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Journal articles on the topic 'Album covers'
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SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (January 19, 2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.
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For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
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Gusans, Ingars. "DESIGN OF LATVIAN METAL MUSIC ALBUM COVERS IN 2019." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 661. http://dx.doi.org/10.17770/sie2020vol5.5054.
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Latvian metal music has a small but stable place on the map of the metal music world. Each year several music albums of this genre are issued in Latvia. With the decrease in demand for physical data storage devices, brochures and well designed back covers are no longer popular; however the only remaining album cover has gained even more importance – the image, photograph, picture that represents the musical material and acts either as a reflection of the content or as an element for attracting attention and is published on the Internet as well as in printed press as a concrete symbol of the album. The research aim is to describe the design of Latvian metal music album covers in 2019 in the visual context of the albums issued in the world. The research was conducted using the comparative method, looking for the local and global, the typical and different in the visualisation of album covers on the basis of not only theoretical literature but also the many years of experience of the author as a musician and a collector of music records. In general, the visual look of album covers issued in Latvia is typical for heavy metal music and fits in with the visual design of metal band albums in the rest of the world. However, there have been attempts to include eye-catching accents using national or pseudo-national elements or colours.
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Park, Joohyang. "A Study on Album Cover as Paratext: Focusing on the Beatles' Album Covers." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 397–409. http://dx.doi.org/10.33645/cnc.2023.10.45.10.397.
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This study focuses on the implicit and metaphorical communication of musical messages on album covers and discusses the ultimate role of album covers: the visual communication of music. For this purpose, first of all, the album cover is examined from the point of view of music and listener's interface, and the function of the album cover as paratext is examined. Album covers have the effect of creating a new experience for the listener, drawing attention to the shared properties of music and image through the image on the cover. In this sense, the album cover acts as a paratextual representation of a text as another text, creating a place for new interpretations to emerge. Based on this, I analyze the changes in the Beatles' musical style reflected in their album covers in relation to their genres and works. Through this study, it is expected that new musical thinking will be established through convergence with visuals, recognizing that album covers, which are visual materials, are also important materials that make up music.
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Rohman, Mohammad Alfan Abdul, Hariyanto Hariyanto, and Abdul Rahman Prasetyo. "Analisis Visual Desain Cover Album Dosa, Kota, dan Kenangan Band Silampukau." JoLLA: Journal of Language, Literature, and Arts 3, no. 5 (May 31, 2023): 667–79. http://dx.doi.org/10.17977/um064v3i52023p667-679.
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Desain memiliki peran penting dalam industri musik, seperti dapat dilihat pada desain cover album. Pada dasarnya, fungsi cover album adalah untuk melindungi piringan hitam, kaset pita, atau compact disc yang ada di dalamnya. Namun, seiring perkembangan zaman, cover album mulai dirancang sedemikian rupa untuk menarik perhatian publik sekaligus menjadi representasi visual dari karya musik yang ada didalamnya. Salah satu grub musik yang menggunakan strategi ter-sebut pada cover album mereka adalah Silampukau. Band ini merupakan salah satu band folk asal Surabaya yang memperoleh perhatian dari penikmat musik Tanah Air melalui album mereka berjudul Dosa, Kota, dan Kenangan yang dirilis pada tahun 2015. Penelitian ini bertujuan untuk menganalisis visual dari cover album Silampukau Dosa, Kota, dan Kenangan. Peneliti mengguna-kan metode deskriptif kualitatif. Data diperoleh melalui wawancara, observasi, serta dokumentasi yang berkaitan dengan gagasan perancangan dan nilai estetika cover album. Hasil penelitian menunjukkan bahwa desain cover album menggunakan prinsip desain unity, rhythm, dominasi, balance, proporsi, simplicity dan clarity. Pembuatan ilustrasi menggunakan teknik cukil, sedang-kan pada elemen tipografinya menggunakan font custom dengan jenis dekoratif untuk logo band dan menggunakan font Kessel 105 untuk judul album. Kata kunci: analisis visual; cover album; Dosa, Kota, dan Kenangan; band Silampukau Visual Design Analysis of Silampukau’s Album Cover Dosa, Kota, dan Kenangan Design has an important role in the music industry, as can be seen in the album cover design. Basically, the function of the album cover is to protect the LPs, cassette tapes, or compact discs that are in it. However, over time, album covers began to be designed in such a way as to attract public attention as well as to become a visual representation of the musical works contained therein. One of the music groups that uses this strategy on their album cover is Silampukau. This band is one of the folk bands from Surabaya that has received the attention of Indonesian music lovers through their album entitled Dosa, Kota, dan Kenangan which was released in 2015. This study aims to analyze the visuals of the cover of Silampukau's album Dosa, Kota, dan Kenangan. Researchers used a quali-tative descriptive method. The data were obtained through interviews, observations, and document-tation related to the design idea and the aesthetic value of the album cover. The results of the study show that the album cover design uses the design principles of unity, rhythm, dominance, balance, proportion, simplicity and clarity. The illustration uses the cukil technique, while the typographical elements use a custom font with a decorative type for the band logo and use the Kessel 105 font for the album title. Keywords: visual analysis; album covers; Dosa, Kota, dan Kenangan; Silampukau band
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Park, Joohyang. "Fusing Album Covers with Music: Focusing on the Beatles' Album 'Sergeant Pepper's Lonely Hearts Club Band'." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 311–23. http://dx.doi.org/10.33645/cnc.2023.07.45.07.311.
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We can have a “musical” experience through an “album cover” that does not contain any musical symbols, does not make any sounds, and is just a photograph, a work of art. Album covers are a new musical realm created by the musical collaboration of artists and musicians. You experience music through the album cover that you encounter first, and the music experienced through sight is now interpreted through sound. The importance of the album cover cannot be overlooked as it acts as a visual hook for the music. This study examines the Beatles' Sgt. Pepper's Lonely Hearts Club Band from two perspectives: the album cover and the music, and discusses how the music is reflected in the album cover. Through the close connection between the music and the album cover, this paper focuses on the importance of the album cover as a work of art and its role in establishing its own domain separate from other arts.
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Putri, Citra Kemala. "The Influence Of Popular Culture On The Visual Music Album Cover." ArtComm : Jurnal Komunikasi dan Desain 3, no. 1 (May 1, 2020): 98–113. http://dx.doi.org/10.37278/artcomm.v3i1.285.
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Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.
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Kaźmierczak, Joanna. "„Kadzidła i miętówki”. Orientalizm a psychodeliczne okładki płytowe w drugiej połowie lat sześćdziesiątych XX wieku." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 153–68. http://dx.doi.org/10.19195/0860-6668.21.4.9.
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“Incense and peppermints”. Orientalism and psychedelic album covers in the second half of the 1960sThe article focuses on three intertwining subjects: 1 psychedelic culture of the 1960s, 2 orientalism in culture and 3 album cover art. Its most important goal is to support the process of inclusion to the discussion about the orientalist phenomenon in popular music in the 60s the problematics of the design of album covers, which had been rarely taken into consideration in such context up to this day. Secondly, regarding the fact that the narration on the reflection about the album cover art of that decade tends to focus almost entirely on the artworks related to very few musical groups — most importantly The Beatles — another aim of this article is to point to the wider range of artists, who experimented with orientalist motives both in their music and in their professional image. Psychedelia can be seen in such context as an artistic current which produced the most fertile and culturally most significant fusion between orientalism and popular music in the 1960s. As the examples of this process, the album covers of such artists as The Byrds, Curved Air, The Jimi Hendrix Experience, The Moody Blues, The Rolling Stones or The Strawberry Alarm Clock, et al., are being named. The formal and contextual analysis of the presented spectrum of album covers here narrowed down solely to American and British editions rests upon the definition of psychedelic art as an artistic action inspired by the aesthetic components of psychedelic experience, rather than occurring under the direct influence of a psychedelic drug.
