ShodhKosh Journal of Visual and Performing Arts最新文献

{"title":"JOKER MEMES AS A FORM OF EXPRESSING INNER THOUGHTS: A CHARACTER ANALYSIS OF JOKER WITH REFERENCE TO THE THEATRE OF CRUELTY","authors":"Shyam Prakash M, Venkata Naresh Burla","doi":"10.29121/shodhkosh.v4.i2.2023.623","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2.2023.623","url":null,"abstract":"The term ‘Theatre of Cruelty’ was coined by the French theatre director, Antonin Artaud (1986-1948), in 1932, and it was a widely debated concept in that decade. The ‘Theatre of Cruelty’ is more concerned with the audience's sense experience than with dialogue and content. The term the theatre of cruelty offers a ground-breaking concept that aims to cultivate profound and immersive theatrical barriers between performers and audience members. Through its deliberate efforts to elicit intense emotional responses and challenge established theatrical conventions, it captivates by providing a transformative and boundary-breaking experience. The presence of the idea of the theatre of cruelty can be seen in films such as ‘The Joker’ and ‘Batman’. According to various studies, the film character Joker is influencing real-world violence. Traditionally, the role of the Joker, a clown character in the circus, is to create a comic sense among the audience. The Joker usually creates false himself and his pain and sadness within himself and expresses happiness outside to make the audience happy or create relief. In due course, it turned into a creepy clown, a clown carrying violence. Through the films ‘The Joker’ and ‘Batman’, the Joker's character gradually evolved into a celebrity anarchist. During the COVID-19 pandemic, people throughout the world made memes of the Joker character with violent elements to express their feelings and to anticipate attention and care. The Joker has become a multilayered character. People started to enjoy the dark characteristics of the Joker character in the films more than the comic elements of the Joker character. With the help of secondary sources and data collected through social media, newspapers, and articles, the study attempts to understand memes as a form of expressing inner thoughts concerning the theatre of cruelty.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"35 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135512499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"HANDS UP: WHAT’S UP WITH HASTAS REVIEWING THE DISCOURSE OF INTRODUCING HAND GESTURES TO CODIFY WAACKING","authors":"Sangram Mukhopadhyay","doi":"10.29121/shodhkosh.v4.i2.2023.515","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2.2023.515","url":null,"abstract":"Waacking/Whacking as a 70s Los Angeles disco gay dance form is consistently being discovered and localized in different dance ecosystems of the world. The Indian chapter of its trajectory is uniquely drawing a certain kind of display which is in direct cognizance of its own codified forms of hand movements. The present study focuses on the seepages and abstinence of hand gestures through understanding the impetus to do so. Based on the analysis of the occurrences associated with its usage, through detailed conversations, literature review and reading of performance texts, several inferences can be drawn, and a better understanding of the genre can be further achieved.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135884909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE ROLE OF COMMUNICATION IN DEVELOPING RURAL INDIA, A CRITICAL CASE STUDY ON “PROTOVILLAGE”, ANDHRA PRADESH, INDIA","authors":"Athreya A, P Jain","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.568","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.568","url":null,"abstract":"This research paper explores the role of communication within rural India, focusing on a rural economic zone called \"Protovillage\", in Andhra Pradesh, India. The paper investigates how Protovillage has achieved its resilient living and how it is looking to enhance its communication system with neighbouring communities by introducing a newsletter service. It highlights the importance of communication in rural areas and how it can be used as a tool for development and social change. The research presents the community stories of Protovillage and how they have built themselves a resilient way of life. It further explores the current communication strategies within rural India and how the potential benefits of the proposed newsletter service in Protovillage can be used to foster communication within the village, with nearby villages, and with the entire rural community in India.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135854439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EXPERIMENTAL ANIMATIONS IN INDIA: AN EMERGING NEW MEDIA ART FORM","authors":"Anoop Ratn, Farha Deeba","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.571","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.571","url":null,"abstract":"Since the beginning of civilization, humans have always been inquisitive about ways to uniquely express their sides of stories. Traditional Art forms like drawing, painting, sculpting, literature, music, and many others have helped to make it possible. More unconventional new art possibilities have emerged with the introduction of new technologies and industrial revolutions. Motion Pictures and Animation are the two most fascinating forms of artistic expression in these areas.Often, animation is considered a fascinating medium of entertainment for kids and the younger generation. However, many artists have demonstrated that it also has enormous potential to articulate and express life experiences and their minds creatively. As Walt Disney rightly said Animation can explain whatever the mind of men can conceive Thomas (1912-2004). It can take you as far as human imagination can go.This paper delves into how animation has been used as an alternative medium in contemporary New Media Art practices in India. It explores the potential of animation as a medium for creative expression and representation of complex ideas, and how it reflects changes in society brought about by technological advancements. The paper examines the approaches and experiments of Indian contemporary artists, such as Akbar Padamsee, Nalini Malani, and Vivan Sundaram, who have used animation to break free from the confines of traditional mediums and push the boundaries of visual storytelling through technology-based art.