Jakob Leupold’s Imaginary Automatic Anamorphic Devices of 1713

In 1713 the scientific instrument-maker Jakob Leupold published designs for three machines were the first attempt to design machinery with internal moving parts that replaced human agency in creating original images. This paper first analyzes his text and engravings in order to explain how he proposed to do this, given contemporary materials and command of physical forces. Next, it characterizes the devices as a transition from concepts of incision to concepts of mirroring, taken as models of the history of mechanical reproduction. And finally, Leupold’s replacement of the sighting grid with differential gears points to a set of problems appearing in contemporary philosophy represented in Rococo artistic production of this period as well. Taking the proposed devices in context, they help to theorize the complex notions of creative activity in Rococo visual culture. Taken as an episode in the history of communications, they instance the development of conceptions of personhood and of physical forces at stake in the invention of automated media

Gaya Rococo Punk Sebagai Dasar Penciptaan Tata rambut dalam pertunjukan Marie Antoinette Karya David Adjmi

Gaya rococo punk merupakan salah satu bentuk fashion yang menggabungkan era rococo dan era punk generasi awal. Gaya rococo punk menjadi ide dasar dalam penciptaan tata rambut untuk mewujudkan nilai estetika.Tata rambut dalam pertunjukan teater memiliki fungsi untuk mewujudkan karakter tokoh.Naskah Marie Antoinette karya David Adjmi adalah pilihan yang tepat untuk menciptakan tatanan rambut gaya rococo punk. Jenis tata rambut yang digunakan adalah fantasy style dengan menggunakan teori estetika sebagai landasan penciptaan tata rambut, dari segi keutuhan, penonjolan, keseimbangan yang akan mengantarkan nilai estetis secara objektif.Pencipta berhasil menemukan metode penciptaan dan menciptakan tata rambut dengan gaya rambut rococo punk dalam pertunjukan Marie Antoinette karya David Adjmi. Selain itu rambut juga berfungsi sebagai media komunikasi non-verbal yang memuat suatu bobot atau makna dalam pertunjukan untuk dapat dinikmati oleh penonton.Rococo Punk Style as a Basis for the Creation of Hairdos in the Marie Antoinette Show by David Adjmi A rococo punk style is a form of fashion that combines the rococo era and the early punk era. The rococo punk style became the basic idea in creating hairdos to create aesthetic value. Hairdos in theatrical performances have the function to embody character traits. David Adjmi's Marie Antoinette script is a great choice for creating a rococo punk hairdo. The type of hairdo used is fantasy style using aesthetic theory as the basis for creating hairdos, in terms of wholeness, prominence, and balance which will deliver aesthetic value objectively. The creators managed to find a creation method and created a hairdo with a rococo punk hairstyle in David Adjmi's Marie Antoinette show. In addition, the hair also functions as a medium of non-verbal communication that contains a weight or meaning in the show to be enjoyed by the audience

Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style.

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality

New sounds and extended composition techniques

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This commentary supports my PhD composition portfolio. The composition processes of each piece are related to my central research questions, which concern the creation of new sounds using overtone-based scales and extended instrumental techniques. I have developed four main conceptual composition themes and these are represented in the thirteen compositions in the portfolio. In this commentary I consider how each composition was developed around these conceptual themes.Nomura Foundation, Japan for a research grant, Brunel Graduate School for the Vice Chancellor’s Travel Prizes (2010 and 2012), and for the PRSF and Bliss Trust Composer Bursarie

Pandora: Description of a Painting Database for Art Movement Recognition with Baselines and Perspectives

To facilitate computer analysis of visual art, in the form of paintings, we introduce Pandora (Paintings Dataset for Recognizing the Art movement) database, a collection of digitized paintings labelled with respect to the artistic movement. Noting that the set of databases available as benchmarks for evaluation is highly reduced and most existing ones are limited in variability and number of images, we propose a novel large scale dataset of digital paintings. The database consists of more than 7700 images from 12 art movements. Each genre is illustrated by a number of images varying from 250 to nearly 1000. We investigate how local and global features and classification systems are able to recognize the art movement. Our experimental results suggest that accurate recognition is achievable by a combination of various categories.To facilitate computer analysis of visual art, in the form of paintings, we introduce Pandora (Paintings Dataset for Recognizing the Art movement) database, a collection of digitized paintings labelled with respect to the artistic movement. Noting that the set of databases available as benchmarks for evaluation is highly reduced and most existing ones are limited in variability and number of images, we propose a novel large scale dataset of digital paintings. The database consists of more than 7700 images from 12 art movements. Each genre is illustrated by a number of images varying from 250 to nearly 1000. We investigate how local and global features and classification systems are able to recognize the art movement. Our experimental results suggest that accurate recognition is achievable by a combination of various categories.Comment: 11 pages, 1 figure, 6 table

Lolita Fashion: A trans-global subculture

While there are some who would argue that the origin of Lolita fashion can be traced back to fiction (namely, the 1955 novel, Lolita, which was adapted to film in 1962 and again in 1997) and has relevance to sexual attractiveness with reference to the young, this popular style developed more recently into a subcultural identity in Japan as a distinctive style in its own right. This article regards Lolita as an independent street fashion and subculture and explores this particular culture that Lolitas (those who wear this distinct fashion style) have created. Although a small-scale subculture, Lolitas demonstrate an obvious way of thinking and behaving which reinforces their identity of which fashion plays a significant role. The fashion style suggests escapism through fantasy as it can be interpreted as a visual resistance against conventional culture and is therefore of interest to a range of disciplines including fashion, culture and behaviour theorists. The article explores this subculture in the UK context to provide a better understanding of British Lolitas and evaluates the marketplace to offer a retail-marketing perspective

Reappraising the Rococo : The enduring relevance of eighteenth-century French painting

Often regarded as purely decorative, obsolete, and inconsequential, the rococo paintings of eighteenth-century France acquire historical significance and contemporary resonance once interpreted with fresh eyes. After the French Revolution, rococo paintings were associated with the politics and aristocracy of the ancien régime, a conflation that has colored aesthetic reputation of frivolity and artifice over the course of its history. This research centers on the claim that the rococo survived the Revolution, and continues to be called upon by contemporary artists as a productive artistic idiom. First, the cultural and aesthetic significance of eighteenth-century French rococo paintings will be considered with particular attention to Antoine Watteau, François Boucher, and Jean-Honoré Fragonard. Through a summary of its etymology and historiography of reception, a distinction can be made between the rococo’s intrinsic and acquired significations. Further, consideration of the rococo’s persistence as an artistic current of influence will be analyzed in the twentieth-century works of Florine Stettheimer and Andy Warhol, and the contemporary art of Yinka Shonibare and Genieve Figgis. By acknowledging the historical biases, multivalence, and historicity of the French rococo, this exploration engages with an effort to articulate alternative histories of modernism and the potential for reappraisal of the rococo

Boston University Symphony Orchestra, May 2, 2000

This is the concert program of the Boston University Symphony Orchestra featuring Concerto/ Aria Competition Winners performance on Tuesday, May 2, 2000 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Concerto No. 2 in E-flat for Horn and Orchestra, K. 417 by Wolfgang Amadeus Mozart, Variations on a Rococo Theme, Op. 33 by Piotr Ilyich Tchaikovsky,Electra by Michalis Economou, and Violin Concerto in D mminor, Op. 47 by Jean Sibelius. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund