I once sat under the large dome of Mumbai’s National Gallery of Modern Art, wondering what I would want on the walls if I was trapped inside forever. The answer was Words. The first time I learnt the difference between ‘hear’ and ‘listen’, an epiphany for my thirteen year old self, was the last time I looked at Language with insouciant eyes. I presume that my verbose gallery, would hold enough word combinations to concoct stories with. No two different words or visuals, however similar they may be, ever convey the same meaning. This realisation continues to fuel my creative process in every visual and non-visual media project I undertake. When I entered architecture school at KLS GIT six years ago, not only did my perception of Language unfurl to include the mediums of image and space but also opened a whole new perspective on it, one that was organic and manoeuvred by the story I had created for the user’s experience. Urban Design, the discipline that also informed my Bachelor’s Thesis, seemed to me, the most sweeping way of creating lasting experiential narratives for people that was driven by their choices in the maze of spatial and functional possibilities. Eventually, my thesis told the story of Belgaum’s oldest, thriving urban community, their cultural and economic challenges and the potential change in the narratives of their lives through communally-owned built insertions in its residual spaces. My interest in Transmedia Narratives stems from this love of
Song of Solomon, a novel written by Toni Morrison in 1977 spans over the course of 30 years during which the protagonist, Macon Dead, embarks on a quest for cultural identity. In a small excerpt retrieved from the novel’s first chapter, we see how Macon observes his estranged sister Pilate, along with her daughter and granddaughter, through a window. Through the narrator’s vivid descriptions, symbolic setting, and witty comparisons, Morrison conveys a conflicted relationship between the observer and the observed. In this piece, Morrison utilizes vivid diction that works on multiple levels. For example, in the text he uses specific phrases to create a image and representation as if we (the readers) are present.
The Spirit of Haida Gwaii is massive – 13 feet wide, 20 feet long, and weighing 11,000 pounds – it is a very permanent composition that resides outside the Canadian Embassy in Washington D.C. (“The Spirit”). The Chilkat blanket, however, is meant to be worn around the shoulders and danced with, even though many of the blankets do reside in museums (Hansen). This context for viewing each piece can dramatically influence the message it portrays. The movement of he Chilkat dancer allowed the images to come alive, while the figures in The Spirit of Haida Gwaii stare endlessly fixed in one direction.
Jewett writes, she notices the feelings Jewett portrays with her diction and writes it in her own essay, “Miss. Jewett”. In Cather’s own words she writes, “One can, as it were, watch in process the two kind of making: the first, which is full of perception and feeling but rather fluid and formless; the second, which is tightly built and significant in design. The design is, indeed, so happy, so right, that it seems inevitable; the design is the story and the story is the design” (1). This passage from the essay, “Miss Jewett”, justifies how diction is used to create art in writing. Willa Cather uses words like, “design”, “full of perception and feeling” and “two kinds of making”, to justify how authors’ have the ability to express their feelings through their writing.
“So many words were still unknown that when the butcher and the lady at the drugstore said something to me, exotic polysyllabic sounds would bloom in the midst of their sentences. Often, the speech of people in public seemed to be very loud, booming with confidence. The man behind the counter would literally ask, ‘What can I do for you?’ But by being firm and so clear, the sound of his voice said that he was a gringo; he belonged in the public society”(12). Rodriguez describes the way English sounds to him creating an image that the language was very complex to in his perspective.
The shift between structured storytelling and deep imagery is prominent and intentional. The act of Aligeri sharing imagery in distinct bursts mimics the human nature to open one;s eyes or keep looking at prolonged horror. The delivery of such lines through poetic rhythm dances with the reader’s heart. “clawed themselves, their nails drew down the scabs the way a knife scrapes bream…” (Inf.
While at a public speaking, Tan realized that she was using all these large words that her audience understood but her mother did not. “I was saying things like, “The intersection of memory upon imagination” and “There is an aspect of my fiction that relates to thus–and-thus…the forms of English I did not use at home with my mother” (Tan 58). Tan’s mother was in the room while Tan was giving the speech and that was when she realized that language could be a powerful tool that can connect each other in different ways. The English language can also bring people together who speak English but not in such a common way. “We were talking about the price of new and used furniture and I heard myself saying this: “Not waste money that way” (Tan 58).
