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This document summarizes two units on arts and crafts. Unit 1 discusses relationships between objects, visual elements in the public environment, stages of communication, and examples of graphic, visual, audio-visual and sound media. Unit 2 defines realistic drawings and use of lines, how different line types convey messages, visual textures, and using texture to organize compositions. Examples are provided to illustrate key points.
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This document discusses concepts related to visual language and communication. It addresses relationships between objects and provides an example. It asks about common items in the visual public environment and gives an example of visual contamination. It also outlines the stages of the communication process and provides examples of different media types including graphic, visual, audio-visual, and sound. Additional questions explore the effects of different speech bubbles, analyzing the Nike logo, discussing images out of context, and identifying shot types in a comic. The second unit discusses realistic drawings and use of lines, how different line types transmit messages, defining visual textures and naming three examples, and using texture to organize compositions.
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This document discusses concepts related to visual language and communication. It addresses relationships between objects and provides an example. It asks about common items in the visual public environment and gives an example of visual contamination. It also outlines the stages of the communication process and provides examples of different media types including graphic, visual, audio-visual, and sound. Additional questions explore the effects of different speech bubbles, analyzing the Nike logo, discussing images out of context, and identifying shot types in a comic. The second unit discusses realistic drawings and use of lines, how different line types transmit messages, defining visual textures and naming three examples, and using texture to organize compositions.
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The document outlines a course on art and design. It includes an index that lists various units covering topics like visual language, images, communication, elements of visual language including color and texture, space and volume, and systems of representation. One unit discusses images and visual communication, explaining that visual communication is a process of intentional transmission of a message through images. Images can be representative, abstract, or symbolic, and the iconicity of an image refers to how similar it is to the object it represents. Representative images have the highest level of iconicity.
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This document discusses media language and semiotics, the study of signs. It defines key terms like signifier, signified, denotation, and connotation, and explains how symbolic, written, and technical signs construct meaning in media texts. It provides a framework for analyzing media texts that includes symbolic, written, and technical signs. It also discusses how context, culture, and conventions influence interpretation of signs, which can have multiple possible meanings. Semiotics is important because it examines how meaning is constructed in media through systems of signs, not passively received.
Telephone
The full paper is available here: https://www.academia.edu/3819637/Spreading_the_cult_body_on_YouTube_A_case_study_of_Telephone_derivative_videos
This case study of spreadability analyzes the Lady Gagamusic video "Telephone," which has been appropriated and reworked byYouTube users sharing derivative works online. What properties of the musicvideo stimulate user appropriation? What hybrid audiovisual forms areemerging from its reworking by users? In order to answer these questions,between January and August 2010, I conducted participant observation onLady Gaga's official social network profiles and collected 70 "Telephone"derivative videos on YouTube. I identified three main categories of videocreativity: (1) music (which includes covers, "me singing" videos, musicmashups, and choreography); (2) parody (in which YouTube users andcomedians humorously imitate Gaga, creating spoofs); and (3) fashion (inwhich makeup artists and amateurs appropriate the star's image to createmakeup and hair tutorials). "Telephone" has become spreadable because itintegrates dance music and choreography, costume changes, cinematicreferences, and product placements that work as textual hooks meaningful todifferent target markets: live music, dance, chick, and postmodern cinematiccultures. In particular, Gaga is a cult body that explicitly incorporates previouscinematic and pop music icons. Users are stimulated to reenact Gaga's cultbody online. On YouTube, spreadability is thus strictly related to theappropriation of cult bodies. Fans, comedians, independent musicians,fashionistas, and pop stars construct their own cult bodies by deliberatelyborrowing characteristics from previous media icons and reenacting them inonline videos in order to fulfill their expressive and professional needs.
What is contemporary art
Contemporary art reflects complex issues that shape our diverse and changing world. It challenges ideas about what art should look and behave like. Contemporary art includes visual art, dance, music, theater, new media and hybrid forms. There are two main types - 2D art like paintings, movies and photographs, and 3D art like music, 3D movies and sculptures. Both types are created by today's artists and explore identity, social critique, or redefining art. An open mind is needed to appreciate contemporary art's thought-provoking questions.