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Khoury, Melissa Plourde. "Parody and Contextualization in Lebanese Album Covers." Design Issues 35, no. 2 (March 2019): 60–80. http://dx.doi.org/10.1162/desi_a_00535.
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This article is a textual analysis initiating the examination of twelve album covers in relation to Lebanon. The covers are examined through the trans-contextualization of diverse and eclectic fusions. Such covers create complex narratives echoing band identities while, parody enabled continuum, yet critique detachment. Though the album covers form a commentary related to histories, they do not merely retell histories. Rather, the use of trans-contextualization gives various aspects of designed concepts added layers of meaning in contemporary contexts. The covers create new and autonomous forms through parody relevant to Lebanon and the region. They also provide methodologies for future designers.
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De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." Revista Europeia de Estudos Artisticos 4, no. 2 (June 30, 2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.58.
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Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers
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De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." ERAS | European Review of Artistic Studies 4, no. 2 (June 30, 2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.133.
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Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers.
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INGLIS, IAN. "‘Nothing You Can See That Isn't Shown’: the album covers of the Beatles." Popular Music 20, no. 1 (January 2001): 83–97. http://dx.doi.org/10.1017/s0261143001001325.
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From their release in the 1960s, the LPs of the Beatles have dominated the various selections and lists which routinely purport to identify the most popular/most influential/best albums of the popular music era. Throughout each subsequent decade, the verdicts expressed in audience polls, in critics' choices and in the comments of other musicians have served to effectively maintain and enhance the group's reputation.There is, however, an additional way - often alluded to, but rarely investigated - in which the albums of the Beatles are celebrated. Almost without exception, the album covers themselves have been seen as groundbreaking in their visual and aesthetic properties, have been congratulated for their innovative and imaginative designs, have been credited with providing an early impetus for the expansion of the graphic design industry into the imagery of popular music, and have been seen as largely responsible for allowing the connections between art and pop to be made explicit.
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Friconnet, Guillaume. "A k-means clustering and histogram-based colorimetric analysis of metal album artworks: The colour palette of metal music." Metal Music Studies 9, no. 1 (March 1, 2023): 77–100. http://dx.doi.org/10.1386/mms_00095_1.
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Because of its marketing impact and key role in the definition of a band’s visual identity, the artwork of a metal album is carefully designed to reflect the music played by the band. Bearing in mind the historical association between colour and music, we performed a quantitative colorimetric analysis of 1150 metal album artworks (MAA) (and of 400 non-metal artworks for the purpose of comparison) in order to study the place of colours in metal artworks visual identity. In each artwork, we have extracted its five dominant colours (with a k-means clustering algorithm) and underwent a colour histogram analysis. We showed that MAA appear darker than their non-metal counterparts. We derived a colour palette of MAA and showed that black, (dark) grey and brown/orange tones are by far the most frequently used colours. The presence of these ‘metal colours’ is very consistent between metal subgenres. However, the visual identity of some metal subgenres encompasses specific artwork colorimetric rules. Black metal album covers are darker and mainly use black and dark grey. Groove metal artworks tend to display warmer and more saturated colours with an increased use of brownish and orange tones. Drone metal albums are lighter while crossover albums have a mottled appearance. Nevertheless, for most of the metal subgenres the artwork visual identity seems to rely on colour-independent elements. We suppose that this identity might rather be built on thematic elements and probably also on the logotypes’ style. A lot of work remains to be done to clearly understand what makes metal albums look so peculiar.
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Watier, Nicholas. "Threat cues in metal’s visual code." Metal Music Studies 8, no. 2 (June 1, 2022): 205–23. http://dx.doi.org/10.1386/mms_00075_1.
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Metal music has a signifying visual aesthetic or so-called visual code. In this article, I examine the significance of four primitive visual properties that characterize the code. I propose that the propensity for visual artefacts of metal music to depict low luminance, low colourfulness, redness and angular shapes is because these properties can act as subtle threat cues. As metal music has a preoccupation with threatening themes and sounds, these four properties provide concordant visual information about the affective attributes of the genre. After reviewing the supporting psychological evidence, I conduct a quantitative test of this proposal by comparing album covers from extreme metal bands to those from children’s music, two genres that are opposed to one another in their embrace of a threatening atmosphere. The results indicate that extreme metal album covers are darker, less colourful, redder and feature more angular shapes compared with their children’s counterparts, which suggests that these properties are relied upon to communicate a clear threat signal.
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González Hernández, José Omar. "Appropriating the extreme: Interculturality and the decolonization of the image in extreme metal in México and Colombia." Metal Music Studies 7, no. 1 (March 1, 2021): 119–28. http://dx.doi.org/10.1386/mms_00036_1.
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In this short article, I engage in a musical iconographic analysis of album covers from extreme metal bands, specifically those belonging to the subgenres of death metal and grindcore, in both México and Colombia. Both countries have gone through socio-historical processes marked by violence, which, by extension, have resulted in the popularization of consumer media products based on said violence (e.g. war against drug traffickers). My analysis rests on a transhistorical outline of the constant forms of domination that both countries have suffered since the conquest of the American continent and the ways in which Latin American extreme metal represents these experiences through the artwork of their albums, thus engaging in a process of decolonization of the imaginary through the reappropriation of imagery traditionally used in extreme metal.
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Putra, I. Putu Lukita Wiweka Nugraha. "Kearifan Lokal Musikal dalam Lagu-lagu Album Bali Kumara." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 99. http://dx.doi.org/10.31091/jomsti.v1i1.506.
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ABSTRAKTopik dari artikel ini adalah kearifan lokal pada lagu-lagu album Bali Kumara I. Tujuan dari penulisan artikel ini adalah untuk mendeskripsikan kearifan lokal pada lagu-lagu album Bali Kumara. Metode yang digunakan dalam studi ini adalah deskriptif kualitatif. I Komang Darmayuda selaku komposer lagu-lagu album Bali Kumara merupakan informan dalam penelitian ini. Data berupa rekaman audio lagu-lagu album Bali Kumara. Kearifan lokal dalam lagu-lagu album Bali Kumara terletak pada penggunaan tangga nada/titi laras pelog dan slendro, serta penggunaan bahasa Bali singgih dan sor. Tangga nada pelog dan slendro diimplementasikan pada melodi-melodi utama, baik oleh alat musik keyboard, gamelan, maupun vokal. Pada beberapa lagu terdapat juga tangga nada lain, seperti diatonis dan kromatis, dimana tidak terlalu memudarkan warna pelog dan slendro. Jika dilihat dari sudut pandang sor singgih basa (tingkatan-tingkatan dalam bahasa Bali), sebagain besar lagu-lagu di album Bali Kumara menggunakan basa singgih, dan beberapa di antaranya menggunakan basa sor. Lagu pop Bali sebagai salah satu kesenian profan yang tumbuh dan berkembang di Bali sudah seyogyanya mengandung unsur-unsur kearifan lokal Bali. Kearifan lokal yang terkandung pada lagu-lagu album Bali Kumara dapat menjadi pijakan bagi para pelaku lagu pop Bali khususnya komposer dalam menciptakan karya-karya berikutnya, sehingga identitas lagu Pop Bali tetap terjaga.Kata kunci: musik, kearifan lokal, lagu, album Bali Kumara. ABSTRACTThe topic of this article covers local wisdom in the songs of Bali Kumara first album. The purpose of writing this article is to describe the local wisdom in the songs of the Bali Kumara first album. The method used in this study is descriptive-qualitative. I Komang Darmayuda as a composer of Bali Kumara first Album songs is an informant in this research. The data is audio recording of songs in Bali Kumara first album. The Balinese local wisdom in the songs of Bali Kumara first album lies in the use of tone named titi laras pelog and slendro, as well as the use of the Balinese language such as singgih and sor. Pelog and slendro tones are implemented in the main melodies, either by keyboard instruments, gamelan or vocals. In some songs, there are also other scales, such as diatonic and chromatic, which do not diminish the pelog and slendro colors. Seen from the point of view basa singgih (levels in the Balinese language), most of the songs in the album Bali Kumara uses basa singgih, and some basa sor. Balinese pop songs as one of the profane art that grow and develop in Bali should contain elements of the Baliense local wisdom. The local wisdom contained in the songs of Bali Kumara album can be a foothold for the performers of Balinese pop songs especially composers in creating works, so that the identity of the Balinese pop songs is maintained. Keywords: music, local genius, song, album of Bali Kumara.
