Kumm
Keyword(s):  
Music Making ◽  
Van Manen ◽  
The World ◽  
The Creation ◽  
Pass Through ◽  
Sound Objects ◽  
Meaningful Experiences ◽  
The Voice ◽  
Max Van Manen

Through this chapter the crafting of compilations is explored as an act, art, and expression of music making, illuminating the listeners’ and compilers’ positions as cocreators of meaning, function, and purpose. Music becomes repositioned and repurposed as found or sound objects that pass through Gaston Bachelard’s triptych of resonance, repercussion, and reverberations, a process of music speaking to so as to speak for individuals’ deeply personal and significantly meaningful experiences. The chapter addresses the question, “What motivates someone to partake in this personally meaningful, vulnerable, and artistic endeavor?” Using Josef Pieper’s conceptions of leisure as celebration, an orientation toward the wonderful, and an act of affirmation, the chapter concludes that the creation and crafting of compilations (e.g., mix tape) affords poetic spaces for connection, enchantment, felt-aliveness, or what Max van Manen called an “incantative, evocative speaking, a primal telling, [whose] aim [is] to involve the voice in an original singing of the world.”

The New Islamic State

2020 ◽  
Author(s):  
Farhad Khosrokhavar
Keyword(s):  
Middle East ◽  
Modern Society ◽  
Islamic State ◽  
Imagined Community ◽  
The West ◽  
Patriarchal Family ◽  
The Past ◽  
The World ◽  
The Creation

The creation of the Islamic State in Iraq and Sham (ISIS) changed the nature of jihadism worldwide. For a few years (2014–2017) it exemplified the destructive capacity of jihadism and created a new utopia aimed at restoring the past greatness and glory of the former caliphate. It also attracted tens of thousands of young wannabe combatants of faith (mujahids, those who make jihad) toward Syria and Iraq from more than 100 countries. Its utopia was dual: not only re-creating the caliphate that would spread Islam all over the world but also creating a cohesive, imagined community (the neo-umma) that would restore patriarchal family and put an end to the crisis of modern society through an inflexible interpretation of shari‘a (Islamic laws and commandments). To achieve these goals, ISIS diversified its approach. It focused, in the West, on the rancor of the Muslim migrants’ sons and daughters, on exoticism, and on an imaginary dream world and, in the Middle East, on tribes and the Sunni/Shi‘a divide, particularly in the Iraqi and Syrian societies.

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