We all continue to live in a world surrounded by varyng forms of art, music, painting, literature, and all these are results of creative human activity in which materials are formed to show an idea or a thought of communication. I believe arts are meant to aid in understanding our past, describe the present and predict the future. “The Weather Project” by Olafur Eliasson managed to create an interesting presentation of the weather. The exposition seems to initiate an impressive tension between the city and nature. The room is encircled in natural elements sun, mist, light and by introducing these natural elements Ellison seems to persuade viewers to entirely appear themselve in the space and the exhibition.
They show that even in the most terrible situations, there is still a chance for human connection and comprehension. Each novel gives a fresh viewpoint on the issues of loss, pain, and the desire of connection. Although the authors use different literary devices to convey their message, they all aim to capture the state of the human condition in a chaotic environment. The three texts show how storytelling has the ability to unite people across time and distance and to offer comfort and understanding under any condition.
The comparison proves that the mind needs these “two tools” in order for a person to further their knowledge of a language. The author manages to incorporate figurative language into her writing excellently to convince the reader the value of
He encourages the reader to free oneself from official or commercial architecture which are influenced by the prejudice towards the late phases in architecture which are only concerned with a few selected cultures and turn a blind eye to underdeveloped countries and their alien architecture. He praises primitive architecture for its timelessness and its ability to serve its purpose to perfection with no room for improvement and regrets that the origin of these indigenous building forms and construction methods is lost in the past. Rudofsky then introduces Communal Architecture, ‘ art not produced by a few intellectuals or specialists but by the spontaneous and continuing activity of a whole people with a common heritage, acting under a community experience.’ The beauty of primitive architecture is often dismissed as accidental, but today we should recognize it as an art that developed from human intellect that was applied to handling practical issues and our problems are rooted in our tendency to accredit specialists who may have exceptional insight but are largely concerned with business and prestige. He challenges his readers on a fundamental level and exposes alternate and endangered forms of urban development, lifestyle, social spaces and practicality which we have not learnt from.
The text, Mind the Gap, references that of warning signs in train stations to accentuate the message as it draws the attention of its audience. The viewer is forced to recognise the message thus raising awareness of the issue. Much like Kruger’s work, it uses text to depict a powerful message. The images are similar as they both tackle the divide between sexes. However, Wydra’s process differs in that she only uses text to communicate her message.
“Visual Arts cultivate thinking, innovation and collaboration.” As I write this paper today, I realized how each of us analyse everything in our lives without even meaning to do so. The museum that I decided to visit virtually was the Offizi Gallery in Italy. Located in Florence, this gallery included numerous paintings, sculptures and ceramics. The art piece that I have decided to write an analysis on today is The Birth of Venus by Sandro Botticelli.
On the one hand, some argue that language constructs our thoughts. From this perspective, Deborah Tannen, from the language constructs thought community, states that “This is how language works. It invisibly molds our way of thinking about people, actions, and the world around us” (Tannen 14). On the other hand, however, others such as Richard Selzer, might say that language is used to represent our thoughts, but it can fall short. One of his view’s main proponents are, “these extremes of sensation remain beyond the power of language to express” (Selzer 28).
Tectonics is defined as the science or art of construction, both in relation to use and artistic design. It refers not just to the activity of making the materially requisite construction that answers certain needs but rather to the activity that raises this construction as an art form. It is concerned with the modeling of material to bring the material into presence - from the physical into the meta-physical world (Maulden, 1986). Since tectonics is primarily concerned with the making of architecture in a modern world, its value is seen as being a partial strategy for an architecture rooted in time and place therefore beginning to bring poetry in construction. Tectonics, however, has the capacity to create depth-ness of context resulting in the implicit story being told by the tectonic expression.
In the architectural realm these nonvisual experiences become important in how our space is perceived, how it makes people feel and even perform. The scale of architecture in relation to the person, the sensation a hand feels while touching a handrail, or the sound a person makes on the building as they walk: all of these