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Towards Chinese Calligraphy Zhuzhong Qian
Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings. -
Joy Division and Cultural Collaborators in Popular Music Briana E
Western University Scholarship@Western Electronic Thesis and Dissertation Repository August 2016 Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music Briana E. Morley The University of Western Ontario Supervisor Dr. Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree in Master of Arts © Briana E. Morley 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Music Commons Recommended Citation Morley, Briana E., "Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music" (2016). Electronic Thesis and Dissertation Repository. 3991. https://ir.lib.uwo.ca/etd/3991 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. Abstract There is a dark mythology surrounding the post-punk band Joy Division that tends to foreground the personal history of lead singer Ian Curtis. However, when evaluating the construction of Joy Division’s public image, the contributions of several other important figures must be addressed. This thesis shifts focus onto the peripheral figures who played key roles in the construction and perpetuation of Joy Division’s image. The roles of graphic designer Peter Saville, of television presenter and Factory Records founder Tony Wilson, and of photographers Kevin Cummins and Anton Corbijn will stand as examples in this discussion of cultural intermediaries and collaborators in popular music. -
Coin and Philosophy Bleakchain Waveforms
Šum #10.2 Cryptocene Bleakchain PJ Ennis Crypto-Current An Introduction to Bit- coin and Philosophy Nick Land Waveforms: Art and Revolutionary Trans- formation in the Age of Blockchain Edmund Berger Šum #10.2 Cryptocene 1343 Partnerji in koproducenti Publikacija je nastala v okviru projekta State Machines, ki ga izvajajo Aksioma (SI), Drugo more (HR), Furtherfield (UK), Institute of Network Cultures (NL) in NeMe (CY). Izvedba tega projekta je financirana Društvo s strani Evropske komisije. Vsebina komunikacije je izključno odgovornost avtorja in v nobenem primeru ne predstavlja stališč Evropske komisije. Galerija BOKS drustvoboks.wordpress.com Društvo Igor Zabel www.igorzabel.org Realized in the framework of State Machines, a joint project by Aksioma (SI), Drugo more (HR), Furtherfield (UK), Institute of Network Cultures (NL) and NeMe (CY). Galerija Galerija This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission Kapelica Škuc cannot be held responsible for any use which may be made of the information contained therein. www.kapelica.org galerija.skuc-drustvo.si PartnerjiŠum in koproducenti#10.2 PartnerjiŠum in koproducenti#10.2 MGLC UGM Mednarodni grafični likovni center Umetnostna galerija Maribor www.ugm.si www.mglc-lj.si Mestna Zavod Celeia Celje galerija Ljubljana Center sodobnih umetnosti www.celeia.info www.mgml.si/ mestna-galerija-ljubljana MG+MSUM Aksioma OSMO/ZA Moderna galerija www.aksioma.org www.osmoza.si www.mg-lj.si 1346 1347 Šum #10.2 Šum #10.2 Bleakchain PJ Ennis 1349 Bleakchain PJ Ennis 1355 Crypto-Current An Introduction to Bitcoin and Philosophy nick Land 1373 Waveforms: Art and Revolutionary Transformation in the Age of Blockchain Edmund BErgEr The following is source material drawn from Tropical by PJ Ennis, a novel about the collapse of a post-cryptocurrency society in the thirty-first century. -
De La Música, Lo Bello Y Las Sombras. La Compleja Relación De Joy Division Con La Estética De Lo Oscuro
149 De la música, lo bello y las sombras. La compleja relación de Joy Division con la estética de lo oscuro Dr. Pompeyo Pérez Díaz Universidad de La Laguna Resumen El papel de Joy Division como uno de los grupos impulsores del rock gótico es difícilmente discutible. Sin embargo, los rasgos sono- ros y estéticos de su propuesta presentan notables diferencias con otras bandas referenciales de dicha corriente, como Siouxsie & The Banshees, The Cure o Bauhaus. Los seguidores de estas, sin embar- go, siempre se mostraron receptivos hacia sus letras, su música y sus austeros conciertos. Hay algo extremo y/o radical en su plantea- miento que es percibido como oscuro por naturaleza. Este vínculo entre Joy Division y una estética gótica más canónica se vio refor- zado por un suceso inesperado, la muerte de Ian Curtis. Su suicidio consolidó el proceso de conversión de Joy Division en una banda de culto al tiempo que otorgó una “credibilidad” excepcional a la carga poética de las letras y al sonido descarnado de su música. I. Shadow at the side of the road Always reminds me of you� Ian Curtis. Komakino (1980) Joy Division 150 151 mentos normalmente asociados a la música de baile), el intercambio de los roles tradicionales del rock entre la guitarra y el bajo, la originalidad en el uso de sintetizadores y cajas de ritmos como un elemento más del sonido del grupo y, claro, la atmósfera global, una producción tan cuidadosa como premeditadamente minimalista, capaz de generar in- sospechados estados anímicos en el oyente1� La emocionalidad contenida a la que me he referido quizá sea una de las señas sonoras del grupo� Hay algo extremo y desesperado en ello, como en el grito que no se oye en el cuadro de Munch, ahí se encuentra parte de la identidad de Joy Division. -
