The Color Application of the Representative Pop Art in Modern Design —— Illustrated by the Case of MAOS Design I
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Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally. -
With Dada and Pop Art Influence
With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK. -
Most Requested Songs of 2016
Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2016 RANK ARTIST SONG 1 Ronson, Mark Feat. Bruno Mars Uptown Funk 2 Journey Don't Stop Believin' 3 Walk The Moon Shut Up And Dance 4 Cupid Cupid Shuffle 5 Houston, Whitney I Wanna Dance With Somebody (Who Loves Me) 6 Diamond, Neil Sweet Caroline (Good Times Never Seemed So Good) 7 Swift, Taylor Shake It Off 8 V.I.C. Wobble 9 Black Eyed Peas I Gotta Feeling 10 Sheeran, Ed Thinking Out Loud 11 Williams, Pharrell Happy 12 AC/DC You Shook Me All Night Long 13 Usher Feat. Ludacris & Lil' Jon Yeah 14 DJ Casper Cha Cha Slide 15 Mars, Bruno Marry You 16 Bon Jovi Livin' On A Prayer 17 Maroon 5 Sugar 18 Isley Brothers Shout 19 Morrison, Van Brown Eyed Girl 20 B-52's Love Shack 21 Outkast Hey Ya! 22 Brooks, Garth Friends In Low Places 23 Legend, John All Of Me 24 DJ Snake Feat. Lil Jon Turn Down For What 25 Sir Mix-A-Lot Baby Got Back 26 Timberlake, Justin Can't Stop The Feeling! 27 Loggins, Kenny Footloose 28 Beatles Twist And Shout 29 Earth, Wind & Fire September 30 Jackson, Michael Billie Jean 31 Def Leppard Pour Some Sugar On Me 32 Beyonce Single Ladies (Put A Ring On It) 33 Rihanna Feat. Calvin Harris We Found Love 34 Spice Girls Wannabe 35 Temptations My Girl 36 Sinatra, Frank The Way You Look Tonight 37 Silento Watch Me 38 Timberlake, Justin Sexyback 39 Lynyrd Skynyrd Sweet Home Alabama 40 Jordan, Montell This Is How We Do It 41 Sister Sledge We Are Family 42 Weeknd Can't Feel My Face 43 Dnce Cake By The Ocean 44 Flo Rida My House 45 Lmfao Feat. -
International Communication Research Journal
International Communication Research Journal NON-PROFIT ORG. https://icrj.pub/ U.S. POSTAGE PAID [email protected] FORT WORTH, TX Department of Journalism PERMIT 2143 Texas Christian University 2805 S. University Drive TCU Box 298060, Fort Worth Texas, 76129 USA Indexed and e-distributed by: EBSCOhost, Communication Source Database GALE - Cengage Learning International Communication Research Journal Vol. 54, No. 2 . Fall 2019 Research Journal Research Communication International ISSN 2153-9707 ISSN Vol. 54, No. 2 54,No. Vol. Association for Education in Journalism and Mass Communication inJournalismandMass Education for Association A publication of the International Communication Divisionofthe Communication of theInternational A publication . Fall 2019 Fall International Communication Research Journal A publication of the International Communication Division, Association for Education in Journalism & Mass Communication (AEJMC) Editor Uche Onyebadi Texas Christian University Associate Editors Editorial Consultant Ngozi Akinro Yong Volz Wayne Wanta Website Design & Maintenance Editorial University of Florida Texas Wesleyan University Missouri School of Journalism Editorial Assistant Book Review Editor Jennifer O’Keefe Zhaoxi (Josie) Liu Texas Christian University Editorial Advisory Board Jatin Srivastava, Lindita Camaj, Mohammed Al-Azdee, Ammina Kothari, Jeannine Relly, Emily Metzgar, Celeste Gonzalez de Bustamante, Yusuf Kalyango Jr., Zeny Sarabia-Panol, Margaretha Geertsema-Sligh, Elanie Steyn Editorial Review Board Adaobi Duru Gulilat Menbere Tekleab Mark Walters University of Louisiana, USA Bahir Dar University, Ethiopia Aoyama Gakuin University, Japan Ammina Kothari Herman Howard Mohamed A. Satti Rochester Institute of Technology, USA Angelo State University, USA American University of Kuwait, Kuwait Amy Schmitz Weiss Ihediwa Samuel Chibundu Nazmul Rony San Diego State University USA Universiti Tunku Abdul Rahman (UTAR), Slippery Rock University, USA Anantha S. -
CHAPTER 1: PRINCIPLES of a PEDAGOGY of PLAY What Are the Core Features of a Pedagogy of Play?
