Use Of Collage Research Articles

A contemporary visual perspective through the use of collage and mixed media in the artists' works

A contemporary visual perspective through the use of collage and mixed media in the artists' works

Deconstruction and Reinvention: The Use of Montage in Dance Theater Creation

Deconstruction and Reinvention: The Use of Montage in Dance Theater Creation

The Use of Montage Bone Putty in Assisting in the Maintenance of Reduction in Comminuted Distal Radius Fractures.

Background The distal radius fracture is the most common fracture in the United States. Achieving stable reduction and fixation of complex fracture patterns can be challenging. In order to help maintain reduction of comminuted fracture to simplify plating, the calcium phosphate-based bone putty Montage has been developed. Questions/Purposes Does Montage assist in achieving stable reduction and fixation of complex distal radius fractures with an acceptable complication profile? Patient and Methods We retrospectively analyzed all patients who were treated intraoperatively with Montage bone putty along with volar plate fixation at a large-volume urban county hospital. Preoperative, intraoperative, and postoperative measurements of radiographic features were recorded at 2 and 6 months, as were any complications. Statistical analysis was then performed on these values. Results Preoperative and postoperative radiographs demonstrated significant improvement in standard distal radius fracture measurements, reflecting adequate reduction with the use of Montage intraoperatively. Critically, radiographs demonstrated maintenance of reduction compared to intraoperative fluoroscopy images at 2 months, showing short-term stability of the use of Montage in these fracture patterns as well as long-term stability at 6 months in a subset of patients. There were no major complications in this study. Conclusion In this study, we demonstrate the utility of Montage bone putty for complex distal radius fractures with short-term follow-up and limited long-term follow-up. This initial study underlines its efficacy in maintaining reduction without major complications. Level of Evidence IV, Therapeutic.

ТЕХНОЛОГИИ ОРГАНИЗАЦИИ КОММУНИКАТИВНО-ТВОРЧЕСКОЙ ДЕЯТЕЛЬНОСТИ УЧАЩИХСЯ НА УРОКАХ ИНОСТРАННОГО ЯЗЫКА

This article is devoted to the problem of communication and creative activity at the foreign language lessons in the theory and practice of secondary school education. The authors consider some aspects of the development of communicative-creative thinking in the process of foreign language learning and communicative-creative technologies in teaching foreign languages ​ ​ as a goal-setting aspect of their research. Examining the methodology and scientific approaches, we clarify the psychological and pedagogical conditions for organizing communicative and creative activities while learning the English language. This involves the use of active teaching methods and a learner-centered approach during foreign language lessons. The key findings include a detailed description of the authors' use of collage and interactive “speaking” postcard technologies perceived as forms of art technologies aimed at fostering students' communicative and creative skills and enhancing their proficiency in foreign language communication. The conclusions drawn from the research are substantiated by its originality, and the value of the obtained data is predominantly of an applied nature. The practical significance lies in the potential wide adoption of the methodology developed by the authors in real-life foreign language teaching scenarios. Future research endeavors will focus on publishing the obtained results in professional journals and presenting the developed methods to the academic community through participation in scientific-practical conferences and similar events.

Use of Collage in Autoethnography

In this critical reflection, I will explore my use of collage in critical autoethnography. This reflection was prompted by my participation in a seminar that took place in June 2022, entitled ‘Being a Researcher’. This seminar was co-organised by the Non-Traditional Research Methods Network (NTRM), of which I am one of three founder members, and the Society for Research in Higher Education (SRHE). I reflect upon two properties of collage. I suggest that embodiment in the process of making collage, enables researchers to draw upon embodied and affective ways of understanding the world. Furthermore, I propose that the constructive and deconstructive properties of collage enable a critical engagement with one’s personal narratives in autoethnography. I conclude that the literally messy aspects of collage pose questions about tidy and messy ways of knowing, and in so doing raise questions what it means to be a researcher in practice.

Sticking pieces together – representing messiness in consumer research through the use of collage

ABSTRACT This paper presents collage-making as an art-based research method that can be engaged throughout the research process in order to enhance a reflexive consumer research practice. We argue that such an approach is specifically useful for researching contested spaces, as collage can help navigate the ‘messiness’ of such research. To illustrate how collage can support a critically engaged academic practice, we present an on-going collaboration between the authors that explores consumer culture in a conflict setting. We show that when taken on as a comprehensive, reflexive approach to consumer research, collage-making facilitates an exploration of research contexts in a more affective, interactive, contextualised, and embodied manner. In this way, collage allows to communicate research contexts as they are lived and experienced, rather than through the lens of pre-existing structures of research.