5Lesson 5: Web Page Layout and Elements
5Lesson 5: Web Page Layout and Elements Objectives By the end of this lesson, you will be able to: 1.1.14: Apply branding to a Web site. 2.1.1: Define and use common Web page design and layout elements (e.g., color, space, font size and style, lines, logos, symbols, pictograms, images, stationary features). 2.1.2: Determine ways that design helps and hinders audience participation (includes target audience, stakeholder expectations, cultural issues). 2.1.3: Manipulate space and content to create a visually balanced page/site that presents a coherent, unified message (includes symmetry, asymmetry, radial balance). 2.1.4: Use color and contrast to introduce variety, stimulate users and emphasize messages. 2.1.5: Use design strategies to control a user's focus on a page. 2.1.6: Apply strategies and tools for visual consistency to Web pages and site (e.g., style guides, page templates, image placement, navigation aids). 2.1.7: Convey a site's message, culture and tone (professional, casual, formal, informal) using images, colors, fonts, content style. 2.1.8: Eliminate unnecessary elements that distract from a page's message. 2.1.9: Design for typographical issues in printable content. 2.1.10: Design for screen resolution issues in online content. 2.2.1: Identify Web site characteristics and strategies to enable them, including interactivity, navigation, database integration. 2.2.9: Identify audience and end-user capabilities (e.g., lowest common denominator in usability). 3.1.3: Use hexadecimal values to specify colors in X/HTML. 3.3.7: Evaluate image colors to determine effectiveness in various cultures. -
The Influence of Chinese Calligraphy on Western Informel Painting Was Published in German in 1985
Marguerite Müller-Yao 姚 慧 The Influence of Dr.Marguerite Hui Müller-Yao 2000 Chinese Calligraphy From 1964 – 2014 a Chinese artist was resident in Germany: Dr. Marguerite Hui Müller-Yao. She learned in China traditional Chinese arts - calligraphy, ink painting, poetry – before studying Western modern art in Germany. The subject of her artistic and scientific work was an attempt of a synthesis on between the old traditions of China and the ways and forms of thought and design of modern Western culture. In her artistic work she searched on one hand to develop the traditional ink Western Informel painting and calligraphy through modern Western expression, on the other Marguerite Müller-Yao hand to deepen the formal language of modern painting, graphics and object art by referring back to the ideas of Chinese calligraphic tradition and Painting the principles of Chinese ink painting. In her academic work she was dedicated to the investigation of the relations between the Western Informel Painting and Chinese Calligraphy. This 中國書法藝術對西洋繪畫的影響 work, which deals with the influence of the art of Chinese Calligraphy on the Western Informel painting is an attempt to contribute a little to the understanding of some of the essential aspects of two cultures and their relations: the Western European-American on one hand and the East-Asian, particularly the Chinese, on the other hand. The subject of this work concerns an aspect of intercultural relations between the East and the West, especially the artistic relations between Eastern Asia and Europe/America in Düsseldorf 2015 a certain direction, from the East to the West. -
Council of Europe English Style Guide
COUNCIL OF EUROPE ENGLISH STYLE GUIDE Better English and style, in print and online 2017 COUNCIL OF EUROPE ENGLISH STYLE GUIDE 2017 Editorial Unit Documents and Publications Production Department (SPDP) Council of Europe French edition: Typomémo – Mémento typographique français 2017 The Council of Europe English style guide and the Typomémo – Mémento typographique français are available in electronic form (PDF) on the DGA intranet pages: – on the DGS portal, in the “Useful links” rubric; – on the Publications production page, in the “Theme Files” rubric. They are also available in the Administrative Handbook. A paper version can be printed using the in-house SCRIB printing system. For complete instruc- tions, please consult the guide “How to print the English style guide using SCRIB”, available in the Administrative handbook. Design and layout: Documents and Publications Production Department (SPDP) Cover photos: © Shutterstock © Council of Europe, November 2016 Printed at the Council of Europe Contents Alphabetical listing quick access links: A – B – C – D – E – F – G – H – I – J – K – L – M – N – O – P – Q – R – S – T – U – V – W – X – Y – Z Foreword .................................................................................................................................................................................................. 