CHAPTER 1: PRINCIPLES OF A PEDAGOGY OF PLAY What are the core features of a pedagogy of play? If we had just a few minutes to explain what a pedagogy of play involves, we would tell you about these principles. They are the core ideas and values that serve as the conceptual foundation for a pedagogy of play. Most of the principles apply both to children and adults, however the last three address adults in particular. The principles are culturally specific—created in and for ISB—though we hope they may have relevance in other settings. To learn about how these principles were developed, see our FAQ Section (Chapter 6). 1. Playing with an educational purpose Playful learning often situates curricular goals, content, and activities, as well as learners’ lives and interests, within a larger purpose or inquiry. 2. Learners leading their own learning Taking playful learning seriously means tipping the balance of responsibility for learning toward the learners. Playful learners are intrinsically motivated to reshape the world and to test the limits of their abilities without fear of failure. 3. Experiencing choice, wonder, and delight Learners experience choice, wonder, and delight when they are learning through play and interacting with people, ideas, materials, or spaces. At the same time, what is playful to one may not be experienced as playful by another. Not all learning has to involve play, nor will every moment of play entail significant learning. 4. Connecting life inside and outside the classroom Playful learning frequently invites a transfer of knowledge and experience between the classroom and life outside the classroom. -
FJJMA-James Rosenquist Apr 4
NEWS RELEASE March 30, 2012 FRED JONES JR. MUSEUM OF ART UNIVERSITY OF OKLAHOMA - NORMAN CONTACT MICHAEL BENDURE, Director of Communication, 405-325-3178, [email protected] FAX: 405-325-7696 www.ou.edu/fjjma FOR IMMEDIATE RELEASE WITH PHOTO OU Art Museum Video Chat Series Features James Rosenquist April 4 NORMAN – University of Oklahoma students and the public are invited to interact with American artist James Rosenquist via live video chat at the Fred Jones Jr. Museum of Art. The second of its kind in the new series, 30 Minutes With, the chat begins with a 30-minute talk by OU art professor Susan Caldwell at 4 p.m. Wednesday, April 4 at the museum, followed by the live chat with Rosenquist. “Through this new series, visitors are given a unique opportunity to talk directly with major current artists,” said Ghislain d’Humières, director of the art museum. “We hope visitors will take this rare opportunity and learn about James Rosenquist, both from Susan Caldwell and from the artist himself.” Rosenquist was born in North Dakota in 1933 but grew up in Minnesota. While studying at the University of Minnesota, he spent his summers painting signs and billboards. These experiences heavily influenced his pop style as an artist. In 1955, Rosenquist moved to New York, where he studied at the Art Students League and continued work as a billboard painter. Living in the fast-paced, media-filled environment of New York City, he once said he was “amazed and excited and fascinated about the way things are thrust at us.” Alongside Andy Warhol and Roy Lichtenstein, Rosenquist has become a central figure of pop art in New York. -
Open Steinle Cory Kanyecriticism.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS & SCIENCES “I THOUGHT ABOUT KILLING YOU”: CONSIDERING THE UTILITY OF RHETORICAL AND BIOGRAPHICAL CRITICAL APPROACHES TO KANYE WEST’S YE CORY N. STEINLE SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts and Sciences and Labor and Employment Relations with honors in Communication Arts and Sciences Reviewed and approved* by the following: Bradford Vivian Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Associate Teaching Professor in Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This paper examines the merits of intrinsic and extrinsic critical approaches to hip-hop artifacts. To do so, I provide both a neo-Aristotelian and biographical criticism of three songs from ye (2018) by Kanye West. Chapters 1 & 2 consider Roland Barthes’ The Death of the Author and other landmark papers in rhetorical and literary theory to develop an intrinsic and extrinsic approach to criticizing ye (2018), evident in Tables 1 & 2. Chapter 3 provides the biographical antecedents of West’s life prior to the release of ye (2018). Chapters 4, 5, & 6 supply intrinsic (neo-Aristotelian) and extrinsic (biographical) critiques of the selected artifacts. Each of these chapters aims to address the concerns of one of three guiding questions: which critical approaches prove most useful to the hip-hop consumer listening to this song? How can and should the listener construct meaning? Are there any improper ways to critique and interpret this song? Chapter 7 discusses the variance in each mode of critical analysis from Chapters 4, 5, & 6. -