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135853239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"POCHAMPALLY IKAT AND FASHION: REDEFINING TRADITIONAL TEXTILES FOR THE GLOBAL MARKET","authors":"S. Greeshma, None Sadhna, Rajesh Kumar","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.581","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.581","url":null,"abstract":"Indian fashion has been one of the largest contributors to the country’s economy with various traditional textiles. Pochampally Ikat is one of the traditional fabrics that is manufactured in Pochampally, Nalgonda District, Telangana. This is an exceptional fabric that is dyed even before it is woven. This fabric weaving follows the tie and dye technique where the yarns are dyed according to the designs and then taken to the weaving process. This uniqueness paved the way for the fabric to make an entry into the global market. After Independence, Pochampally ikat has made enormous growth with the support of various NGOs and the government. This paper will give insights into the history and process followed in weaving the Pochampally ikat. The paper also focuses on the support mechanisms, demand and supply, and its expansion into the global market. This also includes the threats, challenges, and opportunities of the fabric.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135853698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"INTERIOR SPACE PERCEPTION BY PREDICTABILITY OF OLFACTORY PREFERENCES","authors":"Farah Wahajuddin","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.578","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.578","url":null,"abstract":"In contrast to other spatial perceptions, why do architects prefer to design, map, and depict the visual? In addition to the visible, immaterial, and intangible aspects of space, architecture also addresses the minimal qualities that exist between the solid and the fluid as well as the ambiguous materiality of sound and smell. The human touch and multi-sensorial connection are what make the experience more intense.Today's building envelopes are made of tactile boundaries and visually perceptible borders that are an abstraction of the human body. This relies on vision, smell, and touch. For example, improving one's sense of smell may improve the perception of the surroundings. This is particularly intriguing because it emphasizes the significance of this sense and serves as a reminder of the possibility of sensory-sensitive information that is responsive and environment-adaptive.Individuals have different sensory perceptions of odours, just as different people have different needs for ambient and appropriate temperatures in a location. Although each person subjectively interprets these and responds differently, an individual instantaneously receives this information of change in the environment when any of the three aspects of scent, namely flow, intensity, or duration, are disturbed or augmented.Based on the methods used to acquire smell, data can be divided into four basic categories: observational, experimental, simulational, and generated. The intensity of a smell also fluctuates according to how far it is from its source, which will gradually wither away as time and distance pass. The study would help establish a parallel between smell and colour preferences. Researching if people’s preferences for colour and smell can be classified based on fixed parameters. McLean et al. (2018), pp 9-19Humans, however, can identify millions of distinct odours just by using their nose's smell receptors. So, it's an intriguing idea to incorporate smells into the process of designing a space. Although fragrances themselves cannot be represented visually and their ability to transport us to a different place and time cannot be demonstrated, they are nonetheless essential components of a setting that makes us feel at ease and at home.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"3D PRINTING TECHNIQUE TO DOCUMENT AND PRESERVE TRADITIONAL DESIGNS OF CHANNAPATNA TOYS","authors":"M. Kamakshi Kanchana","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.583","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.583","url":null,"abstract":"Dasara Doll festival is a tradition during the Navaratri Hindu festival celebrations in South India. The festival of Navratri is celebrated in a very interesting and unique way at homes, which is commonly known as Bombe Habba or Golu or Kolu (Kannada) or Bommala Koluvu (Telugu) or Bommai Kolu (Tamil) or simply Dasara dolls. This tradition involves a toy festival that is celebrated by families across Karnataka and Andhra Pradesh, Tamil Nadu. Family toys are arranged and displayed to invited guests as part of the festival. Channapatna town close to Bangalore and Mysore is the hub of the toy making industry catering to the demand for such toys. Artisan families have been engaged in the manufacture of toys for many centuries. Designs and manufacturing techniques remained within artisan families and the knowledge transfer is through word of mouth from parents to children. Kondapalli Toys of Andhra Pradesh are made by artisans in Kondapalli which is located close to Vijayawada in Andhra Pradesh and has a similar history. The changing lifestyles in the present day have altered the way festivals are celebrated, and the patronage of such traditional crafts is on the decline. The creation of an express highway between Bangalore and Mysore has changed the road route and bypassed Channapatna town reducing the footfalls at the retail shops which sold toys for hundreds of years. Artisans are forced to explore other avenues of employment and the risk of losing the art technique is real. The portfolio of designs is dwindling, and many models are very rare and difficult to obtain from the market; they become antique collection pieces of a few individuals. Conserving the designs through CAD techniques and making prototypes using 3D printing is an effective way to preserve them. CAD documentation can be used to train a new generation of artisans or enthusiasts across the country. This will open new markets for the products and will sustain the art and design. This paper attempts to outline the technique and make a few 3D-printing prototypes with detailed drawings and present the results.