1,722,186 research outputs found
Kingdom of Wealth— the Ink Painting Creation of Lin, Hung-Hsin
No full text[[abstract]] The arguments, fights, and disintegration between the arts of traditional Chinese ink paintings and modern arts lead the two genres to borrow from each other, blend and reunite again. This phenomenon helps the nature of creation interpret traditional cultures in a variety of contemporary ways. This kind of creation is always personally favored by the author.
The author is hoping to integrate the perspectives of traditional Chinese ink paintings with the trend of modern arts in the study, blending the decoration, aesthetics, and design of traditional patterns into the structure and style of the author’s personal paintings. In this way, the author may bring new elements into his artworks, seek the cause in history and culture to free himself from the limitation of art genres and obtain new energy to interpret arts in a whole new way. New expressions and techniques may be borrowed from other genres of arts to increase the variety of ink paintings. Another technique is grafting, which farmers attach twigs or buds of the wanted living plant to the branches of other plants. This method enables ink paintings to have a new life, absorb various art styles and keep its characteristics alive. In this case, theories, perspectives, techniques, and forms of foreign arts may be greatly internalized to create ink artworks better conforming to the spirit of contemporary arts.
The work created in this study adopts these two methods. Firstly, “seeking the cause.” The study tries to create a new visionary artwork by utilizing and reuniting peonies, a symbol of wealth, and the patterns on royal clothing of Ching Dynasty, a symbol of power in Chinese traditional values. Secondly, “grafting.” The work is grafted onto the creative ideas of post-modernism. Contemporary trademarks or logos of popular products are placed in the work to give it a new meaning. The trademarks4 or logos may be blended into Chinese traditional patterns or be presented alone. The work is aimed at presenting the deconstruction, moral lessons, uncertainty, and irony of post-modernism by means of flat, decorative, and repetitive illustrations and pictures. In terms of exterior forms, the work is expected to be a successful combination of traditional ink painting spirit and contemporary messages in accordance with the demands of viewpoints.
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
New Appearance of Formal Structure of Modern TSAI-MO－Creation Description by Lin Hung-Chien
No full text[[abstract]]The Chinese paintings always emphasize on spiritual expression and seldom talk about the form. Regarding the scholar-artist style of painting, Chen Hengke thinks that “the scholar-style painting firstly emphasizes on spirit, not on form. Therefore, this kind of painting is short of shape and those having elegant spirit could still be regarded as scholar-style paintings.” However, the existence of substance and subject must be expressed in a certain shape and appearance after all. The form is the appearance of a substance through which conveys the author’s viewpoints and thoughts. Artistic creation is the sentimental form on one hand and is the rational expression one another hand. Besides, form creation is principally for expressing conception. What is conception? It is just common contents. What the artists have felt, touched, experienced between natural reality and human’s world, and the supreme conception that artists have obtained from their thoughts and research, all of these have composed the soul and purport of artworks, even though they are the abstractive results. This is nothing more than the conception which is also the common principle distilled from natural reality and human’s world.
Prof. Read has said in his book 《A Concise History of Modern Painting》: “An artwork is a structure composed by the concrete factors of form and colors. The form and colors become rich in expression capability through synthetical arrangement. The form of an artwork is the content itself. Any expression capability of an artwork derives from the form.” All artworks are the integration of content and form and all artworks’ content is the result integrating subject and object.
The form is a way to exist for the content of an artwork, including the internal structure combined with the appearance of image. The content becomes so, just because it has the form. If there is no relative specific form, it would be impossible to represent any particular content. On the contrary, the artistic form could not exist independently; even an extremely abstractive form has its own content. The content could be a thought or a sensation and could also be precise or paradoxical. Only if has it (the content) its own expression, even though the mental condition that is hard to describe could still be a kind of content concealed behind artistic form.
The origin of all artworks can be said to derive from the experience of artistic life. Under the common principle, the works connect with a visible and colored object. The emotions and feelings must derive from all that one saw and heard, to be moved and therefore create images (intelligence). Furthermore, inspirations come and selections appear, and then the will orders to execute, therefore the works come into being. If none of outside things has been experienced, no creation could be done.
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Column parity and row selection (CPRS): a BIST diagnosis technique for multiple errors in multiple scan chains
No full textAppropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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