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Piasecka, Liliana. "When “grass was greener”*: Longplay Album Covers and Learning English. A Retrospection." Theory and Practice of Second Language Acquisition 8, no. 2 (May 31, 2022): 1–18. http://dx.doi.org/10.31261/tapsla.11788.
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This paper brings together several important threads accounting for learning English as a foreign language, that is, language learning experience, material culture as an element of this experience as well as a component of the learning environment, motivation and music. Material culture has recently attracted the attention of researchers interested in foreign/second language learning and multilingualism because it provides a rich context for many multilingual practices. Longplay album covers are an excellent example of artefacts that combine the verbal with the material. Music and songs, pop songs in particular, are an important motivating factor in learning languages.The aim of this paper is to share with the reader the author and her generation’s encounters with pop music of the 1960s, focusing on language learning experience based on the material aspects of these encounters, that is, longplay record covers. The paper, then, is the author’s personal reflection based on her own experience as well as on the multiple discussions she has had with friends and colleagues whose teenage years spanned the 1960s. Also connections between music and language learning are discussed along with suggestions of activities capitalizing on learners’ interest in music in the teaching process.
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Sher, Alina Andreevna, and Rimma Aleksandrovna Timofeeva. "The works of Alex Steinweiss: design of the music album cover as a new trend in graphic design." Культура и искусство, no. 4 (April 2021): 104–15. http://dx.doi.org/10.7256/2454-0625.2021.4.35373.
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This article is discusses the works of the graphic designer Alex Steinweiss (1917 – 2011), who was involved in music industry of the United States. The author examines the causes and effects of the emergence of a new trend in graphic design, associated with the design of music album covers, as well as analyzed some of the covers invented by Steinweiss in the 1940s. A brief overview is given to the evolution of sound recording media and their packaging. The subject of this research is the art of Alex Steinweiss, while the object is the envelopes for LP vinyl records, invented by the designer during his work for the Columbia Record Label (1930s – 1940s). The relevance of this article is substantiate by the new wave of interest in vinyl records, and thus graphic design in the context of music industry, as well as by the demand to prepare specialists for working in modern music industry. The novelty lies in examination of causal link of the emergence of new trend graphic design on inventing music album covers. The conducted research indicates the influence of a number of socioeconomic factors and activity of Alex Steinweiss upon the emergence of a new trend in graphic design. The author concludes on the relevance of studying the creative path of Alex Steinweiss for the students and representatives of art professions.
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Kosek, Jakub. "“Acidofilia”: The Work of the Acid Drinkers in the Discursive Landscape of Metal Music Culture." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 14, no. 3 (September 30, 2022): 39–52. http://dx.doi.org/10.24917/20837275.14.3.3.
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The main subject of this article is the artistic activity of one of the first thrash metal bands in Poland, the Acid Drinkers founded in 1986 in Poznań. The text outlines the state of indigenous metal music studies and identifies selected theoretical contexts related to song studies and the multimodality of popular music culture. In the analysis of the Acid Drinkers’ work, particular attention is paid to the intertextuality of the iconography of Acid Drinkers’ album covers, selected protest songs created by the band, and ironic interpretative covers, which also constitute an important element in the group’s discography.
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Payne, Ashley N. "The soundtrack of my life: A hip hop feminist playlist for black college women at PWIs." New Directions for Student Services 2023, no. 182 (June 2023): 27–43. http://dx.doi.org/10.1002/ss.20465.
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AbstractThis article introduces the Soundtrack of My Life (STOML) as an interdisciplinary, arts‐based method used to explore perspectives regarding gendered racial identity among Black college women. Grounded in Hip Hop Feminism, this study included an analysis of album covers and song lyrics from playlists created by 10 Black college women and a focus group interview used to facilitate the STOML with these participants.
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Dovganyuk, A. I., E. S. Dovganyuk, Yu V. Voskoboinikov, and M. B. Panova. "Using the law of ecological diversity in stable ground covers formation in a megalopolis." IOP Conference Series: Earth and Environmental Science 981, no. 3 (February 1, 2022): 032035. http://dx.doi.org/10.1088/1755-1315/981/3/032035.
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Abstract The paper presents the results of studying seeds germination capacity of two types clover and perennial ryegrass seeds under different concentrations extracts influence from the aerial part of perennial herbaceous plants. The data obtained indicate sustainable development possibility of the megalopolis territories when instead of lawns represented by traditional lawn grasses, stable ground covers formed from highly adaptive and characterized by increased competitive activity (allelopathic activity) of perennial herbaceous plants such as Ashweet (Aegopodium podagraria) and White dead nettle (Lamium album).
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Čupković, Gordana, and Silvana Dunat. "Multimodal Metaphor as the Source of Parodic Integration in Hip Hop Music Videos." Narodna umjetnost 57, no. 2 (December 21, 2020): 65–78. http://dx.doi.org/10.15176/vol57no204.
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This paper deals with multimodal metaphors as the basis of parodic integration in selected videos and album covers by rap artist Krešo Bengalka and his band Kiša metaka. The case studies of parodic integration are marked by a spectacle that significantly contributes to the blend. The study focuses on multimodal integration and disintegration and on the reversal of the conventional way of representing both the relation between the interior and exterior and the relation between the static and the dynamic.
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Xu, Mingxing. "The Development of the Use of Acidic Design in Poster Design." BCP Social Sciences & Humanities 22 (August 2, 2023): 111–28. http://dx.doi.org/10.54691/bcpssh.v22i.5348.
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As a precursor to acid design, the "Baby Boomers" of the post-World War II era questioned America's materialistic, conservative cultural and political norms, and psychedelic music festivals and concerts became the most prominent feature of this period, influencing to some extent the design of band posters and album covers, as well as influenced psychedelic visual design. Therefore, the characteristics of psychedelic visual design are closely related to the Art Nouveau movement, Vienna Secession, Surrealism and Pop Art, and psychedelic visual design also has implications for the development of design today.
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Wright, Amy Nathan. "Exploring the Funkadelic Aesthetic: Intertextuality and Cosmic Philosophizing in Funkadelic’s Album Covers and Liner Notes." American Studies 52, no. 4 (2013): 141–69. http://dx.doi.org/10.1353/ams.2013.0121.
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Huss, Hasse. "The "Zinc-Fence Thing": When Will Reggae Album Covers be Allowed out of the Ghetto?" Black Music Research Journal 20, no. 2 (2000): 181. http://dx.doi.org/10.2307/779466.
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TAŞ, Yasemin, and Taylan GÜVENİLİR. "Analysis of Indie Album Covers and Posters from a Semiotic Perspective with Sample Design Application." Gaziantep University Journal of Social Sciences 22, no. 3 (July 28, 2023): 820–38. http://dx.doi.org/10.21547/jss.1278669.