Dancing in The Stardom
The evolution of the music industry with the spread of the Internet. The full paper is available here: https://www.academia.edu/359318/The_recording_industry_and_grassroots_marketing_from_street_teams_to_flash_mobs
New media have changed the relationship between the recording industry and fans. TheInternet allows fans to share copyrighted music in p2p and Web 2.0 platforms. The
recording industry has reacted mainly with ‘prohibitionist’ strategies, while cultural scholarsargue that a ‘collaborationist’ approach is needed with the aim of creating an ‘affectiveeconomy’. In this paper, I describe the strategies of the major labels to create a fanbase of
grassroots promoters. During an ethnographic research project, I identified different forms
of grassroots marketing (‘street team’, ‘flash mob’, and ‘mission’). I argue that labels try toharness ‘participative stardom’: a ‘music star’ is created thanks to transmedia strategies
(online presence and TV appearances during media events and talent shows), then labelsoutsource promotional activities to fans, rewarding them with branded products and theopportunity to meet artists.
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Objects in the visual environment can have spatial relationships with each other, such as being above, below, or beside another object. Visual clutter and advertisements are common forms of visual contamination in public spaces. The communication process involves stages like the sender, encoding, channel, decoding, and receiver. Graphic media uses still images, visual media uses moving images, and audiovisual media combines both, while sound media only uses audio. Different shapes of speech bubbles or balloons in a comic can convey different meanings or emotions, and logos like Nike aim to transmit messages about the brand. Comic panels use different camera shots or angles to portray the story.
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Objects can have relationships with each other, such as one object obstructing the view of another. Visual contamination in our public environment includes things like advertisements and graffiti. The stages of the communication process are sender, encoding, channel, decoding, and receiver. Examples of graphic and visual media include photographs with their ability to capture realistic images, audio-visual media includes movies which combine visuals and sound, and sound media includes radio which relies solely on audio. Speech bubbles or balloons with different shapes and words can convey different meanings and emotions. The Nike logo transmits ideas of strength and power. Images taken out of context can be perceived differently than intended. Comic panels use different types of shots like close-ups, long shots
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This document discusses various concepts in visual language and communication. It asks questions about the relationships between objects, elements in the visual public environment, the stages of communication processes, examples of different media types, how speech bubbles can change the effect of messages, how logos can transmit messages, how images can be perceived differently out of context, types of shots in comic panels, what defines realistic drawings, how lines can transmit different messages, what visual textures are, and how texture can organize compositions.
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1) Consider the relationships between objects and give an example.
2) Identify items that appear in the visual public environment and give an example of visual contamination.
3) List the stages of the communication process.
It then asks students to provide examples and analyze characteristics of different visual media like graphic, audio-visual and sound media. It also asks students to draw a character using different speech bubbles and explain the effects. Finally, it asks students to analyze logos, images, comic panels and drawing techniques.
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1) Consider the relationships between objects and give an example.
2) Identify items that appear in the visual public environment and give an example of visual contamination.
3) List the stages of the communication process.
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This document discusses various visual concepts including relationships between objects, elements of the visual environment, the communication process, examples of different media types, using speech bubbles to convey different meanings, analyzing logos, taking images out of context, and identifying shot types in comics. It provides examples and asks questions about proximity, similarity, continuity, visual contamination, the stages of communication, graphic and visual media versus audiovisual and sound media, using different shaped speech bubbles to change the effect, interpreting the meaning of the Nike logo, finding images that may be perceived differently out of context, and identifying the shot types used in comic panels.
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This document contains questions about visual communication concepts including:
- The communication process stages of transmitter, message, medium, code, and recipient.
- Examples of graphic/visual, audio-visual, and sound media and one characteristic of each.
- How different shaped speech bubbles (whisper, thinking, shouting) make different effects in conveying "Where are you going?".
- Analyzing the message conveyed by the Nike logo and types of shots in a comic panel.
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This document contains questions about visual communication concepts including:
- The communication process stages of transmitter, message, medium, code, and recipient.
- Examples of graphic/visual, audio-visual, and sound media and one characteristic of each.
- How different shaped speech bubbles (whisper, thinking, shouting) make different effects in a conversation.
