Representation of industrial products in the early stages of design: Drawing and artistic expression in industrial design

Comunicació presentada a ICERI 2018 11th annual International Conference of Education, Research and Innovation (Seville, Spain. 12-14 November, 2018)Hand drawing is a basic tool for industrial designers, as it allows them to represent and communicate concepts in an agile way during the initial design phase. Although we can find subjects related to drawing in the first years of all university degrees in industrial design, the way to implement the necessary activities is not always the most appropriate, and it may happen that, despite having practiced sketching, at the end of the course the students do not have the necessary skills to communicate their ideas effectively or adequately represent the reality that surrounds them. This paper proposes twelve groups of activities designed to help industrial design students acquire skills related to hand drawing. The activities were implemented during the second course of the Degree in Industrial Design and Product Development Engineering at Universitat Jaume I, improving those implemented during the last course. The paper analyzes and discusses the positive results of the innovations introduced, which improved the mean grade of the course by 4.48% with respect to the grade obtained the previous year

Chiaroscuro and the Quest for Optimal Resonance

The author discusses chiaroscuro, which refers to the balance of brilliance and warmth in the timbre of the singing voice. He offers exercises and approaches to help singers discover and foster optimal resonance in their voices. Resonance is explained, techniques for recognizing optimal chiaroscuro are shared, and methods of digital palpitation of the buccal and laryngeal regions to tune the resonance tract are detailed

Volume 12, Number 2- December 1931

Volume 12, Number 2 – December 1931. 32 pages including covers and advertisements. Who\u27s Who in the Alembic A Christmas Message from the Dean Harrison, George F. A Reply to \u27An Open Letter to a Freshman\u27 McDonald, Martin J. The Time Element Enters Lilly, Daniel The Egotist\u27s Soliloquy McDonough, John Stella Matutina Norback, Howard G. P.C. Personalities: Mickey Foster Hoban, Albert J. Release Shunny, Walter J. Chiaroscuro Considine, George L. A Transitional Painter Haylon, William D. The Checkerboard O\u27Neill, Matthew F. The Alumni Corner Tebbetts, George Athletic

Editing Pada Film "Chiaroscruro" Menggunakan Temporal Order Non-Linier Untuk Membangun Dramatik

Penciptaan Karya Seni Tugas Akhir yang berjudul “Editing Pada Film “Chiaroscuro” Menggunakan Temporal Order Non-Linier Untuk Membangun Dramatik” ini merupakan bentuk pertanggungjawaban atas pencapaian sebuah karya audio visual yang menerapkan konsep editing Temporal Order, urutan waktu yang mengacu pada naratif sebagai pola pengembangan struktur cerita dan dramatisasi sebuah naskah film. Objek penciptaan karya film “Chiaroscuro” ini adalah dua orang anak yang menjadi korban dari hubungan kedua orang tua yang tidak baik, sehingga memberikan dampak terhadap kehidupan sehari-hari keduanya. Hal tersebut menjadi fenomena yang sering terjadi kalangan masyarakat saat ini. Melalui karya seni ini memberikan tontonan yang dapat membangun cara berfikir masyarakat dalam bersikap terhadap sebuah permasalahan terutama dalam lingkungan keluarga. Karya seni berbentuk film fiksi ini berdurasi 18 menit. Konsep estetik penciptaan karya seni “Chiaroscuro” ini adalah menampilkan sebuah bentuk naratif yang dibangun melalui temporal order dengan pola non linier. Penceritaan dengan mengacak urutan waktu seperti ini membuat penuturannya menjadi tertutup, misalnya dengan penggunaan flashback dan flashfoward, sehingga dapat memberikan tontonan yang menarik

This Time He Moves! The Deeper Significance of Hou Hsiao-Hsien\u27s Radical Break in Good Men, Good Women

Following the recent success of Taiwanese film directors, such as Hou Hsiao-hsien, Edward Yang, Ang Lee and Tsai Ming-liang, Taiwanese film is raising its profile in contemporary cinema. This collection presents an exciting and ambitious foray into the cultural politics of contemporary Taiwan film that goes beyond the auterist mode, the nation-state argument and vestiges of the New Cinema. Cinema Taiwan considers the complex problems of popularity, conflicts between transnational capital and local practice, non-fiction and independent filmmaking as emerging modes of address, and new possibilities of forging vibrant film cultures embedded in national (identity) politics, gender/sexuality and community activism. Insightful and challenging, the essays in this collection will attract attention to a globally significant field of cultural production and will appeal to readers from the areas of film studies, cultural studies and Chinese culture and society