Research Article
Contemporary Sculptural Haptics in Sociocultural Context
Maryna Protas,
Igor Isychenko*
Issue:
Volume 8, Issue 4, December 2023
Pages:
99-106
Received:
23 October 2023
Accepted:
14 November 2023
Published:
24 November 2023
Abstract: In the paper the phenomenon of the so-called contemporary sculptural haptics is discussed. Under this term the authors understand the quality of contemporary art objects to make sight bodily, that is, to reduce any image or imagery that these objects (be they physical or virtual) attempt to represent to merely physical shapes, which is done in such a way that the horizon of the transcendental appears to be sealed off or cut off by immense sensory overload. Consequently, when dealing with sculptural haptics our eyes rather "touch" the art object (even if it is a seemingly shapeless and amorph sculpture) than look at it. This lack or collapse of transcendental horizon that was once glowing from the inside of things and especially works of art results in a form of sensual eternalism, when art is understood only as something that represents this or that form of "reality", be it the reality of concepts produced by our mind to describe the world we live in or the so-called "physical reality" of dense material objects or any other given, particular, defined form of reality, as opposed to Transcendental Reality as such. It is also stated that haptics of this kind, overall, results in an uncritical attitude when works of public art that are totally irrelated to the unique character of the place are installed in it (the so-called plop-art). Instead of this subtle form of the violence of international market economy and post-capitalism over the residents of the place where such artworks are installed, more subtle and sensitive to the environment site-specific works should instead be preferred.
Abstract: In the paper the phenomenon of the so-called contemporary sculptural haptics is discussed. Under this term the authors understand the quality of contemporary art objects to make sight bodily, that is, to reduce any image or imagery that these objects (be they physical or virtual) attempt to represent to merely physical shapes, which is done in such...
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Research Article
Typography as Narrative Parameter of Cinematic Art
Eleni Kremida*,
Iro Laskari,
Spyridon Siakas
Issue:
Volume 8, Issue 4, December 2023
Pages:
107-112
Received:
8 May 2023
Accepted:
25 May 2023
Published:
28 December 2023
Abstract: This article investigates the role of typography in cinema and its impact on the cinematic experience. From the early days of photography and cinema, typography has been used to present words on the screen, enhancing the believability of visual storytelling. As technology evolved, typography continued to serve diverse purposes in films, such as facilitating dialogue, narration, and conveying essential information. Cinema theorists, designers, and semioticians argue that typography in cinema serves specific narrative, aesthetic, and functional objectives. This study draws on semiotic theory, historical context, and insights from design and typography studies to analyze the significance of typography in cinematic storytelling. The article also explores the works of influential theorists, including Roland Barthes and Michel Foucault, who contributed to understanding the relationship between text and image. Typography has played a crucial role in cinema since the early days of silent films. It has been used not only for informational purposes such as opening titles, subtitles, and end credits but also as a narrative tool to enhance storytelling through visual means. Narrative typography in films adds expressive qualities, conveys tone and emotions, and can manipulate viewer attention. On the other hand, the typography of opening titles serves informational and aesthetic needs by providing detailed information about the film's production. Early experiments with motion typography paved the way for its creative use and expressive potential. Typography continued to evolve while pushed the boundaries of cinematic narrative. However, cinema, like any art form, has gone through phases of complexity and regression, with experimentation leading to new hybrid forms of processing text and images. The exploration of typography in cinema, influenced by linguistic syntax and visual processing, continues to shape cinematic language and storytelling. By focusing on the embedded, narrative or non-narrative text that becomes virtual, this study aims to uncover the additional meanings conveyed through typography and its role in enhancing the cinematic narrative.
Abstract: This article investigates the role of typography in cinema and its impact on the cinematic experience. From the early days of photography and cinema, typography has been used to present words on the screen, enhancing the believability of visual storytelling. As technology evolved, typography continued to serve diverse purposes in films, such as fac...
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Research Article
An Approach to Achieve Zero Wastage Pattern for Female Skirt
Palash Chandra Dev Nath*,
Tanjibul Hasan Sajib,
Sarmin Akhter Beauty
Issue:
Volume 8, Issue 4, December 2023
Pages:
113-122
Received:
2 December 2023
Accepted:
19 December 2023
Published:
28 December 2023
Abstract: According to this concept, a zero waste pattern is one that is created so that when the clothes is cut, it leaves no waste behind. Cutting fabric into different pieces and assembling them using sewing, fusing, welding, and other techniques to form garments is the basic method of creating clothes. Many yards of cloth are typically wasted in the process. In the process, a lot of cloth is frequently wasted. Zero waste skirt design is the major focus of this thesis. The activities and design procedures that result in such clothing are the main subject of this thesis's discussion of zero-waste pattern design. Zero Waste fashion design is regulated in the fashion industry because some production issues like the classification of clothing designs to generate size categories and the usage of fabric as a material create a new kind of convenience. In order to assure an ideal system, this study examines typical skirt design styles, which brings needless variables into the planning process. As a result, the process of creating patterns is improved by the elimination of analog variables. The study demonstrates that practical adjustments in the creative style of the skirt design may be made while maintaining the skirt's structural integrity and employing traditional patterns. The findings may be applied to help the development of zero rust pattern creation techniques and to direct pattern makers and manufacturers in objective further selection.
Abstract: According to this concept, a zero waste pattern is one that is created so that when the clothes is cut, it leaves no waste behind. Cutting fabric into different pieces and assembling them using sewing, fusing, welding, and other techniques to form garments is the basic method of creating clothes. Many yards of cloth are typically wasted in the proc...
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