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Dünya tarihinde insan ve sanat birlikte şekillenmiştir. Varlığını anlamlandırmak isteyen insan doğayı izlemiş, dinlemiş ve bu deneyimlerini başkalarına aktarmıştır. Bu aktarımların en kadim olanı sestir. Yazının icadına kadar olan geniş bir tarih süresince âdetler, kültür ve hatta bilgi nesilden nesile sadece ses yoluyla aktarılmıştır. İnsan sese varoluşundan bu yana anlamlar yükleyerek hayatın her alanına katmıştır. İnsan geliştikçe ses bilgisi de şekillenmiş ve onu kaydederek diğer insanlara aktarmaya başlamıştır. Böylelikle müzik plakları, kasetler, CD’ler doğmuştur. İşte bu noktada varlığını tarihi boyunca sanatla şekillendiren insan tasarımdan faydalanmaya başlamıştır. En eski basılı müzik kayıtlarından en son dijital sürümlere kadar kapak tasarımı müziğin nasıl algılandığı, pazarlandığı ve tüketildiği konusunda çok önemli bir rol oynamıştır. Tasarım müziğin içerisinde yer almasa da müziği geliştirip tüm dünyada görünür hâle getirmiştir. Bu araştırmada Indie müziğin ortaya çıkardığı grafik anlatımların içerdiği imgelerin, müzik gruplarına ait olan albüm kapak tasarımları ve afiş tasarımları baz alınarak göstergebilim açısından incelemeleri aracılığıyla tasarımlarda kullanılan göstergelerin çözümlemesi amaçlanmıştır. Bu amaca dönük sanatçılar amaçsal örneklem seçim tekniği ile seçilmiştir. İlk olarak tasarım kavramı ele alınmış, daha sonra da Indie müzik kültürünün oluşumu, tarihi ve müziğine yer verilmiştir. Indie müziğin insanların üzerindeki etkisi ve etkilendiği sanat akımlarıyla tasarım süreci incelenmiştir. Son olarak bu incelemeler doğrultusunda kurgusal bir Indie müzik grubu oluşturularak albüm kapağı ve konser afişi tasarlanmıştır.
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Yu., Petrovska. "ARTISTIC AND PEDAGOGICAL ACTIVITIES OF TEODOR TALIOVSKYI IN LVIV SCHOOL OF ARCHITECTURE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 141–46. http://dx.doi.org/10.23939/sa2020.02.141.
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The research covers the creative and pedagogic activity of Teodor Taliovskyi, the professor of Lviv Polytechnic Institute of the end of the 19th century — early 20th century. The paper describes the architectural, artistic, pedagogic, academic and administrative activity of the prominent artist, examines archive materials of the Polytechnic School of that period which cover academic disciplines taught by the professor. The author also performs a review of the album of draft drawings of projects of churches designed by Teodor Taliovskyi. This year we commemorate the 110th death anniversary of Teodor Taliovskyi, the famous architect, painter, professor of the Department of Drawing and Modelling of Lviv School of Architecture, author of a number of famous architectural buildings of Lviv, Krakow, and other cities. It is important to repeatedly reconfirm the essential contribution of the professor into the development of Lviv Polytechnic School. The research also highlights his pedagogic and scientific-and-administrative activity in the educational institution.
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Büyükokutan, Barış. "The racial formation not taken: Occupational careers and the making of jazz album covers, 1950–1969." Poetics 102 (February 2024): 101870. http://dx.doi.org/10.1016/j.poetic.2024.101870.
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Filipović, Andrija. "Musica inhumana: Towards the posthumanistic ethical and aesthetical paradigm in music." New Sound, no. 42 (2013): 86–101. http://dx.doi.org/10.5937/newso1342086f.
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This paper deals with the analysis of noise music by the Japanese artist Merz-bow, especially emphasizing the posthumanistic ethical and aesthetical paradigm as his artistic and political project. This project, or assemblage, has several aspects, three being particularly important: "musical" system (acoustic material, creator, listener), visual and textual material (album covers, articles and interviews), and the attitude towards the non-human (machines, animals, nature in general). These three aspects are a particular assemblage that enables the critique of the "everyday body" and the contemporary society, by creating special aesthetics of existence and lines of flight, an aesthetics which, ultimately, removes the human subject and replaces it with an (in)organic multiplicity.
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Gusāns, Ingars. "ELEMENTS OF GLOACALIZATION IN LATGALIAN MUSIC." Via Latgalica, no. 7 (March 22, 2016): 24. http://dx.doi.org/10.17770/latg2015.7.1209.
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<p><em>Latgalian music has a distinct place within the Latvian music market, which has itself inhabited a niche within the global music marketplace; the various processes of globalization have influenced Latgalian music groups and their members to varying degrees. This article aims to assess which musical styles are most popular amongst Latgalian groups and whether there are parallels with tendencies in the global music world in order to identify which global and local features are typical of Latgalian groups, and describe characteristic Latgalian album design in comparison with that of world-famous groups.</em></p><p><em>The article discusses the following groups: “Borowa MC”, “Bez PVN”, “Dabasu Durovys”, “Laimas Muzykanti”, “Green Novice”, “Sacramental” and Sovvaļnīks. Due to limitations in length, this research does not focus upon text analysis.</em></p><p><em>Research was carried out using the following resources: conversations with group members, internet resources, album reviews, press materials, and the author’s own observations as a member of a Latgalian music group.</em></p><p><em>The research is conducted from a comparative perspective, with the goal of highlighting global and local features that characterize Latgalian groups.</em></p><p><em>According to music critic Sandris Vanzovičs, almost all global music styles are represented in the music of Latgale, each inhabiting their particular niche (Gusāns 2015, 1). Evaluating the musical styles and album packaging of select Latgalian groups, it is possible to conclude that Latgalian groups, in ways that are not connected to dance music, reflect the main global tendencies in music, confirming the global location of the Latgale region. The influence of globalization is noticeable in the English-language names of some groups, e. g. “Green Novice”, “Sacramental”. However, local elements in the music are also present: 1) the use of the Latgalian language, 2) folk song melodies and lyrics used with contemporary interpretations, revealing culturohistorical information, and 3) the desire to design original album covers, trying as much as possible to avoid typical clichés or frequently-used motifs, and highlighting the local area. However, Latgalians still need to overcome the lack of interest or support outside the region for Latgalian music.</em></p>
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Bolusani, Rohan. "Image Synthesis Based On Feature Description." International Journal for Research in Applied Science and Engineering Technology 9, no. 8 (August 31, 2021): 2492–94. http://dx.doi.org/10.22214/ijraset.2021.37812.
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Abstract: Generating realistic images from text is innovative and interesting, but modern-day machine learning models are still far from this goal. With research and development in the field of natural language processing, neural network architectures have been developed to learn discriminative text feature representations. Meanwhile, in the field of machine learning, generative adversarial networks (GANs) have begun to generate extremely accurate images of especially in categories, such as faces, album covers, and room interiors. In this work, the main goal is to develop a neural network to bridge these advances in text and image modelling, by essentially translating characters to pixels the project will demonstrate the capability of generative models by taking detailed text descriptions and generate plausible images. Keywords: Deep Learning, Computer Vision, NLP, Generative Adversarial Networks
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Muller, Sophie. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 211–18. http://dx.doi.org/10.33178/alpha.19.19.
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Since her early videos for Annie Lennox and the Eurythmics, Sophie Muller has grown to be one of the most prominent pop music video directors in the world. She has shot over three hundred music videos through her prolific and celebrated career. Her work has won numerous awards, including a Grammy, multiple MTV and CMT awards, a Brit Award, a Music Week Award, and the MVPA Director of the Year Award. Muller’s extensive body of work includes music videos for Rihanna, Radiohead, Gwen Stefani, Beyoncé, Bjork, Coldplay, Bebe Rexha, P!nk, The Cure, Kings of Leon, Nelly Furtado, Maroon 5, Alicia Keys, The Killers, Morrisey, Blur and Beck. She has also shot stills campaigns and album covers for artist including Sade, Sophie Ellis Bextor and Gwen Stefani, and art-directed live tours, concert films and commercials.
