1,720,966 research outputs found
Kajian Diferensiasi Artistik dalam Karya Seni Lukis Muhammad Yatim Mustafa
Full text linkMuhammad Yatim Mustafa is one of the senior artists in North Sumatra, starting with studying painting on his own to deepen his painting techniques from one of President Sukarno's palace painters named Dullah. The works of art created by M. Yatim throughout the decades have been heavily influenced by his teacher, especially in terms of visual elements. Artistic differentiation in each work of painting has ideology, thoughts and philosophies that give rise to the style of the artist's paintings. The embodiment of difference in diversity in the work of Painting M. Yatim has certain meanings to be understood. In recent years, M. Yatim has begun to explore his work in painting and has begun to find his identity in his work. The method used in this research is descriptive qualitative research method. This study aims to describe the artistic differentiation of the structure of the visual elements represented in M. Yatim Mustafa's paintings, find the reasons for the occurrence of artistic differentiation of the visual element structures in works that are represented in M. Yatim Mustafa's paintings, and analyze the artist's psychic relationship with artistic differentiation the structure of visual elements in the work of M. Yatim's painting. To answer the problem, the aesthetic theory and the psychoanalytic theory of Lacan are used. The results obtained show that in Dullah's periodization and exploration periodization it was found that there are differences in visual elements, especially in color, shape, and space as well as the composition depicted in M. Yatim's paintings. The reason for the occurrence of artistic differentiation in work is influenced by changes in the paradigm of thinking of artists in making concepts and meanings based on life conflicts that affect them in their creative process. The exploratory work contains the artist's life philosophies in interpreting life values such as spiritual, religious and human values. The artist's psychological connection and artistic differentiation in his work is the fulfillment of the desire to understand his true self and deepest desire so as to find the artist's personal identity.177 HalamanTesis Magiste
Narasi Simbolik Karya Seni Rupa Tiga Seniman Medan
No full textThe title of this thesis is the Symbolic Narrative work of Three Vrtists
visual Art Medan. Context this research is fine art work, that is art of painting,
instalation art, and performance art from three artists in Medan who have different
cultural backgrounds, that is etnic Karo, Batak Toba and Java Deli (Pujakusuma).
This thesis aims to describe how to structure the aesthetics of the art work
scrutinized by analizing elementary visual art who personally presented on art
work. To gain meaning and narrative on work, required ethnography research of
the three artists in researched, and analyzing relation simbols reflection on work
by using the theory semiotic Charles Sanders Peirce and semiology Roland
Barthes, who developed with the hermeneutik methods Paul Ricouer. To know
entanglement the idea artist in his work, required research ethnography on these
three artist who researched. So on works third artist who analyzed found
narrations like of the happen, paradoks idea, the story of mitology, legend, social
criticism, and good avice. Finally, can be seen on the works of the fine arts
subjects there are values life, includes: narrative culture spiritual, religious, the
ideology of the political and power, as well as narrative tradition versus
modernity, local versus global and economic value, value of humanity,
brotherhood and harmony.Tesis ini berjudul Narasi Simbolik Karya Seni Rupa Tiga Seniman Medan.
Penelitian ini berada dalam konteks seni murni, yaitu seni lukis, seni instalasi dan
performance art dari tiga seniman di Medan, yaitu Prof. Rasinta Tarigan,
Mangatas Pasaribu dan M. Yatim Mustafa, yang memiliki latar belakang budaya
yang berbeda, yaitu suku Karo, Batak Toba dan Jawa Deli (pujakusuma). Tesis ini
bertujuan untuk mendeskripsikan bagaimana struktur estetika dari karya yang
diteliti dengan menganalisis elemen kesenirupaan yang terepresentasikan pada
karya. Untuk memperoleh makna dan narasi pada karya, diperlukan penelitian
etnografi tiga seniman yang diteliti, dan menganalisis relasi simbol-simbol yang
terefleksikan pada karya dengan menggunakan teori semiotika Charles Sander
Pierce dan Semiologi Roland Barthes, yang dikembangkan dengan metode
hermeneutika Paul Ricouer. Untuk mengetahui keterkaitan gagasan seniman
dalam karyanya, diperlukan penelitian etnografi terhadap ketiga seniman yang
diteliti. Maka Pada karya ketiga seniman yang dianalisis ditemukan narasi-narasi
seperti peristiwa, gagasan yang paradoks, kisah mitology, legenda, kritik sosial,
dan nasehat. Akhirnya, dapat diketahui pada karya-karya seni rupa yang diteliti
terdapat nilai-nilai kehidupan, meliputi: narasi kebudayaan, spiritual, religious,
ideologi politik dan kekuasaan, serta narasi tradisi versus modernitas, lokal versus
global, dan nilai ekonomi, nilai kemanusian, persaudaraaan dan kerukunan.334 HalamanTesis Magiste
Kajian Estetika Batik Labuhanbatu Utara