- Analyzing shots in a comic like long shot, medium shot, close-up, and how they are used.
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This document discusses visual images, lines, textures, and communication. It contains questions about relationships between objects, visual elements in the public environment, stages of communication, examples of graphic, audio-visual and sound media, speech bubbles in a comic depicting different emotions, analyzing logos, images out of context, types of shots in a comic panel, realistic drawings using lines, messages conveyed by different line types, visual textures, and using texture to organize a composition.
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This document contains questions about visual images and communication for an arts and crafts unit. It asks about the relationships between objects, common items in public environments and examples of visual contamination. It also asks about the stages of communication, examples of different media types and their characteristics. Additional questions cover speech bubbles in characters, the message of the Nike logo and identifying different panel shots in a comic.
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The document discusses various visual concepts including relationships between objects, elements of the communication process, and uses of lines and textures. Proximity, similarity and continuity are described as relationships objects can have with each other. The communication process involves a transmitter, code, message, channel/medium, reference, context and recipient. Realistic drawings use lines to portray shapes as seen, with volume and defined forms. Different line types can transmit different messages like straight lines for rigidity vs curved lines for fluidity. Visual textures include ornamental, accidental and mechanical textures. Texture can be used to organize and balance a composition by ordering shapes from greater to lesser importance.
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The document discusses different relationships that objects can have with each other including proximity, similarity, and continuity. It also discusses different types of media including graphic and visual media, audio-visual media, and sound media. Finally, it prompts the reader to draw a character with different shaped speech bubbles and explain the effects, look at the Nike logo and say what it transmits, and identify the types of shots used in comic book panels.
1.%20 visual%20images.odp 0
This document contains notes from a class on visual arts and communication. It discusses key concepts like contrast and homogeneity in visual images, examples of visual media like graphics and comics, the stages of the communication process, and exercises analyzing logos, images out of context, and shot types in comics. The document provides class material on visual communication concepts and techniques for students to analyze, discuss, and apply.
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The document discusses various visual art concepts including relationships between objects, elements of the visual public environment, the communication process, examples of different media types, analyzing images and logos, types of camera shots in comics, realistic drawings using lines, the expressive nature of different line types, visual textures and using texture to organize compositions. It provides examples and diagrams to illustrate each concept.
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp.
In 1999 IEEE Symposium on Visual Languages
Tokyo, Japan, pp. 111-118
Visual Music in a Visual Programming Language
Fred Collopy
Case Western Reserve University
[email protected]
Robert M. Fuhrer
IBM Watson Research Center
[email protected]
David Jameson
DigiPortal, Inc.
Abstract
Sonnet was designed as a visual language for
implementing real-time processes. Early design and
development of behavioral components has largely
focused on the domain of music programming. However,
Sonnet’s architecture is well suited to expressing many
kinds of real-time activities. In particular, Sonnet is easily
extended with new kinds of data types and behavioral
components.
We have developed a collection of visual output
components for Sonnet, referred to collectively as
Sonnet+Imager. Its design embodies aesthetically
grounded representations of color, form, and rhythm, as
well as dynamics for each. Moreover, its value is
enhanced by a flexible, modular architecture that treats
these graphic entities and operations as first-class
objects.
1. Introduction
There is growing interest in the design of instruments
to play graphics in the way that musicians play sound.
Such visual instruments could assume a wide variety of
forms and functions. Indeed, there is no reason to expect
less variety than there is among musical instruments.
When the visual instruments are computer-based, we refer
to them as imagers. The pieces that are produced using
them we refer to as lumia.1
Interest in instruments that could integrate graphics
with music is not new. In the early 18th century Louis-
Bertrand Castel produced his clavecin oculaire, a light
organ inspired by Newton’s work on color theory. Since,
there have been numerous experiments by painters,
composers and film-makers. At the beginning of this
century, the physicist Albert Michelson wrote: “so
strongly do these color phenomena appeal to me that I
venture to predict that in the not very distant future there
may be a color art analogous to the art of sound--a color
music [9]”.