Mediamonkey Filelist
MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Kirk Franklin Just For Me 5:11 2019 Gospel 182 Disk Local 2 Kanye West I Love It (Clean) 2:11 2019 Rap 4 128 Disk Closer To My Local 3 Drake 5:14 2014 Rap 3 128 Dreams (Clean) Disk Nellie Tager Local 4 If I Back It Up 3:49 2018 Soul 3 172 Travis Disk Local 5 Ariana Grande The Way 3:56 The Way 1 2013 RnB 2 190 Disk Drop City Yacht Crickets (Remix Local 6 5:16 T.I. Remix (Intro 2013 Rap 128 Club Intro - Clean) Disk In The Lonely I'm Not the Only Local 7 Sam Smith 3:59 Hour (Deluxe 5 2014 Pop 190 One Disk Version) Block Brochure: In This Thang Local 8 E40 3:09 Welcome to the 16 2012 Rap 128 Breh Disk Soil 1, 2 & 3 They Don't Local 9 Rico Love 4:55 1 2014 Rap 182 Know Disk Return Of The Local 10 Mann 3:34 Buzzin' 2011 Rap 3 128 Macc (Remix) Disk Local 11 Trey Songz Unusal 4:00 Chapter V 2012 RnB 128 Disk Sensual Local 12 Snoop Dogg Seduction 5:07 BlissMix 7 2012 Rap 0 201 Disk (BlissMix) Same Damn Local 13 Future Time (Clean 4:49 Pluto 11 2012 Rap 128 Disk Remix) Sun Come Up Local 14 Glasses Malone 3:20 Beach Cruiser 2011 Rap 128 (Clean) Disk I'm On One We the Best Local 15 DJ Khaled 4:59 2 2011 Rap 5 128 (Clean) Forever Disk Local 16 Tessellated Searchin' 2:29 2017 Jazz 2 173 Disk Rahsaan 6 AM (Clean Local 17 3:29 Bleuphoria 2813 2011 RnB 128 Patterson Remix) Disk I Luh Ya Papi Local 18 Jennifer Lopez 2:57 1 2014 Rap 193 (Remix) Disk Local 19 Mary Mary Go Get It 2:24 Go Get It 1 2012 Gospel 4 128 Disk LOVE? [The Local 20 Jennifer Lopez On the -
The Most Important Works of Art of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Most Important Works of Art of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5786 Chapter 3: The Most Important Works of Art of the Twentieth Century Introduction Quality in art is not just a matter of private experience. There is a consensus of taste. Clement Greenberg1 Important works of art embody important innovations. The most important works of art are those that announce very important innovations. There is considerable interest in identifying the most important artists, and their most important works, not only among those who study art professionally, but also among a wider public. The distinguished art historian Meyer Schapiro recognized that this is due in large part to the market value of works of art: “The great interest in painting and sculpture (versus poetry) arises precisely from its unique character as art that produces expensive, rare, and speculative commodities.”2 Schapiro’s insight suggests one means of identifying the most important artists, through analysis of prices at public sales.3 This strategy is less useful in identifying the most important individual works of art, however, for these rarely, if ever, come to market. An alternative is to survey the judgments of art experts. One way to do this is by analyzing textbooks. -
How to Teach Pop Music to Piano Students
HOW TO TEACH POP MUSIC TO PIANO STUDENTS Vibrant, vibrant, vibrant music teaching. Proven and practical tips, strategies and ideas for Music Teachers. This is Episode 123 of the Vibrant Music Teaching Podcast. I’m Nicola Cantan and in this show, we’re talking about how to teach pop music to piano students. Hey there. Welcome back, beautiful teachers. It is so great to be back with you again for this discussion about teaching pop music. So last week, we talked about why you would even want to teach pop music in your studio; why you would want to include it. So go back and check that out if you’re maybe not convinced or you need some backup to tell your boss or the parents in your studio or your students why you include this type of music although I doubt your students need much convincing of that. Now, before we go any further diving into how to teach pop music and some of the methods that I use in my studio, I wanted to note that I'm going to mention a lot of different resources today. That's just the nature of the show. So I am going to mention different books and websites and stuff like that. You can find links to all of those, the names of all of those on the show notes for this episode. So go to VibrantMusicTeaching.com/123. It's nice and handy that it’s worked out as Episode 123 that the show notes are so important for. So VibrantMusicTeaching.com/123 – that will take you to the show notes. -
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A.