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Ness, Carol, Leslye Bloom, P. Diane Relf, and Mary Miller. "HORTICULTURE INTERACTIVE VIDEO PROGRAMS IN VIRGINIA." HortScience 25, no. 9 (September 1990): 1113G—1113. http://dx.doi.org/10.21273/hortsci.25.9.1113.
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Horticulture information is being placed at the fingertips of Virginia citizens through the use of Public Information Interactive Video Systems. A personal computer (with a touch-screen monitor) and laserdisc player work together to offer a multi-media delivery system. The user moves through programs by simply touching the screen to browse, skip ahead, back up, look up specific information, and print out needed information. A program on household plants contains photographs and information on 131 popular cut flowers and houseplants. A program on selecting landscape plants includes short video segments on the plant selection process, a plant sorter, picture album, and information on the 141 trees, shrubs, vines, and ground covers. Horticulture questions are among those answered in a section on questions most often asked of extension agents. This horticulture information program is one of the top two programs used in the Public Information Interactive Video System in Virginia.
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Ness, Carol, Leslye Bloom, P. Diane Relf, and Mary Miller. "HORTICULTURE INTERACTIVE VIDEO PROGRAMS IN VIRGINIA." HortScience 25, no. 9 (September 1990): 1113g—1113. http://dx.doi.org/10.21273/hortsci.25.9.1113g.
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Horticulture information is being placed at the fingertips of Virginia citizens through the use of Public Information Interactive Video Systems. A personal computer (with a touch-screen monitor) and laserdisc player work together to offer a multi-media delivery system. The user moves through programs by simply touching the screen to browse, skip ahead, back up, look up specific information, and print out needed information. A program on household plants contains photographs and information on 131 popular cut flowers and houseplants. A program on selecting landscape plants includes short video segments on the plant selection process, a plant sorter, picture album, and information on the 141 trees, shrubs, vines, and ground covers. Horticulture questions are among those answered in a section on questions most often asked of extension agents. This horticulture information program is one of the top two programs used in the Public Information Interactive Video System in Virginia.
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Stránská, M. "Successional dynamics of Cynosurus pasture after abandonment in Podkrkonoší." Plant, Soil and Environment 50, No. 8 (December 10, 2011): 364–70. http://dx.doi.org/10.17221/4045-pse.
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Between 1996–2002, successional dynamics on an abandoned pasture in Přední Ždírnice (lat. 50°32’N, long. 15°40’E) was examined. A 7-year study was performed on the abandoned mesotrophic pasture classified as Cynosurion Tüxen 1947 at the start of the study. Two permanent plots (100 m<sup>2</sup>) were established and sampled three times a year; changes in plant species composition (species cover) and plant species diversity (species number) were studied. Species assemblages of the Cynosurus pasture were described, E1 (herb layer) and E2 (shrub layer) covers were calculated and a secondary succession in the plant community was evaluated. Abandonment caused the decrease in the cover of the species sensitive to shading – e.g. Taraxacum sect. Ruderalia, Trifolium repens, Lathyrus pratensis, Plantago major, Stellaria graminea, Vicia cracca. Contrary to this, the cover of Calamagrostis epigejos, Rubus sp., Galium album, Galium verum, Knautia arvensis, Veronica chamaedrys increased, probably due to their ability to spread by clonal growth and as a result of the competitive relationships in the plant community. A big production of Calamagrostis epigejos litter may be the outcome of a significant decrease (by 9%) in E1 cover (P = 0.04). Although the grassland was invaded by ruderal and weedy species (Apera spica-venti, Myosotis arvensis, Veronica arvensis) and by shrubs Crataegus sp. and Rosa sp. (an increase by 16%), an increase in species number was not significant. Phytosociologically, the Cynosurion Tüxen 1947 community came closer to the Arrhenatherion Koch 1926 alliance.
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Zavidovskaya, Ekaterina A. "CLASSIFICATION OF QING DYNASTY ALBUMS ON YUNNAN PROVINCE AND THEIR IMPORTANCE AS SOURCES ON SOUTHWESTERN CHINA." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 5 (2023): 189. http://dx.doi.org/10.31857/s086919080026513-1.
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Two hand-written albums on Yunnan from the collection of the Academic library of Saint Petersburg State University have been produced circa first half of the XIX century. The first album is “Illustrated descriptions of yi-barbarians of the South and the West of Yunnan” (Xyl. F-26, preface 1839, 44 illustrations, republished with commentary in 2020), the second album Xyl F-25 is without original cover, title and date, contains 73 maps of various administrative units of Yunnan province (prefectures, regions, counties). Yunnan albums may roughly be divided into two types: 1. Albums depicting ethnic groups similar to “the Miao Albums” characteristic of Guizhou province; 2. Albums containing maps of various administrative units of the province with textual descriptions on these units, with details on various peoples. Earlier versions of Yunnan albums contained descriptive data from no longer extant Ming period writings on the province, but number of the Yunnan ethnic groups mentioned on the albums increased from about 44 in mid-late XVIII century to over 100 by the second half of the XIX century, this rise in numbers is related to the publication of an extended version of “Bo Lin album” of 1818. Upon comparing descriptions from the Xyl F-25 album and official Yunnan gazetteers (Yunnan tongzhi, 1736 and 1835) we draw a conclusion that data from the gazetteers was not borrowed to this album, and its descriptions may be the original work of their unknown author. Album Xyl F-25 did not pursue a goal of providing detailed information on various peoples of Yunnan.
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Nauryz, G. O., and N. E. Kairbekov. "Features of the extreme music industry in the Middle East." Bulletin of the Karaganda university History.Philosophy series 111, no. 3 (September 30, 2023): 216–25. http://dx.doi.org/10.31489/2023hph3/216-225.
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This article analyzes the features of the extreme music industry in the Middle East. The extreme industry of this region does not have a wide genre spectrum as in the West, but nevertheless the heavy metal scene is no worse developed. Middle Eastern metal is a special regional type of extreme music formed at the junction of Western secularism and the confrontation of Islamic dogmatism with liberal trends. To comprehend Islamic liberalism in the modern sense, a brief review of the motives and influence of the Arab Spring on the region was made. As the subject of the study, the authors decided to take advantage of the most common list of countries in the Middle East. But the article covers the most striking examples of the work of musical groups from Tunisia, Egypt, Syria and Iraq. The authors made an in-depth analysis of 4 music tracks, along with album covers and interviews of the participants. Cultural globalization shows the rapidly changing cultural space of the Middle East Society. The authors concluded that cultural globalization has different outcomes in different countries. This was influenced by the preservation of censorship, war and the dissemination of ideas of liberalism through the media. This topic was not studied from a religious point of view in the post-Soviet space.
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Kharitonova, Anna. "The Sinologist A.O. Ivanovsky and his Study of Materials on the Peoples in Southwestern China." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 5 (2022): 205. http://dx.doi.org/10.31857/s086919080019290-6.