Around the same time, composers and filmmakers
experimented with, and invented the elements of, such an
art. Among the interesting developments were those of
members of the Bauhaus, where Wassily Kandinsky and
1 This term was suggested by Thomas Wilfred in 1947 ([13]).
Paul Klee speculated on similarities between music and
painting and Moholy-Nagy built kinetic sculptures to
explore light in motion. In the United States, modern
artists Morgan Russell and Stanton Macdonald-Wright
built kinetic light machines, which they saw as a natural
extension of their interest in color and movement. Film-
makers including Oskar Fischinger, John and James
Whitney, Mary Ellen Bute, and Harry Smith explored
some of the same issues in abstract films.
Powerful graphic computers, MIDI, and high-
bandwidth distribution media have led to an increased
interest in computer-based graphic instruments. Sc ...
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp. (2)
In 1999 IEEE Symposium on Visual Languages
Tokyo, Japan, pp. 111-118
Visual Music in a Visual Programming Language
Fred Collopy
Case Western Reserve University
[email protected]
Robert M. Fuhrer
IBM Watson Research Center
[email protected]
David Jameson
DigiPortal, Inc.
Abstract
Sonnet was designed as a visual language for
implementing real-time processes. Early design and
development of behavioral components has largely
focused on the domain of music programming. However,
Sonnet’s architecture is well suited to expressing many
kinds of real-time activities. In particular, Sonnet is easily
extended with new kinds of data types and behavioral
components.
We have developed a collection of visual output
components for Sonnet, referred to collectively as
Sonnet+Imager. Its design embodies aesthetically
grounded representations of color, form, and rhythm, as
well as dynamics for each. Moreover, its value is
enhanced by a flexible, modular architecture that treats
these graphic entities and operations as first-class
objects.
1. Introduction
There is growing interest in the design of instruments
to play graphics in the way that musicians play sound.
Such visual instruments could assume a wide variety of
forms and functions. Indeed, there is no reason to expect
less variety than there is among musical instruments.
When the visual instruments are computer-based, we refer
to them as imagers. The pieces that are produced using
them we refer to as lumia.1
Interest in instruments that could integrate graphics
with music is not new. In the early 18th century Louis-
Bertrand Castel produced his clavecin oculaire, a light
organ inspired by Newton’s work on color theory. Since,
there have been numerous experiments by painters,
composers and film-makers. At the beginning of this
century, the physicist Albert Michelson wrote: “so
strongly do these color phenomena appeal to me that I
venture to predict that in the not very distant future there
may be a color art analogous to the art of sound--a color
music [9]”.
Around the same time, composers and filmmakers
experimented with, and invented the elements of, such an
art. Among the interesting developments were those of
members of the Bauhaus, where Wassily Kandinsky and
1 This term was suggested by Thomas Wilfred in 1947 ([13]).
Paul Klee speculated on similarities between music and
painting and Moholy-Nagy built kinetic sculptures to
explore light in motion. In the United States, modern
artists Morgan Russell and Stanton Macdonald-Wright
built kinetic light machines, which they saw as a natural
extension of their interest in color and movement. Film-
makers including Oskar Fischinger, John and James
Whitney, Mary Ellen Bute, and Harry Smith explored
some of the same issues in abstract films.
Powerful graphic computers, MIDI, and high-
bandwidth distribution media have led to an increased
interest in computer-based graphic instruments. Sc ...
GraphRAG for LifeSciences Hands-On with the Clinical Knowledge Graph
Tomaz Bratanic
Graph ML and GenAI Expert - Neo4j
Digital Banking in the Cloud: How Citizens Bank Unlocked Their Mainframe
Inconsistent user experience and siloed data, high costs, and changing customer expectations – Citizens Bank was experiencing these challenges while it was attempting to deliver a superior digital banking experience for its clients. Its core banking applications run on the mainframe and Citizens was using legacy utilities to get the critical mainframe data to feed customer-facing channels, like call centers, web, and mobile. Ultimately, this led to higher operating costs (MIPS), delayed response times, and longer time to market.
Ever-changing customer expectations demand more modern digital experiences, and the bank needed to find a solution that could provide real-time data to its customer channels with low latency and operating costs. Join this session to learn how Citizens is leveraging Precisely to replicate mainframe data to its customer channels and deliver on their “modern digital bank” experiences.
