DOCSLIB.ORG

Exercises in Image

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exercises in Image EXERCISES IN IMAGE Julia Palmer This exegesis is submitted to Auckland University of Technology for the degree of Master of Art and Design 2010 1 AUTRE SUBJECTIVITE Il y avait aujourd’hui dans l’autobus à coté de moi, sur la plate-forme, un de ces morveux comme on en fait guère, heureusement, sans ça je finirais par en tuer un. Celui-là, un gamin dans les vingt-six, trente ans, m’irritait tout spécialement non pas tant à cause de son grand cou de dindon déplumé que par la nature du ruban de son chapeau, ruban réduit à une sorte de ficelle de teinte aubergine. Ah! le salaud! Ce qu’il me dégoûtait! Comme il y avait beaucoup de monde dans notre autobus à cette heure là, je profitais des bousculades qui ont lieu à la montée ou à la descente pour lui enfoncer mon coude entre les côtelettes. Il finit par s’esbigner lâchement avant que je me décide à lui marcher un peu sur les arpions pour lui faire les pieds. Je lui aurais dit aussi, afin de le vexer, qu’il manquait un bouton à son pardessus trop échancré. Queneau, R. (1947), Exercices de Style. Paris: Gallimard Editions. 2 ANOTHER SUBJECTIVITY Next to me on the bus platform today there was one of those half-baked young fellows, you don’t find so many of them these days, thank God, otherwise I should end up by killing one. This particular one, a brat of something like 26 or 30, irritated me particularly not so much because of his great long feather-less-turkey’s neck as because of the nature of the ribbon round his hat, a ribbon which wasn’t much more than a sort of maroon-coloured string. Dirty beast! He absolutely disgusted me! As there were a lot of people in our bus at that hour I took advantage of all the pushing and shoving there is every time anyone gets on or off to dig him in the ribs with my elbow. In the end he took to his heels, the milksop, before I could make up my mind to tread on his dog to teach him a lesson. I could also have told him, just to annoy him, that he needed another button on his overcoat which was cut too low at the lapels. Queneau, R. (2009), Exercises in Style (B. Wright, Trans.) New York : New Directions Book. (Original work published 1947) 3 T A B L E Image table p.6-9 1.3 Audiovisual language and methods Attestation of authorship p.10-11 p.34-39 Intellectual Property Rights p.12-13 -Editing process Acknowledgements p.14-15 -Installation Chapter Two: Linguistics and Visual Introduction p. 16-19 Communication Introduction p.41 Chapter one: Project Methodology 2.1 Thinking through culture p.42-45 Introduction p.21 -Language and culture 1.1 Hermeneutics: a methodology of -The communication system of interpretation p.24-27 …………..language 1.2 The hermeneutical circle. p.28-33 2.2 Transmission of a message p.46-49 -Interpretation of a text -Translation is an interpretation -The creative process -Semiotics -Interpretation of an interpretation -Analysis 4 C O N T E N T Chapter Three: Review of Exercises Conclusion p.80-83 3.1 Creative research p.51-69 Reference list p.84-89 Exercise One p.54-56 Appendix 1: Exhibition p.90-93 Exercise Two p.57-59 Appendix 2: Footnotes p.94-98 Exercise Three p.60-69 -Variant One -Variant Two -Variant Three 3.2 The exhibition work p.70-79 Exercise Four p.73-77 -Variant One -Variant Two -Variant Three Exercise Five p.78-79 5 I M A G E Fig.1:2 Palmer, J. (2010). Overview of the project organisation – original idea. Auckland. Fig.1:3 Palmer, J. (2010). Overview of the project organisation – context. Auckland. Fig.1:4 Palmer, J. (2010). Overview of the project organisation – experimentation. Auckland. Fig.1:5 Palmer, J. (2010). Overview of the project organisation – synthesis. Auckland. Fig.1:6 Palmer, J. (2010). The hermeneutical circle – interpretation of a text. Auckland. Fig.1:7 Palmer, J. (2010). The hermeneutical circle – creative process. Auckland. Fig.1:8 Palmer, J. (2010). The hermeneutical circle – the audience’s interpretation. Auckland. Fig.1:9 Palmer, J. (2010). The hermeneutical circle – analysis. Auckland. Fig.2:1 Palmer, J. (2010). Hegel’s linguistic system – idea/thought. Auckland. Fig.2:2 Palmer, J. (2010). Hegel’s linguistic system - image. Auckland. Fig.2:3 Palmer, J. (2010). Hegel’s linguistic system - symbol. Auckland. Fig.2:4 Goude, J-P. (2005) The Grace Jones Automaton in action, London : Thames & Hudson. Used in Palmer, J. (2010). Hegel’s linguistic system -sound. Auckland. Fig.3:1 Palmer, J. (2010) Design diary - colour researches for exercise 2. Auckland. T A B L E Fig.3:2 Palmer, J. (2010). Exercise 1 - text. Auckland. Fig.3:3 Palmer, J. (2010). Exercise 1 - storyboard. Auckland. Fig.3:4 Puttnam, D., Fayed, D. (Procuders), & Hudson, H. (Director). (1981). Chariots of Fire [Motion picture]. United States: 20th Century Fox. Halfon, L., Malkovich, J., Novick, M., Smith, R. (Producers), & Reitman, J. (Director). (2007). Juno [Motion picture]. United States & Canada: Fox Searchlight Pictures. In Palmer, J. (2010). Exercise 1 - text. Auckland. Fig.3:5 Palmer, J. (2010). Exercise 2 (sequences). Auckland. Fig.3:6 Shepherd, R., Jurow, M. (Producers), & Edwards, B. (Director). (1961) Breakfast at Tiffany's [Motion picture]. United States: Paramount Pictures. Ashton Productions & Mirisch Company (Producers), & Wilder, B. (Director). (1959). Some Like it Hot [Motion picture]. United States: United Artists. In Palmer, J. (2010). Exercise 3.1 (frame). Auckland. Fig.3:7 Palmer, J. (2010). Three frames from Exercise 3.2. Auckland. Fig.3:8 Palmer, J. (2010). Frame from Exercise 3.3. Auckland. Fig.3:9 Julia Palmer. Frame from Exercice 4.1. Digital collage: motion picture filmed at a 7 bus stop and appropriation from cinema culture. 2010. Fig.3:10 Julia Palmer. Frame from Exercice 4.2. Digital editing. 2010. Fig.3:11 Julia Palmer. Frame from Exercice 4.3. Digital editing, anatomic still pictures and animated typography, 2010. Fig.3:12 Julia Palmer. Frame from Exercice 5. Digital animation, 2010. Appx.1:1 Palmer, J. (2010). Final exhibition. Auckland. Appx.1:2 Palmer, J. (2010). Final exhibition after feedbacks. Auckland. Appx.1:3 Palmer, J. (2010). Ideal installation. Auckland. 8 9 ATTESTATION OF 10 AUTHORSHIP I hereby declare that this submission is my own work, and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institution of higher learning, except where due acknowledgement is made in the acknowledgements. Julia Palmer October 2010 11 INTELLECTUAL 12 PROPERTY RIGHTS The author/researcher asserts the intellectual and moral copyright of the creative work Exercises in Image, contained in this thesis. All rights of the owner of the work are reserved. The publication contained in all its formats is protected by copyright. Any manner of exhibition and any diffusion, copying, resetting, or editing, constitutes an infringement of copyright unless previously written consent of the copyright owner thereto has been obtained. Julia Palmer October 2010 13 A C K N O W L E 14 D G E M E N T S Many thanks to Laurent Antonczak (Primary Supervisor) for his cultural knowledge and valuable support ; and Frances Joseph (Second Supervisor) for her constructive advice and her quality sense of syntax. I would like to acknowledge both of them for their complementary criticisms, which have encouraged the evolution of my research. Another thank to Welby Ings who took the time to discuss my project. In appreciation for his patience regarding the proof reading of many drafts, I would like to thank David Costigan. Thank you to all the participants who have been part of my experimentations. To finish, I would like to acknowledge my family who enable me to realise a Master at Auckland University of Technology. 15 I N T R O D 16 U C T I O N This research engages with interpretation and communication, through video and multimedia, to express a personal point of view. The challenge that has driven this project is to share an idea or a sensation without using oral or written language. The research question that underpins this inquiry asks: is it possible to communicate multiple visual interpretations of a story when an audience and a designer are thinking in different languages? This project mainly engages with visual rather than written or spoken texts. The origins of this research are based on personal experience. When I first arrived in New Zealand, I was held back by my lack of vocabulary and the differences between this culture and the very different education I grew up with. Editing pictures, videos and music seemed like the only way for me to explain my ideas when I first started designing in the context of a foreign language. This research project is based on the concept of a French book: Exercices de Style (Queneau, 1947), in which the author devises ninety-nine versions of the same story to demonstrate the subjectivity of rhetoric. My interpretation of the book aims to 17 experiment with the possibilities and the understanding of visual communication. To answer this inquiry, I am using video as a narrative medium of broadcasting. The final design exhibited, is an audiovisual adaptation of Exercices de Style (Queneau, 1947), and takes shape in three subjective visions (inspired from each exercise developed in the experimentation) of one everyday event, using exclusively post-production tools.