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The article is devoted to the Russian researcher of China and Manchuria Alexei Osipovich (Iosifovich) Ivanovsky (1863–1903) and his “Materials for the History of Native Tribes in Southwestern China” (in three books) published in 1887 and 1889. The article describes the historical context, which motivated the creation of encyclopedias and albums with information about the aboriginal peoples living in different areas of the Chinese empire and beyond. Life and work of A.O. Ivanovsky have been studied insufficiently; therefore, the article describes his biography with detailed indication of sources concerning life and contribution of this researcher. It is concluded that throughout his scientific career the researcher was engaged in collecting and classifying various knowledge related to China: he wrote a dictionary and biographical articles for large encyclopedias, during his trip to China he collected samples of the Solon and Dahurian languages, studying the peoples of southwestern China he also adhered to the principle of accumulating the maximum possible number of sources on the subject under study. The article analyzes his monograph "Materials for the History of Native Tribes in Southwestern China" in two aspects: 1) Used key sources (Chinese encyclopedias, geographical descriptions, dynastic histories, local gazetteers); 2) Described peoples, generally termed by names “Mani” and “Liao”, as well as using names derived from these two terms. The structure of the text is characterized by heterogeneity, such as: 1) the first volume uses chronological principle, it covers the period from antiquity to the end of the Song dynasty; the third volume covers the period of the three dynasties (Yuan, Ming and Qing). 2) the second volume uses the territorial principle, the second book is divided into 3 chapters, each is discussing the provinces Yunnan, Guizhou and Sichuan. The publication of the text itself and its content were affected by the financial and organizational difficulties experienced by the author. The article is accompanied by a table compiled to illustrate the work of A.O. Ivanovsky with one of the Chinese sources, “miao album” illustrating peoples of Yunnan "Illustrated Description of the Peoples of the South and West of Yunnan Province" (preface 1837), republished by Saint-Petersburg University Press in 2020.
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Fejes, János. "Strangers of Popular Culture – The Verbal and Pictorial Aesthetics of Mythological Metal Music." Acta Universitatis Sapientiae Communicatio 4, no. 1 (December 1, 2017): 37–60. http://dx.doi.org/10.1515/auscom-2017-0002.
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AbstractExtreme metal music is held to be a destructive genre of popular culture, treated as a pariah for many. Being a seriously misunderstood genre, I would like to highlight that metal music is a result of conscious work process that cannot only be noticed on the level of the music but on the level of verbal and pictorial expressions too. In my paper, I would like to show the working mechanisms of the so-called “(neo)pagan/mythological metal” movement, focusing on the rhetoric side of its mentioned expressions, searching for the ways these bands rewrite ancient myths and legends.For my research, I will use three main threads: 1) history of religion (looking for the connections of the reception of ancient topics in contemporary society, e.g. New Age Cults and New Religious Movements); 2) reception theory, as the thoughts of Northrop Frye, Wolfgang Iser (1972), and John Fiske (2011) all should help to understand the general processes behind reading and producing texts; 3) subculture studies – e.g. the works of Richard Schusterman and Deena Weinstein (2002) to have a deeper insight to the genres standing on the edge of mass and high culture.After a general introduction, I would like to demonstrate the above mentioned through some case studies. The chosen mythological cultures are going to be the world of the ancient Middle East (Mesopotamia, Egypt, and the Old Testament), the classical Roman world, and the Viking Era, also showing some Hungarian and Romanian examples in the last section. In each section, the following issues should be examined: band and stage names connected to the topic, album titles, lyrics, and album covers. All these together will show us many clear patterns from romantic nostalgia to allegoric concepts, all revolving around the essence of metal music: being a Stranger in a familiar society.
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Sych, Olga N. "ANONYMITY AND SUBJECTIVITY IN THE VISUAL WORKS OF DIE TӦDLICHE DORIS AND THE RESIDENTS." Articult, no. 4 (December 2023): 47–59. http://dx.doi.org/10.28995/2227-6165-2023-4-47-59.
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The article analyzes applying of the categories of anonymity and subjectivity by the bands Die Tӧdliche Doris and The Residents, that dictate the images and semantics of their visual and audiovisual works. The specificity of the chosen subject stems from the unique borderline and not completely defined position of the bands perceived as art projects within rock culture. The issue of creative individuality in new art forms, as well as its manifestation and destruction, which still remains relevant, is refracted in the works and image-making strategies of Die Tӧdliche Doris and The Residents, giving rise to new forms at the intersection of contemporary art and popular genres of culture. Incorporating the methods of modern and avant-garde art into their creative concepts, the bands under consideration express their critical position regarding mass culture and its images in such forms as ready-mades, album covers, video works, actions and staging. Through the tactics of anonymization, self-deprecation and mystification, the bands build two types of the relationship between the individual and mass culture.
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Isnandar, Atang Riyan, and Wantoro Wantoro. "Analisis Tipografi pada Logotype Band Forgotten." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 02 (August 31, 2016): 121–36. http://dx.doi.org/10.33633/andharupa.v2i02.1180.
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Abstrak Forgotten merupakan band asal kota Bandung yang beraliran death metal. Band ini telah memiliki beberapa album yang cukup sukses. Salah satu faktor yang turut berperan penting dalam album-album Forgotten adalah desain sampul album. Sampul album merupakan identitas dan pesan dari musik yang dibawakan oleh Forgotten. Dalam sampul album, terdapat salah satu elemen visual yaitu Tipografi. Salah satu peran tipografi dalam sampul album Forgotten adalah sebagai logotype dari band. Yang menarik, dari lima album yang telah dirilis Forgotten yaitu “Future Syndrome” (1997), “Obsesi Mati” (2000), “Tuhan Telah Mati” (2001), “Tiga Angka Enam” (2003) dan “Laras Perlaya” (2011) adalah tampilan logotype band yang selalu berbeda. Perubahan logotype Forgotten disebabkan oleh beberapa faktor seperti adanya perubahan selera, transformasi musik dan pergantian personil yang dialami oleh band Forgotten. Perubahan ini berakibat pada munculnya kesan visual yang berbeda-beda dari masing-masing logotype di setiap sampul albumnya. Apalagi logotype band dengan genre death metal memiliki kecendrungan yang unik, dekoratif, bahkan sulit untuk dibaca. Oleh karena itu untuk mengetahui kesan visual yang dimunculkan oleh setiap logotype akan dilakukan penelitian dengan pendekatan tipografi. Tujuan dari penelitian ini adalah selain untuk mengetahui perubahan logotype dari kelima sampul album yang telah dirilis oleh Forgotten juga ingin mengetahui kesan visual terhadap tipografi terkait dengan prinsip kejelasan (legibility), keterbacaan (readability) dan kemampuannya untuk dilihat pada jarak tertentu (visibility). Kata Kunci: Sampul Album, Tipografi, Logotype, Forgotten Abstract Forgotten is a band from Bandung, the death metal genre. The band has had some fairly successful album. One of important factor in albums Forgotten is the album cover design. The album cover are the identity and the message of the music performed by the Forgotten. In the cover of the album, there is one visual element called Typography. One role of typography in Forgotten album cover is a logotype of the band. Interestingly, there is change of logotype in five albums that have been released Forgotten namely "Future Syndrome" (1997), "Obsession Dead" (2000), "God is Dead" (2001), "Three Figures Six" (2003) and "Laras Perlaya" ( 2011). Forgotten logotype changes caused by several factors such as the changing tastes, music and transformation experienced by the personnel changes the band Forgotten. These changes resulted in the emergence of the visual impression different from each logotype in all the album artwork. Moreover logotype band with death metal genre has a tendency of unique, decorative, even difficult to read. Therefore, to determine the visual impression that is raised by each logotype will do research with the approach of typography. The purpose of this study was to assess changes in addition to the logotype of the fifth album cover that has been released by Forgotten also want to know the visual impression of the typography related to the principle of clarity (legibility), legibility (readability) and its ability to be seen at a certain distance (visibility).Keywords: Album Cover, Tipography, Logotype, Forgotten
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Budnyk, Andriy, and Katerina Polishchuk. "The Influence of Western Pop Culture on the Creation of the Image of the Performer Through the Design of Advertising Posters and Plates in the Period of Late Socialism." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 158–75. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246824.