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Objects in the visual environment can have spatial relationships with each other, such as being above, below, or beside another object. Visual clutter and advertisements are common forms of visual contamination in public spaces. The communication process involves stages like the sender, encoding, channel, decoding, and receiver. Graphic media uses still images, visual media uses moving images, and audiovisual media combines both, while sound media only uses audio. Different shapes of speech bubbles or balloons in a comic can convey different meanings or emotions, and logos like Nike aim to transmit messages about the brand. Comic panels use different camera shots or angles to portray the story.
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Objects can have relationships with each other, such as one object obstructing the view of another. Visual contamination in our public environment includes things like advertisements and graffiti. The stages of the communication process are sender, encoding, channel, decoding, and receiver. Examples of graphic and visual media include photographs with their ability to capture realistic images, audio-visual media includes movies which combine visuals and sound, and sound media includes radio which relies solely on audio. Speech bubbles or balloons with different shapes and words can convey different meanings and emotions. The Nike logo transmits ideas of strength and power. Images taken out of context can be perceived differently than intended. Comic panels use different types of shots like close-ups, long shots
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2) Identify items that appear in the visual public environment and give an example of visual contamination.
3) List the stages of the communication process.
It then asks students to provide examples and analyze characteristics of different visual media like graphic, audio-visual and sound media. It also asks students to draw a character using different speech bubbles and explain the effects. Finally, it asks students to analyze logos, images, comic panels and drawing techniques.
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1) Consider the relationships between objects and give an example.
2) Identify items that appear in the visual public environment and give an example of visual contamination.
3) List the stages of the communication process.
It then asks students to provide examples and analyze characteristics of different visual media like graphic, audio-visual and sound media. It also asks students to draw a character using different speech bubbles and explain the effects. Finally, it asks students to analyze logos, images, comic panels and drawing techniques.
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This document discusses various visual concepts including relationships between objects, elements of the visual environment, the communication process, examples of different media types, using speech bubbles to convey different meanings, analyzing logos, taking images out of context, and identifying shot types in comics. It provides examples and asks questions about proximity, similarity, continuity, visual contamination, the stages of communication, graphic and visual media versus audiovisual and sound media, using different shaped speech bubbles to change the effect, interpreting the meaning of the Nike logo, finding images that may be perceived differently out of context, and identifying the shot types used in comic panels.
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This document contains questions about visual communication concepts including:
- The communication process stages of transmitter, message, medium, code, and recipient.
- Examples of graphic/visual, audio-visual, and sound media and one characteristic of each.
- How different shaped speech bubbles (whisper, thinking, shouting) make different effects in conveying "Where are you going?".
- Analyzing the message conveyed by the Nike logo and types of shots in a comic panel.
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This document contains questions about visual communication concepts including:
- The communication process stages of transmitter, message, medium, code, and recipient.
- Examples of graphic/visual, audio-visual, and sound media and one characteristic of each.
- How different shaped speech bubbles (whisper, thinking, shouting) make different effects in a conversation.
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This document discusses visual images, lines, textures, and communication. It contains questions about relationships between objects, visual elements in the public environment, stages of communication, examples of graphic, audio-visual and sound media, speech bubbles in a comic depicting different emotions, analyzing logos, images out of context, types of shots in a comic panel, realistic drawings using lines, messages conveyed by different line types, visual textures, and using texture to organize a composition.
Arts & crafts
This document discusses various concepts related to visual arts and crafts including relationships between objects, visual elements in public environments, the communication process, different types of media, speech bubbles and their effects, analyzing logos, and analyzing shots in comics. It also asks questions about realistic drawings, expressive elements of lines, visual textures, and using texture to organize compositions.
Arts&crafts visual im ages unit 1
This document contains questions about visual images and communication for an arts and crafts unit. It asks about the relationships between objects, common items in public environments and examples of visual contamination. It also asks about the stages of communication, examples of different media types and their characteristics. Additional questions cover speech bubbles in characters, the message of the Nike logo and identifying different panel shots in a comic.