Load more

Recommended publications
  • A Stylistic Approach to the God of Small Things Written by Arundhati Roy
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of English 2007 A stylistic approach to the God of Small Things written by Arundhati Roy Wing Yi, Monica CHAN Follow this and additional works at: https://commons.ln.edu.hk/eng_etd Part of the English Language and Literature Commons Recommended Citation Chan, W. Y. M. (2007). A stylistic approach to the God of Small Things written by Arundhati Roy (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/eng_etd.2 This Thesis is brought to you for free and open access by the Department of English at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY CHAN WING YI MONICA MPHIL LINGNAN UNIVERSITY 2007 A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY by CHAN Wing Yi Monica A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in English Lingnan University 2007 ABSTRACT A Stylistic Approach to The God of Small Things written by Arundhati Roy by CHAN Wing Yi Monica Master of Philosophy This thesis presents a creative-analytical hybrid production in relation to the stylistic distinctiveness in The God of Small Things, the debut novel of Arundhati Roy.
    [Show full text]
  • Exercices De Style” As a Visual Language Learning Tool †
    Proceedings Visual Story Telling. The Queneau’s “Exercices de † Style” as a Visual Language Learning Tool Letizia Bollini Department of Psychology, University of Milano-Bicocca, 20126 Milano, Italy; [email protected]; Tel.: +39-02-6448 (ext. 3576) † Presented at the International and Interdisciplinary Conference IMMAGINI? Image and Imagination between Representation, Communication, Education and Psychology, Brixen, Italy, 27–28 November 2017. Published: 28 November 2017 Abstract: The paper discusses the importance and role of visual story telling skills in the field of non-designers education as an effective ideation and expressive medium. It presents the process and results of an experimental design workshop held as a warm up activity inside the Visual Design and Visual Communication and Interface Design classes at University of Milano-Bicocca since 2002. The Exercises de Style written by Queneau are the field of exploration of the intertextual translation from text to graphical representation using principles and rules of the visual language. Keywords: visual story telling; visual rhetoric; intertextual translation; visual language; visual design; graphic design 1. Introduction Visual story telling has become one of the most important strategies and tool in the field of communication. In the digital ecosystem and social networks, it is mostly practiced in whom are based on pictures and photos sharing such as Instagram, Pinterest, Tumbler and Flickr’ [1]. In an image’s society, the visual language itself is a transversal competence—a soft skill—required in many professional activities and personal branding construction. Nevertheless, our educational system provides little space for design, historical and critical approach to a figurative culture.