5 FAQs – Frequently asked questions .................................................................................................................................................. 7 1. Sources -
Fonts for Latin Paleography
FONTS FOR LATIN PALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 5th edition 2 January 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals ( capitalis elegans ) 5 Rustic Capitals ( capitalis rustica ) 8 Uncial script ( uncialis ) 10 Old Roman cursive ( antiqua cursiva romana ) 13 New Roman cursive ( nova cursiva romana ) 16 Half-uncial or Semi-uncial (semiuncialis ) 19 Post-Roman scripts or national hands 22 Germanic script ( scriptura germanica ) 23 Merovingian minuscule ( merovingia , luxoviensis minuscula ) 24 Visigothic minuscule ( visigothica ) 27 Lombardic and Beneventan scripts ( beneventana ) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule ( insularis majuscula ) 33 Insular minuscule or pointed hand ( insularis minuscula ) 38 Caroline minuscule ( carolingia minuscula ) 45 Gothic script ( gothica prescissa , quadrata , rotunda , cursiva , bastarda ) 51 Humanist writing ( humanistica antiqua ) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos: [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3 rd to the 15 th century. -
Understanding Joy Division Martin J. Power, Aileen Dillane and Eoin
This is the way, Step inside: Understanding Joy Division Martin J. Power, Aileen Dillane and Eoin Devereux Joy Division On the 30th of July 1980, three musicians - Peter Hook, Steven Morris and Bernard Sumner - took to the small stage of The Beach Club at Oozits Bar in Shudehill, Manchester. With what might be best described as ‘gallows humour’, Sumner introduced the band as being the last surviving members of Crawling Chaos (New Order Net 2018).1 Their short set consisted of five songs. It must have been a particularly difficult gig for the musicians to play, as just eleven week’s earlier their close friend and Joy Division band-mate Ian Curtis had committed suicide on the eve of their first tour of the United States. Curtis’s unexpected death marked the premature end of one of the most important and most influential post-punk bands. Joy Division was no more. Strictly speaking, Joy Division existed for only two and a half years. Formed in Salford, over twenty-nine months the band wrote and recorded forty-three songs and played one hundred and twenty gigs (see Joy Division Official 2018). The 1976 punk explosion served as an initial catalyst for Sumner and Hook to form a band - temporarily called Stiff Kittens. This was soon followed by the adoption of the name Warsaw, inspired by David Bowie’s ‘Warszawa’ and further changes in membership. The final line up of Curtis (vocals); Hook (bass); Sumner (guitar, keys) and Morris (drums) performed and recorded as Warsaw in the second half of 1977. However, the existence of a punk band called Warsaw Pakt convinced them to change their name to avoid any confusion and in January 1978 they played their first ever gig under the name Joy Division. -
The Ideal and the Actual in Procedural Due Process
Hastings Constitutional Law Quarterly Volume 48 Number 2 Winter 2021 Article 4 Winter 2021 The Ideal and the Actual in Procedural Due Process Norman W. Spaulding Follow this and additional works at: https://repository.uchastings.edu/ hastings_constitutional_law_quaterly Part of the Constitutional Law Commons Recommended Citation Norman W. Spaulding, The Ideal and the Actual in Procedural Due Process, 48 HASTINGS CONST. L.Q. 261 (2021). Available at: https://repository.uchastings.edu/hastings_constitutional_law_quaterly/vol48/iss2/4 This Essay is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Constitutional Law Quarterly by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. The Ideal and the Actual in Procedural Due Process by NORMAN W. SPAULDING1 Abstract The law proceduralists write about and teach is nothing like what most ordinary Americans experience when they step into court. Indeed, the evidence shows that most Americans who have legal