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135853543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A LETTER FROM SPECIAL EDITION EDITOR IN CHIEF - DR. CATHERINE HARPER","authors":"Catherine Harper","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.715","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.715","url":null,"abstract":"The contributors to this special issue consider how urban, rural, local, and global communications, experimental and innovative media used alongside indigenous knowledge and folkloric craft practices, respect for the disparity of human identity, heritage, tradition, and culture, and the importance of documenting, preserving, and protecting, and enhancing creativity and cultural diversity is essential for our collective future. They presented their research at the Woxsen and Banaras Hindu Universities’ international conference ‘Cultural Diversity for Sustainable Development in Art and Design’ in June 2023.The context of their work is the sophisticated networks across nations that link product ideation, production, consumption, post-consumption management, and policy in highly complex chains. These chains see wealth move upwards, often at the expense of those lower in the chain, those nearer to the making of the products, arguably those with the greatest creative talent and technical skill. In an inverted triangle of development, the advancement of economies is often at the expense of the sustenance of communities, resources, histories, and individual humans.Radical, and in some cases painful, adjustments to how we live are no longer ‘design decisions’ or ‘sustainable choices’. While we have considered for some time that perhaps we need to slow down, take time to breath, consume less, and cease striving, we have not yet come collectively and universally to understanding that advancement is not always positive. We have not yet concluded that we are operating an obsolete and unsustainable business model, and we have not yet seen holistically that thinking in terms of a smaller Earth is conceivably our only solution.These papers challenge us to think about why humans first created, so that their ‘things’ were not only functional and utilitarian. Communities from distinct geographic regions across the world developed decorative, expressive, ritualised, secular, and sacred objects from early in human development. Individuals sustained themselves, their communities, their beliefs, and their environments by applying their creative imaginations to their tools, coverings, shelters, surroundings, this growing rapidly in sophistication, purpose and embeddedness as human societies and cultures evolved.Our ancestors preserved cultural diversity without even thinking of it, both in their material surroundings and civilisations, but also through storytelling that illuminated their spirit world and imaginations. They gave us the myths and legends, superstitions and belief systems, ideologies and moralities that persist into our folk traditions, societal customs, disparate identities, and artisan-based cultures today. This excellent Special Issue resists a homogenised globalist culture that erases the diversity nourishing vital philosophical, intellectual, instinctual, or imaginary concepts that make up the immaterial and intangible aspects of sustainable developme","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"144 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135853696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE PERSPECTIVE OF METAL PLATE LITHOGRAPHY","authors":"Prashant Phirangi","doi":"10.29121/shodhkosh.v4.i2cdsdad.2023.588","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.588","url":null,"abstract":"Printmaking is a technical medium that embraces many physical engagements in stages and processes. Various mediums like lithography, etching, wood-cut, serigraphy, and materials such as chemicals, inks, tools, accessories, and printing presses are involved. Printmakers were interested and found scope to work with the medium from their perspective, and gradually printmaking became one of the effective practices. Re-intervention metal Plate Lithography needs a basic concept, with standard plate-making techniques and principles of printmaking to develop. This method requires a practical demonstration and introduction to the new generation to understand and implement it. Yet, for those who are relatively new to plate-lithography techniques. The themes emphasize experimental projects and research on the same side. As a technique, metal plate lithography offers a wide range of possibilities in contemporary practice. It establishes the methodology depends upon the concept/idea applied to it. It marks a considerable/acceptable medium for reinventing individual pasts and anticipating the future. However, understanding the technique has potential and would impact the making. The ultimate goal to re-introduce the medium as an alternative medium of practice could be to develop practical guidance for any student interested in the medium. The experiments should be considered a challenge to produce and a new approach to the medium in a contemporary printmaking manner.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135853697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"FUTURE OF ANIMATION WITH ARTIFICIAL INTELLIGENCE","authors":"Hitesh Sharma, Aarushi Juyal","doi":"10.29121/shodhkosh.v4.i2se.2023.559","DOIUrl":"https://doi.org/10.29121/shodhkosh.v4.i2se.2023.559","url":null,"abstract":"Current world is dealing with Artificial Intelligence. Artificial intelligence is as new as Media itself riding on the wave of Artificial Intelligence, the results of Artificial Intelligence is to show the new scope in Indian Media. The term Artificial Intelligence was coined in 1956, but in present time it becomes more popular and it is all because of the technology. A question pops up will Artificial intelligence (AI) impacts the animation industry? Technology is increasing day by day and replaced many jobs that ran to competition within the market, because of Artificial intelligence (AI), will the role of animator remain the same?Animation used to be a very difficult and time-consuming process. Cartoonists and animators had to draw each frame of a movie one by one. Is there a need to adopt new techniques to master the Media Production work with an Artificial Intelligence? Artificial intelligence (AI) is used in almost every field like the media industry, Cinema, cartoons, and animation, and many more. A question arises about how Artificial intelligence (AI) will be used in animation in the future. Whereas Disney is known for using Artificial intelligence (AI) to make storyboard animations just from text. Advancement in Technologies within the animation industry is a continuous process. Therefore, in this research paper researcher has discussed about the future of animation with Artificial Intelligence. Different methods of animations have been covered in this paper. It has been discussed how Artificial intelligence (AI) has affected animation and how modern animation differs from traditional animation. This paper has covered the main function of Artificial intelligence (AI) in animation.","PeriodicalId":478592,"journal":{"name":"ShodhKosh Journal of Visual and Performing Arts","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135969138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}