    [Show full text]
  • This Is the House That Jack1 Built Tom Kendall
    By Tom This is the House that Jack1 Built Kendall out of 10763 words Department of Architecture 2013 1 PRE-TEXT - a note on this edition Tom This is the House that Jack Built footnotes 3 out of 10763 words red is used to highlight something of import, like a title or an alteration, addition, or important note on / in the text. By Thomas Kendall Blue is used for words that are more personal or explinatory. Published and bound by Thomas Kendall Department of Architecture Marginalia. Royal College of Art 2013 This essay contains various pieces of marginalia. They are often First Edition an analysis of the main text, so should be read only if you want to interrupt your flow. This space is not just for my marginalia but for yours also, please feel free to indulge in the joy of writing in the margins. 1 ‘Sous Rature is a strategic philosophical device originally developed by Martin Heidegger. Usually translated as ‘under erasure’, it involves the crossing out of a word within a text, but allowing it to remain legible and in place. Used extensively by Jaques Derrida, it signifies that a word is “inadequate yet necessary”.’(ref – Madan Sarup, 3 It is important to note from the outset that footnotes are an important part of this An Introductory Guide to Post-Structuralism and Postmodernism p.33). - http:// essay. “I am very fond of footnotes at the bottom of the page, even if I don’t have anything in en.wikipedia.org/wiki/Sous_rature particular to clarify there.” (Perec, Species of Space, 11).
    [Show full text]
  • Pdf> Raymond QUENEAU, Exercises in Style 194 W En Partie Double / Double Entry Spatial Movements
    Raymond QUENEAU, Exercises in style 127 w Notations / Notation Spatial Movements In the S bus, in the rush hour. A chap of about 26, felt hat with a cord instead of a ribbon, neck too long, as if someone's been having a tug-of-war with it. People getting off. The chap in question gets annoyed with one of the men standing next to him. He accuses him of jostling him every time 127 w anyone goes past. A snivelling tone which is meant to be aggressive. When Spatial Sequences he sees a vacant seat he throws himself on to it. Two hours later, I meet him in the Cour de Rome, in front of the gare Saint-Lazare. He's with a friend who's saying: "You ought to get an extra button put on your overcoat." He shows him where (at the lapels) and why. Temporal continuity 127 w … 127 w Spatio-temporal continuity .. Translated by Barbara Wright, 1958 <http://altx.com/remix/style.pdf> Raymond QUENEAU, Exercises in style 194 w En partie double / Double entry Spatial Movements Towards the middle of the day and at midday I happened to be on and got on to the platform and the balcony at the back of an 5-line and of a Contrescarpe-Champerret bus and passenger transport vehicle which was packed and to all intents and purposes full. I saw and noticed a young man 194 w and an old adolescent who was rather ridiculous and pretty grotesque; thin Spatial Sequences neck and skinny windpipe, string and cord round his hat and tile.
    [Show full text]
  • Tartu Ülikool
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Tartu University Library Tartu Ülikool Filosoofiateaduskond Filosoofia ja semiootika instituut Semiootika osakond Merle Purre Raymond Queneau „Stiiliharjutused“ – oulipoliku teksti tõlkimisest Bakalaureusetöö Juhendaja: Silvi Salupere Tartu 2013 Sisukord Sissejuhatus ......................................................................................................................... 3 1. Raymond Queneau „Stiiliharjutused“ .......................................................................... 5 1.1. Kirjandusrühmitus Oulipo ........................................................................................ 6 1.1.1. Oulipolikud piirangud .................................................................................... 8 1.1.2. Eesti oulipolased............................................................................................... 10 1.2. Ülesehitus ................................................................................................................ 10 1.3. Keelelised võtted ..................................................................................................... 12 2. Tõlketeoreetiline raamistik ......................................................................................... 15 2.1. Tõlkemeetodid, -tehnikad ja -tüübid ....................................................................... 16 2.1.1. Newmark – tõlkemeetodid ..............................................................................
