Perancangan Video Pembelajaran Sistem Kelistrikan Bodi Kendaraan Pada Mata Pelajaran Pemeliharaan Kelistrikan Kendaraan Ringan

The purpose of this research is to design instructional videos that will make learning easier for students. In this study the research and development (R&D) method was used and the subjects in this study consisted of material experts, media experts, and class XI students of Light Vehicle Engineering SMKN 1 West Sumatra. The data analysis technique of this research uses a quantitative descriptive technique, applies the results of product design in the form of learning video media, tests the level of validation and product feasibility on vehicle body electricity in light vehicle electricity subjects. Based on the results of the study, it can be concluded that the design of the learning video for the vehicle body electrical system in the light vehicle electrical maintenance subject is very suitable for use as a learning medium because it can be accessed anywhere and anytime and can be viewed repeatedly. Tujuan dari penelitian ini adalah untuk merancang video pembelajaran yang akan membuat belajar lebih mudah bagi siswa. Dalam penelitian ini digunakan metode research and development (R&D) dan subjek dalam penelitian ini terdiri dari ahli materi, ahli media, dan siswa kelas XI Teknik Kendaraan Ringan SMKN 1 Sumatera Barat. Teknik analisis data penelitian ini menggunakan teknik deskriptif kuantitatif, mengaplikasikan hasil perancangan produk dalam bentuk media video pembelajaran, menguji tingkat validasi dan kelayakan produk pada kelistrikan bodi kendaraan mata pelajaran kelistrikan kendaraan ringan. Berdasarkan hasil penelitian, maka dapat disimpulkan bahwa Perancangan video pembelajaran sistem kelistrikan bodi kendaraan pada mata pelajaran pemeliharaan kelistrikan kendaraan ringan ini sangat layak digunakan sebagai media pembelajaran karena dapat di akses dimanapun dan kapanpun dan bisa dilihat secara berulang-ulang

Ted Joans' surrealist history lesson

This article argues for the importance of Ted Joans within histories of surrealism, which seldom acknowledge the existence of the movement post-World War II or its participants outside of interwar Paris. Since the early 1960s, Joans contributed to both the Paris and Chicago groups of surrealists, who continued to proclaim the relevance of mad love, the marvellous, and dreams to a radical politics long after the movement was alleged to have deceased. The majority of the article, however, addresses Joans' work composed prior to his formal involvement with surrealism, exploring how his invocation of surrealist influence was framed by a narrative of surrealism's legacy of radical anti-colonialism and anti-racism to diasporic writers, artists and intellectuals such as Etienne Lro and Aim Csaire. Joans' work self-consciously embeds his engagement with surrealism within a matrix of transatlantic cultural dialogues which dislodge it from its supposed headquarters in Paris in the interwar years, undermines its profile as white, Francophone and bourgeois, and problematizes unilateral models of influence. Drawing on Surrealist aesthetics, his early work deploys modernist formal innovation as a means to reflect on the historiography of modernism, and performatively protests the unequal access to the political and cultural ideals of modernity

"The Fur-Lined Museum" : Surrealism and the Museum of Modern Art in New York

This article explores the complicated history of Surrealism’s early reception in the United States, beginning with the Museum of Modern Art’s blockbuster exhibition of Surrealism in 1936, after which Surrealism began to be actively consumed by the American public. As American audiences were familiarized with Surrealism in large part through advertising and Dali’s commercial activities in New York, MoMA continued to promote the Surrealist aesthetic in American painting. However, as tastes shifted in the early 1940s, American art critics began to define standards of aesthetic practice in opposition to Surrealism’s visual culture. This article argues that not only has Surrealism marked an important crossroads of European and American art, it continues to highlight the productive tensions between modernism and commerce, avant-garde and kitsch.“The Fur-Lined Museum” : le Surréalisme et le Musée d ’Art Moderne de New York. Cet article explore l’histoire complexe des débuts de la réception du surréalisme aux États-Unis, en prenant comme point de départ l’exposition blockbuster du surréalisme organisée en 1936 au Musée d’Art Moderne de New York (MoMA), et à l’origine d’une active consommation du surréalisme par le public américain. Alors que ce dernier se familiarisait avec cette expression artistique, en grande partie grâce à la publicité et à l’activité commerciale de Dali à New York, le MoMA a continué à promouvoir l’esthétique surréaliste dans la peinture américaine. Néanmoins, comme le goût se transformait au début des années 1940, les critiques d’art américains ont commencé à définir les normes d’une pratique esthétique à l’opposée de la culture visuelle du surréalisme. Cet article soutient que non seulement le surréalisme a constitué un important carrefour de l’art européen et américain, mais il continue de mettre en évidence les tensions productives entre le modernisme et le commerce, l’Avant-Garde et le kitsch.Zalman Sandra. "The Fur-Lined Museum" : Surrealism and the Museum of Modern Art in New York. In: Histoire de l'art, N°67, 2010. Art, science et technologie. pp. 155-164

Walls Paper 1972 by Gordon Matta-Clark

First displayed in a partially dilapidated artist-run space in New York, Walls Paper’s photo-silkscreens of cracking, crumbling urban walls mirrored the site’s own deterioration. This In Focus positions the installation as a multi-dimensional collage that addresses the meaning of ownership, development and decay in the modern city