problems do not ever get to court, nor do they receive a meaningful alternative hearing. In this way both judicial and academic discourse on procedure, even among those who see glaring problems of access to justice, is idealized, abstract, and ossified—unconnected to the actual. This Essay describes the ideal/actual divide in procedure—the cognitive, doctrinal and ideological effects of lingering on the ideal side of it, and the forms of subordination perpetuated on the actual side. The Essay begins by turning away from the federal courts, which decide less than two percent of all cases in the United States, in order to examine a series of recent cases and reports on the actual administration of justice in state courts, in state and federal administrative agencies, and in private arbitration. -
Basics of Desktop Publishing. Teacher Edition. INSTITUTION Mid-America Vocational Curriculum Consortium, Stillwatar, Okla
DOCUMENT RESUME ED 327 658 CE 056 668 AUTHOR Beeby, Ellen TITLE Basics of Desktop Publishing. Teacher Edition. INSTITUTION Mid-America Vocational Curriculum Consortium, Stillwatar, Okla. PUB DATE 91 NOTE 331p. AVAILABLE FROMMid-Amarica Vocational Curriculum Consortium, 1500 West Sevc,nth Avenue, Stillw.ter, OK 74074 (order no. 601601: $23.50). PUB TYPE Guides Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Behavioral Objectives; *Computer Oriented Programs; *Computer Software; *Desktop Publishing; Electronic Publishing; *Layout (Publications); Learning Activities; Lesson Plans; Microcomputers; Postsecondary Education; Printing; Publications; Secondary Education; Teaching Methods; Test Items; Units of Study ABSTRACT This color-coded teacher's guide contains curriculum materials designed to give students an awareness of various desktop publishing techniques before they determine their computer hardware and software needs. The guide contains six units, each of which includes some or all of the following basic components: objective sheet, suggested activities for the teacher, instructor supplements, transparency masters, information sheet, assignment sheets, assignment sheet answers, job sheets, practical tests, written test, and answers to written test. Units cover the following topics: introduction to desktop publishing; desktop publishing systems; software; type selection; document design; and layout. All of the units focus on measurable and observable learning outcomes. They are designed for use in more than one lesson or class period of instruction. (KC) *****************:*****..*******k*************************************** Reproductions supplied by EDRS are the best that can be made froin the original document. *********************************************************************** Basics of Desktop Publishing Written by Ellen Beeby Project Coordinated by Sue Buck Developed by The Mid-America Vocational Curriculum Consortium, Inc. -
Don Dombowsky IAN CURTIS and the GERMAN AUTUMN1
Don Dombowsky IAN CURTIS AND THE GERMAN AUTUMN1 he lyrics of Ian Curtis have typically been interpreted in two ways: either as a somber illustration of his psychological struggles (including his struggle with epilepsy) emphasizing his personal, ‘inner world’ T 2 and recognizing ‘his words as a literal cry for help’; or as a social and political refl ection of Manchester’s desolate, post-industrial spaces and of the economic and political transformations attending the emergence of the Thatcher era and its ‘authoritarian populism’,3 capturing the frustration and despair of the British working class and their ‘winter of discontent’. This concluding perspective is expressed in a most evocative way by Jon Savage who wrote in a Melody Maker review of Unknown Pleasures in 1979— explaining both Joy Division’s sonic idiom and the sensibility infusing the lyrics of Ian Curtis— that Joy Division’s spatial, circular themes’ [were a] ‘perfect refl ection of Manchester’s dark spaces and empty places: endless sodium lights... vacant industrial sites— the endless detritus of the 19th century... [communicating] the reactions of individuals caught in a trap they dimly perceive— anger, paranoia, alienation, feelings of thwarted power... [and] control everywhere. 4 And by Chris Ott as well, by the time of his writing expressing the by then standard view that as personal and emotional as Curtis’s lyrics were, the sense of despair and frustration that they conveyed had broad implications in the England of the late 1970s, where hopelessness was a very real sensation. The economic downturn resulted in labor strikes ranging from garbage workers to nurses to gravediggers.5 1 This essay appeared in the form of a didactic poem in: Epizootics! Online Literary Journal for the Contemporary Animal.