    [Show full text]
  • Raymond Queneau
    "I've loved Exercises in Style for years. This translation is impeccable, extraordinary. " PHl~IP PULLMAN RAYMOND QUENEAU EXE[RC~SES ~N SlY~[E FOREWORD BY UMBERTO ECO WITH AN ESSAY BY lTALO CALVINO Foreword Reading through the contents pages of fa:ercises ill Style, it would appear that Queneau wasn't working to an overall plan. They're not .. in alphabetical order, nor do they increase in complexity. An expert in rhetorical figures will see immediately that Queneau doesn't employ the full range of these figures, or indeed only rhetorical figures. Figures of speech which are oddly missing include synecdoche, metonymy, oxymoron, zeugma - the list of illustrious absentees goes on. On the other hand, it's true that if Queneau had wanted to follow the classic repertoires of such figures compiled by Pierre Fontanier, not to speak of the German rhetorician Heinrich Lausberg, the total number of exercises would have ended up as far more than a hundred. Nor did Queneau restrict the exercises only to rhetorical figures: in the contents we find parodies of literary genres (like the ode) and of ordinary acts of speech (the abusive, for example). However, on looking more closely, the expert in rhetoric will' notice chat figures of speech and thought and tropes are much more widely represented in the exercises than the titles alone would indicate. In the case of highly technical figures, such as synchysis or epenchesis, Queneau uses the scientific term with a kind of bravado, also because (one just has to read che exercises with "difficult" titles) readers realize immediately that they're not expected to understand so much as admire the author's linguistic vircuosit}\ You need to understand the rule behind the figure in order to admire it properly, bur Queneau leaves it up to the reader to find Vil ~ RAYMOND QUENEAU EXERCISES IN STYLE that out - the element of puzzling it out is probably part of the Yet it is also the case that all this display of rhetorical expertise is game he's playing.
    [Show full text]
  • A Thesis Presented to the Academic Faculty by Steve Hodges in Partial Fulfillm
    REVEALING CODE: WHAT CAN LANGUAGE TEACH SOFTWARE? A Thesis Presented to The Academic Faculty By Steve Hodges In Partial Fulfillment Of the Requirements for the Degree Master of Science in Information Design and Technology Georgia Institute of Technology May 2004 REVEALING CODE: WHAT CAN LANGUAGE TEACH SOFTWARE? Approved By: Dr. Eugene Thacker, Chair Dr. Jay Bolter Dr. Xin Wei Sha Dr. Steven Mamber Date Approved: ACKNOWLEDGMENTS I would like to thank Professor Eugene Thacker for his guidance in writing this thesis; week after week, I came away from our meetings with useful new ideas. During my entire time as a student in IDT, Professor Thacker provided me a great deal of intellectual support and encouragement. I would also like to express my appreciation to Professor Steven Mamber, in whose class I first learned about the Oulipo. At first the Oulipo seemed an odd topic in a course titled ‘The History of Digital Media’, but the connection proved strong and fascinating. Thank you to Professors Jay Bolter and Xin Wei Sha for their willingness to serve on my committee. And of course, without the support of my friends and family, I’m not sure where I’d be. iii TABLE OF CONTENTS ACKNOWLEDGMENTS............................................................................................................iii LIST OF FIGURES.......................................................................................................................v LIST OF TABLES........................................................................................................................vi
    [Show full text]
  • “These Are Not Exercises in Style”: Le Chant Du Styrène*
    “These are not exercises in style”: Le Chant du Styrène* EDWARD DIMENDBERG For Richard Sieburth and Vanessa Schwartz No celluloid, no cinema. From Stan Brakhage scratching emulsion with his fingernail to produce his last film, to the 70mm wide-screen spectacles of Hollywood, all transactions of the cinematic institution must negotiate the hum- ble filmstrip.1 Speculation about its replacement by digital technology may well be premature. After more than a century of investment in exhibition infrastructure, the movie projector, a fixture of the cinematic institution from Bombay to Brooklyn, seems unlikely to disappear anytime soon.2 Film history provides multi- ple examples of an attentiveness to plastic as technological material and cultural metaphor.3 Yet the richest exploration of this scarcely fortuitous linkage between cinema and its ineluctable material base, a work that transcends modernist self- reflexivity, though it surely implies that modernist gesture, remains Le Chant du Styrène (The Song of Styrene), a 1958 industrial documentary commissioned by the * My ability to complete this text was bolstered by the practical assistance, inspiring insights, and friendship of Richard Sieburth and Vanessa Schwartz, to whom it is dedicated. I am also grateful to Annette Michelson, Malcolm Turvey, Emma Wilson, Caroline Constant, and Barry Bergdoll for many helpful comments. Thanks as well to Richard Peña, Kent Jones, Philip Hallman, and Al Young. 1. Although some experimental filmmakers have worked solely with the film projector and screen, my own view is that the medium specificity of cinema resides in the filmstrip and that attempts to dispense with it inevitably produce results that mimic creations in other media such as theater and performance.