Arts an crafs
The document discusses various visual concepts including relationships between objects, elements of the communication process, and uses of lines and textures. Proximity, similarity and continuity are described as relationships objects can have with each other. The communication process involves a transmitter, code, message, channel/medium, reference, context and recipient. Realistic drawings use lines to portray shapes as seen, with volume and defined forms. Different line types can transmit different messages like straight lines for rigidity vs curved lines for fluidity. Visual textures include ornamental, accidental and mechanical textures. Texture can be used to organize and balance a composition by ordering shapes from greater to lesser importance.
Arts1
The document discusses different relationships that objects can have with each other including proximity, similarity, and continuity. It also discusses different types of media including graphic and visual media, audio-visual media, and sound media. Finally, it prompts the reader to draw a character with different shaped speech bubbles and explain the effects, look at the Nike logo and say what it transmits, and identify the types of shots used in comic book panels.
1.%20 visual%20images.odp 0
This document contains notes from a class on visual arts and communication. It discusses key concepts like contrast and homogeneity in visual images, examples of visual media like graphics and comics, the stages of the communication process, and exercises analyzing logos, images out of context, and shot types in comics. The document provides class material on visual communication concepts and techniques for students to analyze, discuss, and apply.
Arts And Craft
The document discusses various visual art concepts including relationships between objects, elements of the visual public environment, the communication process, examples of different media types, analyzing images and logos, types of camera shots in comics, realistic drawings using lines, the expressive nature of different line types, visual textures and using texture to organize compositions. It provides examples and diagrams to illustrate each concept.
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp.
In 1999 IEEE Symposium on Visual Languages
Tokyo, Japan, pp. 111-118
Visual Music in a Visual Programming Language
Fred Collopy
Case Western Reserve University
[email protected]
Robert M. Fuhrer
IBM Watson Research Center
[email protected]
David Jameson
DigiPortal, Inc.
Abstract
Sonnet was designed as a visual language for
implementing real-time processes. Early design and
development of behavioral components has largely
focused on the domain of music programming. However,
Sonnet’s architecture is well suited to expressing many
kinds of real-time activities. In particular, Sonnet is easily
extended with new kinds of data types and behavioral
components.
We have developed a collection of visual output
components for Sonnet, referred to collectively as
Sonnet+Imager. Its design embodies aesthetically
grounded representations of color, form, and rhythm, as
well as dynamics for each. Moreover, its value is
enhanced by a flexible, modular architecture that treats
these graphic entities and operations as first-class
objects.
1. Introduction
There is growing interest in the design of instruments
to play graphics in the way that musicians play sound.
Such visual instruments could assume a wide variety of
forms and functions. Indeed, there is no reason to expect
less variety than there is among musical instruments.
When the visual instruments are computer-based, we refer
to them as imagers. The pieces that are produced using
them we refer to as lumia.1
Interest in instruments that could integrate graphics
with music is not new. In the early 18th century Louis-
Bertrand Castel produced his clavecin oculaire, a light
organ inspired by Newton’s work on color theory. Since,
there have been numerous experiments by painters,
composers and film-makers. At the beginning of this
century, the physicist Albert Michelson wrote: “so
strongly do these color phenomena appeal to me that I
venture to predict that in the not very distant future there
may be a color art analogous to the art of sound--a color
music [9]”.
Around the same time, composers and filmmakers
experimented with, and invented the elements of, such an
art. Among the interesting developments were those of
members of the Bauhaus, where Wassily Kandinsky and
1 This term was suggested by Thomas Wilfred in 1947 ([13]).
Paul Klee speculated on similarities between music and
painting and Moholy-Nagy built kinetic sculptures to
explore light in motion. In the United States, modern
artists Morgan Russell and Stanton Macdonald-Wright
built kinetic light machines, which they saw as a natural
extension of their interest in color and movement. Film-
makers including Oskar Fischinger, John and James
Whitney, Mary Ellen Bute, and Harry Smith explored
some of the same issues in abstract films.
Powerful graphic computers, MIDI, and high-
bandwidth distribution media have led to an increased
interest in computer-based graphic instruments. Sc ...