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The aim of the research is to analyze the formation of the artist’s image through the design of musical posters and records in the period of late socialism by borrowing the semantic component and formal techniques in foreign pop culture, including graphic design, which served as an important component. The research methodology is based on a logical-analytical tool of scientific knowledge. Scientific novelty. Previous research has been supplemented by the analysis of new empirical data, including the design of record covers, visual coincidences of primary sources and borrowings. The revealed facts will be useful for the further development of both modern Ukrainian design and the formation of the artist’s image in show business. Conclusions. As a result of the study we conclude that in the period 1970-1990 in the process of formation of pop culture in the USSR the problem of its visual representation was formed, as evidenced by numerous pieces borrowed from foreign pop design solutions for advertising products: posters, placards, album covers, accompanying products. At an early stage, this trend was manifested despite the existence of the “Iron Curtain”, ideological isolation and was episodic. In the period chronologically close to the collapse of the USSR, such processes of stylistic citation in design became more frequent in line with the growth of information coming from the developed West. Copying Western techniques and visual language can be seen as a desire to break away from the dogmatic patterns of culture instilled by socialist realism, regardless of the conscious or unconscious nature of imitation. Blind imitation was later replaced by a reasonable rethinking, so in the best examples of domestic design of the period under study there were attempts to give formal Western methods the character of the local national color, which requires further exploration.
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Kolesnik, A. S. "Warriors of Steel: Representations of Machinery and Technology in British Heavy Metal of the 1980s." Art & Culture Studies, no. 4 (December 2021): 362–81. http://dx.doi.org/10.51678/2226-0072-2021-4-362-381.
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The New Wave of British Heavy Metal is a remarkable phenomenon in British cultural history of the 1980s. Trying to identify themselves and to indicate their reaction to the social and political context in the UK, young musicians turned to the representation of fantastic worlds. The language of the “fantastic” in early British heavy metal was primarily associated with themes of mechanization, heroics, epics, mythology, fantasy and science fiction. The musical form was often emphatically epic and majestic, designed to create an audio picture to the lyrics. Visual representations — large-scale, spectacular, often theatrical live performances — played an important role in the representation of the “fantastic”. The semiotic element consisted of the signs and symbols of heavy metal (mascots, occult themes, mythological creatures, technocratic motives), which were reflected not only in the design of album covers and the metal bands names, but also in the clothes and behavior of musicians and their fans. The paper examines the specifics of the fantastic language of the New Wave of British Heavy Metal bands and, first of all, the representation of technogenic motives: how machines and robots were depicted, what techniques were used to create machine soundscapes, how this topic was played up within live performances, and finally, what cultural significance did references to machines and technology have.
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Rabess, Gregory. "Dominica Kwéyòl Orthography." Rechèch Etid Kreyòl 1, no. 1 (October 28, 2022): 73–78. http://dx.doi.org/10.57222/bazd1898.
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Using the Orthography In recent years, with the advent of social media, there is evidence of greater use of written Kwéyòl, for example, in messaging and chat applications. There is also a more significant presence and visibility of Kwéyòl on signage, posters, billboards, banners, brochures, product labels, and other promotion or identification material. Kwéyòl texts are seen on buses (bus identification), other private vehicles, and in public spaces as graffiti. Occasionally one would find articles, special features, and even front page headlines in various newspapers in Kweyol. There is also an increased presence of Kwéyòl hymns in religious service pamphlets and handouts. The music industry, too, is driving the use of written Kwéyòl. This is seen in CD album covers, liner notes, music videos especially lyric videos, print, and other music/artiste promotional material. In the broader entertainment industry, there is greater use of Kwéyòl for naming and branding music and entertainment events and festivals. All these examples highlight diverse situations and practical reasons for using Kwéyòl texts. This also reflects a new awareness and a more positive attitude to Kwéyòl among the population. At the same time, there is often no adherence to the standard orthography hence the need to promote the standard orthography.
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Vajda, Peter, Ivan Ivanov, Jong-Seok Lee, and Touradj Ebrahimi. "Epitomize Your Photos." International Journal of Computer Games Technology 2011 (2011): 1–11. http://dx.doi.org/10.1155/2011/706893.
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With the rapid growth of digital photography, sharing of photos with friends and family has become very popular. When people share their photos, they usually organize them into albums according to events or places. To tell the story of some important events in one’s life, it is desirable to have an efficient summarization tool which can help people to receive a quick overview of an album containing large number of photos. In this paper, we present and analyze an approach for photo album summarization through a novel social game “Epitome” as a Facebook application. This social game can collect research data, and, at the same time, it provides a collage or a cover photo of the user’s photo album, while the user enjoys playing the game. The proof of concept of the proposed method is demonstrated through a set of experiments on several photo albums. As a benchmark comparison to this game, we perform automatic visual analysis considering several state-of-the-art features. We also evaluate the usability of the game by making use of a questionnaire on several subjects who played the “Epitome” game. Furthermore, we address privacy issues concerning shared photos in Facebook applications.
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Vad, Mikkel. "The Album Cover." Journal of Popular Music Studies 33, no. 3 (September 1, 2021): 11–15. http://dx.doi.org/10.1525/jpms.2021.33.3.11.
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Vad, Mikkel. "Album Cover Elegies." Scandinavian Studies 93, no. 4 (2021): 476–504. http://dx.doi.org/10.3368/sca.93.4.0476.
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Respati, Yosua Reydo. "KOMUNIKASI IDEOLOGI BAND INDIE MELALUI DESAIN COVER ALBUM STUDI KASUS: THE S.I.G.I.T." Jurnal Dimensi DKV Seni Rupa dan Desain 1, no. 2 (October 1, 2016): 117–36. http://dx.doi.org/10.25105/jdd.v1i2.1354.
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AbstractIndie Band Comunication Ideology through Album Cover Design Study Case: The S.I.G.I.T. Album cover as a part of music records has an important role as a visual communication strategy. Besides being a medium to persuade the audience, album cover able to deliver messages related to musical vision, idealism and ideology of a band.Major label choose to produce profit-oriented bands, while indie bands use album cover as a visual communication about their idealism. This research specifically discuss the visual appearance of the indie band The S.I.G.I.T.’s album cover design as a study case. Through semiotics methods this research analyzed the sign structure and significance of album cover design by The S.I.G.I.T. The analysis is conducted by describing the signelements and interpretation of the sign as a unity (supersign). Based on the analysis, will be the interpretation of the ideological significance and the idealism that make up the image of the band that communicated to the audience. This research can beuseful for the subculture research development of album cover design with approach of creative visual communication strategy.AbstrakKomunikasi Ideologi Band Indie melalui Desain Cover Album Studi Kasus: TheS.I.G.I.T. Cover album sebagai bagian dari album rekaman memiliki peran pentingdalam strategi komunikasi visual. Selain menjadi media promosi yang mempersuasiaudiens, cover album menyampaikan pesan yang merangkum visi bermusik, idealismedan ideologi sebuah band. Berbeda dengan band major label yang berorientasi padasisi komersil dan popularitas, band indie menggunakan cover album sebagai mediakomunikasi akan eksistensi idealisme mereka. Penelitian ini secara spesifik membahasdesain cover album band indie The S.I.G.I.T. sebagai studi kasus. Melalui metodesemiotika dilakukan analisa terhadap struktur tanda dan tingkatan makna tanda padadesain cover album The S.I.G.I.T. Analisa dilakukan dengan menjabarkan elemen tandadan dinterpretasi sebagai kesatuan tanda (supersign). Berdasarkan analisa tersebutdilakukan kajian terhadap muatan ideologi yang membentuk image/citra band yangdikomunikasikan ke audiens. Penelitian ini dapat bermanfaat bagi kajian produkbudaya subkultur dan pengembangan desain cover album dengan pendekatan strategikomunikasi visual yang kreatif.Kata kunci: desain cover album, band indie, ideologi, semiotika
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Oleh, Klendii. "The Semantics of Virtuosity in Genre-Stylistic System of C. Saint-Saëns’s Album for Piano op. 72." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 38–52. http://dx.doi.org/10.34064/khnum1-52.03.