    [Show full text]
  • June 2015 Dr. Katalin Vecsey EDUCATION Eötvös Lóránd
    June 2015 Dr. Katalin Vecsey Department of Theater and Rhetoric Bates College, Lewiston, Maine 04240-6088 Tel: (207) 786-6378 Fax: (207) 786-8332 E-mail: [email protected] 14 Richmond Ave. Lewiston, Maine 04240 U.S.A. Tel: (207) 777-7482 Ózdi utca13. Budapest, H-1116 HUNGARY Tel: 011-361-227-5268 EDUCATION Eötvös Lóránd University, Budapest, Hungary. Doctorate in Developmental and Educational Psychology Summa Cum Laude, February 1994. Bárczi Gusztáv College for Teachers of the Disabled, Budapest, Hungary. M.A./B.A. in Speech and Language Pathology/Special Education. Special concentration in Voice and Speech Training for Professional Voice Users and in Voice Disorders. June 1989. Academy of Drama and Film, Budapest, Hungary. Special student, non-degree candidate. Enrolled only for voice and speech courses: Voice and Speech for the Actor; Voice and Speech for Stage. 1987-1991 Budai Nagy Antal High School, Budapest, Hungary. Diploma 1984. Concentration in English Language Studies ACADEMIC EMPLOYMENT Senior Lecturer in Theater and Vocal Director for Bates Theater Productions Department of Theater and Dance. Bates College, Lewiston, Maine. USA August 2011 - to present Lecturer in Theater and Vocal Director for Bates Theater Productions Department of Theater and Rhetoric. Bates College, Lewiston, Maine. USA January 1996 to July 2011 Associate Professor in the Department of Phonetics and Logopedics January 1994 - August 1998 Bárczi Gusztáv College for Teachers of the Disabled, Budapest, Hungary. Courses: Voice and Speech Methodology of Voice and Speech Training for Professional Voice Users. K. Vecsey - CV p. 2 Assistant Professor in the Department of Phonetics and Logopedics Bárczi Gusztáv College for Teachers of the Disabled, Budapest, Hungary.
    [Show full text]
  • Scanned Using Book Scancenter 7131
    49 Ignorance CONTENTS 51 Past 53 Present 54 Reported speech page xi Preface by Barbara Wright 56 Passive 58 Alexandrines 60 Polyptotes EXERCISES IN STYLE (1958 edition) 62 Apheresis 63 Apocope 3 Notation 64 Syncope 5 Double entry 65 Speaking personally 7 Litotes 67 Exclamations 8 Metaphorically 69 You know 9 Retrograde 70 Noble 10 Surprises 72 Cockney 11 Dream 74 Cross-examination 13 Prognostication 76 Comedy 15 Synchysis 79 Asides 16 The rainbow 81 Parechesis 17 Word game 82 Spectral 19 Hesitation 84 Philosophic 21 Precision 86 Apostrophe 23 The subjective side 88 Awkward 25 Another subjectivity 91 Casual 27 Narrative 93 Biased 29 Word-composition 96 Sonnet 30 Negativities 98 Olfactory 32 Animism 99 Gustatory 34 Anagrams 101 Tactile 35 Distinguo 103 Visual 37 Homeoptotes 105 Auditory 38 Official letter 107 Telegraphic 40 Blurb 109 Ode 42 Onomatopoeia 113 Permutations by groups of 2, 3, 4 and 5 letters 44 Logical analysis 115 Permutations by groups of 5, 6, 7 and 8 letters 46 Insistence 116 Permutations by groups of 9, 10, 11 and 12 letters 176 Precious 117 Permutations by groups of 1, 2, 3 and 4 words 179 Unexpected 118 Hellenisms 120 Reactionary 123 Haiku MOKE EXERCISES IN STYLE 124 Free verse BY RAYMOND QUENEAU 126 Feminine 129 Gallicisms QUENEAU'S 1973 SUBSTITUTIONS 130 Prosthesis 185 Set Theory 132 Epenthesis 187 Definitional 134 Paragoge 189 Tanka 136 Parts of speech 190 Lescurian trans-lation 138 Metathesis 192 Lipogram 139 Consequences 194 Geometrical 141 Proper names 142 Rhyming slang EXERCISES PUBLISHED OUTSIDE OF EXERCICES
    [Show full text]
  • Press-Kit-Caracas.Pdf