Full text linkThe research in this thesis aims to (1) Describe the existence of Batik
Labura Hebat and the cultural elements that influence it. (2) Describe the
characteristics of Batik Labura Hebat. (3) Describe the aesthetics of the form of
Batik Labura Hebat. The method used in this research is descriptive qualitative
research method. The stages of data analysis to examine the problems raised in
this study are: (1) The first stage is interaction analysis to examine data, especially
those related to issues regarding the existence and characteristics of Batik Labura
Hebat (2) The second stage, namely the aesthetic approach theory proposed by
A.A.M. Djelantik. A.A.M Djelantik's Aesthetic Theory is appearance, content and
presentation. The emergence of the Batik Labura Hebat Motif starts from the
period 2021 until now. The characteristic of the Batik Hebat Labura motif is the
use of non-geometric patterns. The Batik Labura Hebat motif is inspired by the
natural conditions and social conditions of the people of North Labuhan Batu. The
idea for making the Batik Labura Hebat motif was taken from the logo listed on
the Labura Regency symbol. The idea of creating the Batik Labura Hebat is as a
regional identity for the Labura Regency. The characteristics of the Batik Hebat
Labura motif are stylized from rubber trees, oil palm, baung fish, and tepak sirih.
Complementary motifs that are always present in Batik Labura Hebat are bamboo
shoots motifs adopted from Malay ornaments. The colors often used in Batik
Labura Hebat are yellow and white. From the results of an aesthetic study of
Batik, it was found that the aesthetics of Batik Labura Hebat apply the aesthetics
of the Archipelago in the creation of their works because the aesthetic values
applied in Batik Labura Hebat are a form of cultural expression through symbolic
forms. Based on the aspect of form, it is known that Batik Labura Hebat applies
the values of wholeness, prominence and balance in the creation of batik works.
From the aspect of weight, it is known that the motif of the Batik Hebat Labura
adopts the philosophy of natural conditions and Labura's social life. Batik Labura
Hebat was created as a marker of regional identity so that people know the natural
conditions and social conditions inherent in the Labura people. From the aspect of
appearance, the presentation of motifs on Batik Labura Hebat is arranged with the
principle of repeating the same form (repetition). Between one main motive with
another has a form that is aligned. Apart from repetition, the organizing principle
used in presenting the Labura Hebat motifs is contrast. Between the main motif
and the supporting motif there is a contrast in terms of the impression of its shape.
The main motive formed is more prominent than the supporting motifs.155 HalamanTesis Magiste
Aesthetics of Heaven Plak-Plieng Lamuri Kingdom of Aceh Study According to Aesthetic Concepts Susanne Knauth Langer
No full textWe can find relics of fine art from the past in various objects left by past civilizations, one of which is a tombstone. The plaques from the Lamuri Kingdom of Aceh are relics of fine art that have aesthetic value that can be enjoyed and studied to see the various messages left behind. This research raises the problem of the visual and symbolic aesthetics of the Plak-plieng gravestones of the Lamuri kingdom of Aceh using Susanne Knauth Langer's aesthetic theory. This research aims to describe the visual and symbolic aesthetics of the Plak-plieng gravestones of the Lamuri Aceh kingdom using Susanne Knauth Langer's aesthetic theory. The approach used in this research is a qualitative approach with a descriptive research type. The research was located in Lamreh Village, Mesjid Raya District, Aceh Besar Regency. The results of the research show that based on their size, Plak-plieng tombstones are divided into four types, namely Plak- plieng tombstones types A, B, C and D with two shapes, namely the form of an upright vertical beam with a head end or roof in the form of a temple roof and the shape of a vertical beam with a tip. The head or roof is in the shape of a pyramid/triangular pyramid. The decorative motifs found on the Plak-plieng gravestones are the Bungoeng Seureupeu motif, Bungoeng Awan, Bungoeng Puta Taloe Dua, Bungoeng Glima, Bungoeng Teratai Mekar, and Bungoeng Gapeuh, Bungoeng Jeumpa, Bungoeng Awan Sitangkee, Bungoeng Pua Taloe Dua, Bungoeng Seuleupo motif, Bungoeng. Awan Sitangkee, bungoeng Puta Taloe Dua and bungoeng Sagoe. On small and large tombstones there are differences in carvings, namely on large tombstones there are inscriptions (writing by the grave owner and excerpts from literary words and poems with moral messages about life as well as appeals to charity towards death, whereas on small tombstones there are only decorative motifs. By using aesthetic theory Langer then found symbolic aesthetics in the Plak-plieng tombstone, namely the Plak-plieng tombstone of the Lamuri Aceh Kingdom as a symbol of art, a symbol of expression, a symbol of legitimacy of power, a symbol of structured power and a symbol of presentational messages.172 PagesTesis Magiste
Kajian Estetika Batik Labuhanbatu Utara
Full text linkThe research in this thesis aims to (1) Describe the existence of Batik
