Skip to main content

Visual Musicality and the problem with self-expressionities 02

There is a great power in the images that we see, create and given (Edwards 1986, p. 246) which Sturken & Cartwright (2004) describe further that we are in the practice of looking to make sense of the world. They argued that to see is a process of observing and recognizing the world around us (p. 10). As human visual experience is important, Dondis (1973) suggests taking a new view of the function of not only the process but also the visualizer in society. A research demonstrated by Betty Edwards (1986) on analog drawing shows the link between visual perception, drawing, and creativity that in learning how to draw, people will learn how to see differently (p. xiii). It demonstrate that there is a ‘vocabulary’ of the visual language of drawing, a vocabulary that includes line, form, and structure – all of which can be ‘read’ for meaning (p. 95).

Woolman (2002) explained that every genre of music is associated with a visual language, normally portrayed in the faces of the musicians, the packaging of recordings, the fans and venues for live performance (p. 10). In his book Sonic Graphics/Seeing Sound, he exposes the reader to new methods of thinking about the relationship between sound and image. Furthermore, those showcase of some specimen presented, from enthrallingly complex to a chillingly simple urge the reader to analyze the factors of form, function, technology and context in visual music and its inversion and music visualization.

John Bowers (1999) defines design studies as ‘… a discipline or subject of study that engages not only in visual explorations but also those cultural, social, and philosophical in nature’ (p.4), furthermore, it goes to issues about integration of design discipline into interdisciplinary conditions. It is beneficial to combine music and art for optimum learning state, such as what Betty Edwards (1986) has observed:

Feeling is just a different form of thinking ….the experience of feeling positive about learning is, in itself, a stimulus to encourage excitement about the learning process. When sensory input has a positive emotional reference point, the brain triggers the release of pleasing opiate type of chemical that creates a state of heightened awareness and well being …. psychologically. This can explain the benefits of using music and art to develop optimum learning state and assist in memory enhancement. (p. 199-201)

This study tends to offer an alternative learning environment and approach in graphic design fundamental study by using music for stimulation. As what Goodman (2001) suggests whether a design is created on computer or with cut-paper and paste, it is the knowledge of basic design principles that fuels successful designs (p. 116). Indeed, in this current information age, two-dimensional graphic design is dealing with a new visual language, which Wong & Wong (2001) suggest that the traditional principles of design might need redefinition. Implication of this study would give valuable contribution to the practice of interactive education in the learning environment mentioned before, where the instructors and students can examine creativity in studying fundamentals of art and design. The investigation attempted to leave open doors rather than a fixed and static theory at the end of exploration. Thus the theory does not remain self-referential and the practices of graphic design moves beyond intuition. Too many visual music assume computer generated look that the experiment in this study attemped to break down and see the direct reaction of human artists. Hopefully, the study can inspiring beyond the practice of graphic designer and musician; it can be purposely generated as a visual aid for psychological treatments or exercise for creative mind.

Comments

Post a Comment

Popular posts from this blog

Kapitalisasi Perguruan Tinggi: Pendidikan dan Profesi Tanpa Masa Depan

 [draft]  Logika kapitalisnya kira2 begini: ada tren PTSpts menurunkan std renumerasi dosen, tp std gelar naik ke S3. Lalu, dengan Negara mensubsidi konon kesejahteraan dosen melalui insentif jafung, serdos, dan hibah2 riset, abdimas, maka dgn jaminan dosen2 S2/S3, maka PTSpts menaikkan std intake spp, namun...Renumerasi pokok dosen diturunkan, dgn logika dosen2 mengurus administrasi dan memenuhi syarat2 BKD PAK dsbnya, akan mendapatkan insentif2 tsb diatas. Sehingga menghemat pengeluaran2 utk menggaji dosen2.Kita belum bicara soal kapitalisasi dan dominasi scopus indeksasi jurnal. Indonesia yg begitu besar dan luas, mungkin bakal kalah rankingnya QS, dll ,  sekejap lagi dgn Brunei.
Read more

ketika seseorang tiada berdaya

Ketika orang tak berdaya, dan ia tak punya tempat untuk berpaling memohon pertolongan, sedangkan hatinya t’lah melupakan Sang Khaliq maka kekerasan adalah jalan pintas untuk membalas. Ketika pertolongan yang diharapkan tak kunjung tiba sedangkan jiwa seseorang itu tak mampu lagi menarik hikmah dari kejadian yang menimpa dirinya, maka sekali lagi kekerasan adalah jalan pintasnya. Si Miskin yang miskin harta sekaligus miskin jiwanya berjumpa dengan Si Kaya yang kaya harta tapi miskin jiwanya seperti Si Miskin. Si Miskin berburuk sangka, demikian pula Si Kaya berburuk sangka pula. Si Miskin karena kemiskinannya berpikir Si Kaya-lah penyebab kemiskinan-kemiskinan di dunia. Si Miskin yang karena kemiskinannya kurang makan ditambah pula miskin jiwanya pada akhirnya menjadi bermalas-malasan. Sedangkan Si Kaya karena kesuksesannya menjadi lahap makan tak kenyang-kenyang, enak kurang enak, sedap kurang sedap, sementara jiwanya tetap kosong kelaparan pada akhirnya menjadi bermalas-malasan ju
Post a Comment
Read more

Osamu Tezuka and The Heart of Manga

Pada awalnya di Jepang, komik secara umum di kenal dalam dua bentuk, yaitu ‘manga’ dan ‘gekiga’. Manga sebagai model komik yang mendapat pengaruh dari masuknya kartun-kartun eropa dan amerika generasi awal, yang muncul terlebih dahulu menjadi sedemikian populernya sehingga menjadi role model dalam membuat komik. Kemapanan ini menimbulkan pergerakan dari pinggiran, anak-anak muda banyak yang menginginkan perubahan dan mencari bentuk-bentuk baru. Muncullah ‘gekiga’ yang secara harfiah bertolak belakang dengan ‘manga’ secara umum pada masa itu. Gekiga mengambil sudut pandang realisme-sosial yang menggunakan pendekatan yang lebih dramatis dan moody, tetapi biasanya penuh aksi laga yang menyangkut kondisi masyarakat pinggiran yang keras. Begitulah sekilas tentang ‘manga’ dan ‘gekiga’ sebagai rival yang saling menyeimbangkan, sebelum akhirnya muncul sebuah nama yang secara tak langsung menyatukan kualitas kedua bentuk komik Jepang tersebut, yaitu Osamu Tezuka, sang ‘Manga no Kamisama’ atau ‘
2 comments
Read more