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Background. In recent decades an intensive development of art semiotics, which contributes to the investigation of the concept of musical compositions and their functioning in performance practice, has been observed. Music semantics and performance texture are closely interrelated, since texture elements as semantic signs are able to convey the semantic expression of the language of music. Texture depends on a lot of factors. There is a strong semantic interrelation between an individual music genre and its typical texture, which has established itself in music practice and has become its distinctive feature. The typical examples are chant chords, which is a typical accompaniment of a waltz, and toccata martellato as an articulation technique. There is an interdependence of music styles and texture elements at historical, national and individual composer’s levels. For example, there is exquisite embellishment in French clavecinists’ works and Alberti bass in Viennese classics’ works. An unexpected outburst of virtuoso style in performance art has become a cultural heritage of Romantic era. In the 19th century the semantics of virtuosity, which is evident in the choice of the mediums of expression in piano works, was of significant importance more than ever before. Texture was in focus and tempo-rhythm, articulation, dynamics and agogics created tonal variations (clarity of Chopin’s jeu perlé, bravura octaval passage works by Liszt). Together with the main meaning-making mechanisms of genre and style in piano works of the 21st century, there is program music. In Baroque era it was closely connected with oratory and the theory of affects. Romanticists gained a better understanding of the potential of music art as a universal language. As a result, during the last two centuries, a “dictionary” of texture semantic signs connected with program music was in the process of its creation. Its demonstrative and wide-spread example is the onomatopoeia of bells (indexical sign by V. Kholopova), which provided for using chords, a broad range of registers and polyrhythm (F. Liszt, O. Borodin, S. Rachmaninoff, C. Debussy). C. Saint-Saëns is one of the most brilliant representatives of French piano school, who personifies the phenomenon of a “composer-virtuoso”. That is why, among all the kinds of conceptual-music and conceptual-word signs (by V. Kholopova), which make up the texture of C. Saint-Saëns’s piano music, virtuosity signs are of great importance and their scientific apprehension reveals the principles of his piano style better. Album for piano op. 72 was written in the years of C. Saint-Saëns’s intensive creative work as a performer and as a composer and it emphasizes the main trends in mature pianoforte mentality. Objectives. The paper covers the determination of the style basics of C. Saint-Saëns’s piano music in terms of the influence of a virtuoso performance practice, which was developed in Western European art. Methods. Research methodology is based on the unity of style, genre, intonation and system analysis types, which highlight the significance of the piano music heritage of the great artist for contemporary performers. Results. A genre and stylistic system of the miniature cycle of Album for piano op. 72 is complex and various. There is a principle of genre interrelation, which manifests itself in the use of folk genres of Italian music culture as a national tradition of this country and the combination of prelude genres of Baroque and Romantic eras (Baroque principles of composition in creating a romantic character). The composition of Album can be roughly divided into two “small cycles”, which are characterized, first of all, by the presence of motor (motor-dance) genres in the final parts and, secondly, by the contrast in the middle part, namely a sound representing one and a cantilena one. The first cycle contains Prélude, Carillon, and Toccata and the second one includes Valse, Chanson Napolitaine and Finale. As for the virtuosity, three main semantic complexes, through which it is manifested, can be distinguished. Their differentiation depends on the dominating expressive means. A high tempo, loud dynamics (ff, fff) and a high level of articulation clarity (non legato, marcatissimo, rinforzando) are the most significant ones in the first cycle. The second cycle is characterized by a multilayer texture with a complex metro-rhythm organization and the elements of a polyphonic notation, which compensates a medium tempo. The third complex represents the semantic values, which are opposite to the first one. They are reached due to a clear light texture, fine finger action combined with articulatory leggiero and dynamics (p, pp). C. Saint-Saëns’s Album for piano op. 72 requires the performer to have the whole set of technical skills. The works of this cycle contain not only a creative synthesis of the piano music of Baroque, Classicism and Romantic era, which is heritable for the artist, but also new ideas of a thematic organization followed by the appearance of music impressionism stylistics in future. Conclusions. C. Saint-Saëns’s piano music style combines the fundamentals of common European instrumental music and mental evidences of French national tradition. The main principles of the composer’s pianoforte mentality include polygenre, stylization, onomatopoeia in program music and virtuosity that were brilliantly embodied in the original authenticated forms of piano music. The virtuosity signs, which were determined in the process of the semantic analysis of Album, bring French instrumental miniature to the whole new level of artistic music creation. Being a virtuoso, C. Saint-Saëns further developed miniature poetics, and thus, contributed to the understanding of the virtuosity style of piano music performance.
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Fadilla, Nur, Dwi Setiyadi, and Rosita Ambarwati. "Intended meaning of Coldplay’s album cover “A Head Full of Dreams”: semiotic study." English Teaching Journal : A Journal of English Literature, Language and Education 6, no. 2 (June 15, 2019): 87. http://dx.doi.org/10.25273/etj.v6i2.4463.
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<p>The study entitled “Intended Meaning of Coldplay’s Album Cover “A Head Full of Dreams”: Semiotic Study”. The data taken from Coldplay album cover. The aims of this study is to describe semiotic elements and to describe the meaning intended in the album cover. The data analysis described in qualitative using semiotic theory from <em>Peirce</em> icon, index, and symbol. Then, to represent the meaning and the ideas used theory ideology from <em>Dijk. </em>The results shows that theory of semiotic succeed to describe the meaning intended in album cover. The visual and verbal elements have functions to persuade the people to buy Coldplay album A Head Full of Dreams.</p>
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Vasilyeva, Daria. "Two Photo Albums of Qajar Iran in the Hermitage Collection: On the Role of the Artist and the Commissioner." Oriental Courier, no. 4 (2022): 168. http://dx.doi.org/10.18254/s268684310023807-5.
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Stored in the Hermitage collection are two Qajar Iran photo albums, datable to 1890s. One of them, recently acquired for the Oriental Department, includes works created in the studio of Antoin Sevruguin (1851–1933), one of the most famous photo artists of Qajar Iran and court photographer of Nasir al-Din Shah. The first owner of the photo prints, who remained unknown, made this commission not earlier than in May 1896. The second album is stored in the collection of the Library of the Oriental Department — one of the branches of the Hermitage Academic Library. Most likely, it was assembled by a Russian military man and amateur photographer Nikolay Remizov (Remizoff) around 1894. The richly decorated binding and the ex-libris of Nicholas II pasted on the doublure of the upper cover, suggests that this artwork could have been gifted to the Russian emperor by its author soon after his return from Iran. The Remizov album is of special interest as an illustrative source, for it consists of photos obviously not intended for multiple copying, unlike the extremely popular prints produced in Sevruguin’s studio. Both albums, created in the same period and similar in terms of their genre scope and thematic contents, show two different approaches to collecting art prints by foreigners visiting Qajar Iran in late 19th — early 20th century. The commissioner of the first album arranged the illustrations according to his own taste, becoming its full-fledged compiler. He selected ready-made works, shot in different years in the studio of the artist of non-Iranian origin, who, nevertheless, had settled in Iran a long time ago and was able to depict places and events hidden from the eyes of an outside observer. In the second case the same person, being an outside observer, acted as both the author and the compiler of the album. Though his view on contemporary Iran was apparently to a greater extent related to his direct observations and personal impressions, his status of the foreigner and the nature of his service must have imposed certain restrictions on the choice of locations and themes of his work.