Labura Hebat and the cultural elements that influence it. (2) Describe the
characteristics of Batik Labura Hebat. (3) Describe the aesthetics of the form of
Batik Labura Hebat. The method used in this research is descriptive qualitative
research method. The stages of data analysis to examine the problems raised in
this study are: (1) The first stage is interaction analysis to examine data, especially
those related to issues regarding the existence and characteristics of Batik Labura
Hebat (2) The second stage, namely the aesthetic approach theory proposed by
A.A.M. Djelantik. A.A.M Djelantik's Aesthetic Theory is appearance, content and
presentation. The emergence of the Batik Labura Hebat Motif starts from the
period 2021 until now. The characteristic of the Batik Hebat Labura motif is the
use of non-geometric patterns. The Batik Labura Hebat motif is inspired by the
natural conditions and social conditions of the people of North Labuhan Batu. The
idea for making the Batik Labura Hebat motif was taken from the logo listed on
the Labura Regency symbol. The idea of creating the Batik Labura Hebat is as a
regional identity for the Labura Regency. The characteristics of the Batik Hebat
Labura motif are stylized from rubber trees, oil palm, baung fish, and tepak sirih.
Complementary motifs that are always present in Batik Labura Hebat are bamboo
shoots motifs adopted from Malay ornaments. The colors often used in Batik
Labura Hebat are yellow and white. From the results of an aesthetic study of
Batik, it was found that the aesthetics of Batik Labura Hebat apply the aesthetics
of the Archipelago in the creation of their works because the aesthetic values
applied in Batik Labura Hebat are a form of cultural expression through symbolic
forms. Based on the aspect of form, it is known that Batik Labura Hebat applies
the values of wholeness, prominence and balance in the creation of batik works.
From the aspect of weight, it is known that the motif of the Batik Hebat Labura
adopts the philosophy of natural conditions and Labura's social life. Batik Labura
Hebat was created as a marker of regional identity so that people know the natural
conditions and social conditions inherent in the Labura people. From the aspect of
appearance, the presentation of motifs on Batik Labura Hebat is arranged with the
principle of repeating the same form (repetition). Between one main motive with
another has a form that is aligned. Apart from repetition, the organizing principle
used in presenting the Labura Hebat motifs is contrast. Between the main motif
and the supporting motif there is a contrast in terms of the impression of its shape.
The main motive formed is more prominent than the supporting motifs.155 HalamanTesis Magiste
Kajian Diferensiasi Artistik dalam Karya Seni Lukis Muhammad Yatim Mustafa
Full text linkMuhammad Yatim Mustafa is one of the senior artists in North Sumatra, starting with studying painting on his own to deepen his painting techniques from one of President Sukarno's palace painters named Dullah. The works of art created by M. Yatim throughout the decades have been heavily influenced by his teacher, especially in terms of visual elements. Artistic differentiation in each work of painting has ideology, thoughts and philosophies that give rise to the style of the artist's paintings. The embodiment of difference in diversity in the work of Painting M. Yatim has certain meanings to be understood. In recent years, M. Yatim has begun to explore his work in painting and has begun to find his identity in his work. The method used in this research is descriptive qualitative research method. This study aims to describe the artistic differentiation of the structure of the visual elements represented in M. Yatim Mustafa's paintings, find the reasons for the occurrence of artistic differentiation of the visual element structures in works that are represented in M. Yatim Mustafa's paintings, and analyze the artist's psychic relationship with artistic differentiation the structure of visual elements in the work of M. Yatim's painting. To answer the problem, the aesthetic theory and the psychoanalytic theory of Lacan are used. The results obtained show that in Dullah's periodization and exploration periodization it was found that there are differences in visual elements, especially in color, shape, and space as well as the composition depicted in M. Yatim's paintings. The reason for the occurrence of artistic differentiation in work is influenced by changes in the paradigm of thinking of artists in making concepts and meanings based on life conflicts that affect them in their creative process. The exploratory work contains the artist's life philosophies in interpreting life values such as spiritual, religious and human values. The artist's psychological connection and artistic differentiation in his work is the fulfillment of the desire to understand his true self and deepest desire so as to find the artist's personal identity.177 HalamanTesis Magiste
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Variations on the Author
Full text link“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
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe 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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