    CARACAS DUB / REGGAE / FUSION / ELECTRONIC / MEDITERRANEAN (ITALY) Caracas is the result of a fruitful partnership between Valerio Corzani (Mau DISCOGRAPHY: Mau, Mazapegul, Gli Ex, Interiors) and Stefano Saletti (Novalia, Piccola Banda Ikona, Café Loti, Sete Sois Sete Luas Orchestra). GHOST TRACKS, The two composed, arranged, played and produced the homonymous 2017, MATERIALI SONORI album (which will be released in May by Materiali Sonori). The musical red wire of the whole project is the underscoring – in arrangements and rhytmic joints – of “upbeat”. A kind of beneficial resonant floater which permitted both the musicians to start an amazing instrumental trip (with even several “spoken word” inserts) in search of a new cosmopolitan way for instruments and musics. The starting stage is the Mediterranean sea (with any of the symbol-instru- CARACAS, ments of that fertile basin - oud, bouzouki, marranzano, derbouka, tamorra 2015, MATERIALI SONORI – which characterize many tracks), after that, the music circumnavigates the Earth, with the prow on sound miscegenation and rhytmic alchemy. Reggae music, therefore Jamaica, is another of Caracas’ destinations, they yet succeeded in the venture to avoid all “cliché” of the gendre born in the carribean island, using characters of that music for crossing new solutions, add the right amount of electronics, and trouble besides many others ethnic basins (from Tuareg desert to sufi’s Turkey, from Hawaii to STREAMING: South America, from some US soul-jazz to the dub hybrids of the british :: http://matsoncloud.com/index.php/s/gGK2mlo5tu7Nj3B Onusound…). Password: caracas A world-reggae project therefore, with very peculiar contours and pro- :: https://soundcloud.com/caracas-4 :: phile, which becomes live a very fascinating show.
    [Show full text]
  • A Spatial Translation on the Text of Raymond Queneau’S Sırma Bilir* “Exercises in Style” Pelin Yıldız**
    ICONARP International Journal of Architecture and Planning Received: 12.02.2020 Accepted: 17.03.2020 Volume 8, Issue 1, pp: 211-240/ Published: 25.06.2020 Research Article DOI: 10.15320/ICONARP.2020.111- E- ISSN:2147-9380 ICONARP A Spatial Translation on the Text of Raymond Queneau’s Sırma Bilir* “Exercises in Style” Pelin Yıldız** Abstract Purpose Keywords: Translation, space, Founded in France in 1960, Ouvroir de Litterature Potentielle (OuLiPo - OuLiPo, Exercises in Style, Raymond Workshop of Potential Literature), is a literary game group that Queneau conducts experiments to improve creativity in the act of writing. The *Res. Asst. Faculty of Fine Arts, discoveries and inventions of the group in literature have also created Department of Interior Architecture & an adaptable potential for non-literary fields. In this study, the work of Environment Design, Hacettepe Raymond Queneau , one of the early works of OuLiPo, University, Ankara, Turkey Exercises in Style Email: [email protected] is translated into the medium of a different discipline. With this ORCID No: https://orcid.org/0000- proposal, the study aims to make an external contribution to the 0003-4962-6760 creativity of disciplines which produce space. **Prof. Faculty of Fine Arts, Department Design/Methodology/Approach of Interior Architecture & Environment Design, Hacettepe University, Ankara, The study uses an interdisciplinary approach to practice a translation Turkey process between the Oulipian literature and architecture. By exploring Email: [email protected] ORCID No: https://orcid.org/0000- the possibilities of language with 99 variations of the same story, 0002-7201-8213 Exercises in Style establishes strong links with translation and Sırma Bilir & Pelin Yıldız creativity; it has been reproduced in many different fields and translated into different languages.
    [Show full text]