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp. (2)
In 1999 IEEE Symposium on Visual Languages
Tokyo, Japan, pp. 111-118
Visual Music in a Visual Programming Language
Fred Collopy
Case Western Reserve University
[email protected]
Robert M. Fuhrer
IBM Watson Research Center
[email protected]
David Jameson
DigiPortal, Inc.
Abstract
Sonnet was designed as a visual language for
implementing real-time processes. Early design and
development of behavioral components has largely
focused on the domain of music programming. However,
Sonnet’s architecture is well suited to expressing many
kinds of real-time activities. In particular, Sonnet is easily
extended with new kinds of data types and behavioral
components.
We have developed a collection of visual output
components for Sonnet, referred to collectively as
Sonnet+Imager. Its design embodies aesthetically
grounded representations of color, form, and rhythm, as
well as dynamics for each. Moreover, its value is
enhanced by a flexible, modular architecture that treats
these graphic entities and operations as first-class
objects.
1. Introduction
There is growing interest in the design of instruments
to play graphics in the way that musicians play sound.
Such visual instruments could assume a wide variety of
forms and functions. Indeed, there is no reason to expect
less variety than there is among musical instruments.
When the visual instruments are computer-based, we refer
to them as imagers. The pieces that are produced using
them we refer to as lumia.1
Interest in instruments that could integrate graphics
with music is not new. In the early 18th century Louis-
Bertrand Castel produced his clavecin oculaire, a light
organ inspired by Newton’s work on color theory. Since,
there have been numerous experiments by painters,
composers and film-makers. At the beginning of this
century, the physicist Albert Michelson wrote: “so
strongly do these color phenomena appeal to me that I
venture to predict that in the not very distant future there
may be a color art analogous to the art of sound--a color
music [9]”.
Around the same time, composers and filmmakers
experimented with, and invented the elements of, such an
art. Among the interesting developments were those of
members of the Bauhaus, where Wassily Kandinsky and
1 This term was suggested by Thomas Wilfred in 1947 ([13]).
Paul Klee speculated on similarities between music and
painting and Moholy-Nagy built kinetic sculptures to
explore light in motion. In the United States, modern
artists Morgan Russell and Stanton Macdonald-Wright
built kinetic light machines, which they saw as a natural
extension of their interest in color and movement. Film-
makers including Oskar Fischinger, John and James
Whitney, Mary Ellen Bute, and Harry Smith explored
some of the same issues in abstract films.
Powerful graphic computers, MIDI, and high-
bandwidth distribution media have led to an increased
interest in computer-based graphic instruments. Sc ...
Similar to Unit 1 2 power point (20)
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp.
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp.
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp. (2)
In 1999 IEEE Symposium on Visual LanguagesTokyo, Japan, pp. (2)
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Unit 1 2 power point
- 1. ARTS AND CRAFTS UNIT 1 AND 2 2ºC BY MAITE AND ANIA VISUAL IMAGES AND LINES AND TEXTURES
- 2. UNIT 1
- 3. 1.- What relationships can objects have with each other? Explain and give an example.
- 4. PROXIMITY
- 5. SIMILARITY
- 6. CONTINIUTY
- 7. 2.- What items feature in our visual public enviroment? Give an example of some type of visual contamination in this enviroment
- 8. 3.- What are the stages involved in the communication process?
- 9. 4.- Give an example of each of the following: graphic and visual media, audio-visual media and sound media. Write down one characteristic typical of each.
- 12. SOUND MEDIA
- 13. 5.- Draw a character (or get on from Internet) with different-shaped speech bubbles or balloons. In each one, add the words. "Where are you going?". Briefly explain the different effects that each type of bubble makes.
- 14. Where are you going? j Where are you going?
- 15. 6. Look for a Nike logo in the links and express what it transmits in your opinion.
- 16. UNIT 2
- 17. 1. What is a realistic drawing? How do we use lines in this type of drawing?
- 19. 2.- A line is an expressive element. What messages do different types of line transmit? Draw diagrams to go with your explanation.
- 20. Straight lines Irregular lines Irregular straright lines Curved lines Irre curved lines
- 21. 3.- What are visual textures? Name three of them.
- 25. 4.- How can you use texture to organise and balance a composition?
- 26. THE ENDTHE END