Collaging as Embodied Method: The Use of Collage in a Study of American Sign Language (ASL) Interpreters' Experiences

This methodological essay describes the generativity of collaborative collaging in a qualitative inquiry project with American Sign Language (ASL) interpreters who serve D/deaf students within a public university. Sign language interpreting is a demanding profession requiring physical endurance, creativity, and quick mental processing to switch between spoken and sign language. Interpreters’ visual communicative culture aligns conceptually with the embodied arts-based, visual, and tactile research technique of collaging. We first introduce collaging scholarship to ground our discussion of using collaging as a method within this case study of ASL interpreters. We then provide an overview of ASL interpreter research and our case study to situate the collaging method used alongside other approaches, asking, “How was collaging a productive method for exploring interpreters’ understanding of their work experiences?” We describe the use of the method and the productivity of interpreters’ collaging for surfacing embodied experiences, fueling collaborative meaning-making, and showing rather than telling aspects of interpreters’ labor in another expressive language. We conclude by identifying the value of collaborative collaging in this case study and for other researchers, issues, and contexts.

Holding Gusti’s Hand

Holding Gusti’s Hand Ana Emilia Silva (bio) Translated by Stella M. Rizzo Going through the works of Argentine artist Gusti (Gustavo Ariel Rosemffet) is a transforming experience. Each of his books bears his mark and at the same time presents something new; the reader discovers a different path to follow. Like the waters of a flowing river, there is no repetition, but his essence navigates between pages and proposes other ways of seeing things. The drawings are so eloquent that we stop and take in the amazing landscape as one who explores the world. Today we will stop at four of his works: La mosca (The Fly; 2005); Animales escondidos (Hidden Animals; 2017); Mallko y papá (Mallko and Dad; 2014); and No somos angelitos (We Are Not Little Angels; 2017). Click for larger view View full resolution The Fly—La mosca In this picturebook, Gusti plays with scatological humor. He tells the story of an atypical fly that decides to take a delicious bath on a perfect day. The omniscient narrator shows, step by step, through a synergy of text and image, how the initial situation takes unexpected twists. At the end of the picturebook, the protagonist is very annoyed and promises never to bathe again. The book cover features the protagonist as well as a phrase in red that warns the reader that something disturbing is going to happen: “A perfect day can turn into a nightmare.” Decorative patterns scattered with little flies reaffirm the leading role of the fly and plunge us into a special world that appears on the back cover: a perfect day to take a bath. What seemed to be ideal gets more and more complicated, and the use of black color is a sign of danger. Shadow is imposed on bright sky blue. The story is told by means of brief texts entwined with illustrations. Images get closer by zooming. Simple illustrations, the use of collage, and cut-out cardboard figures painted in tempera in a not very neat way enable the reader to follow the adventures of the main character. Varied materials, such as cloth, paper, wood, and screws, give movement and color and increase tactile sensations. Click for larger view View full resolution Hidden Animals—Animales Escondidos This picturebook explores the varied world of the animal kingdom. Each of its pages shows different animals in wide community. Two voices make up the story: poems by Lola Casas playfully dialogue with the colorful illustrated world of Gusti. The Casas-Gusti duo has also created ¿Feos y feas? (Ugly and Ugly?), another unforget-table picturebook that shows a very peculiar parade of faces. From the very book cover a wide variety of animals, colors, and shapes make up an intricate diversity. The reader is then invited to find the [End Page 58] character suggested by the verses and the drawings in a guessing game. The text is hidden between legs or somewhere on the sheet, never in the same spot. This coming and going of the gaze creates an atmosphere of expectation and opens out to a world of search and fun. Click for larger view View full resolution Mallko and Dad—Mallko y Papá Both this book and No somos angelitos (We Are Not Little Angels) tackle a subject closely related to Gusti’s life. In Mallko and Dad, the author/illustrator draws a path in which personal life and artistic work merge. By means of texts similar to those written in a notepad, he organizes a daily parade of moods ranging from grief to acceptance. Eventually, he takes the big leap: his love for his child with Down syndrome. In his journey toward both his inner self and those who are close to him, Gusti learns to see inside himself while also learning from his older son, Théo, and from Anne, his wife. The evolution of this parallel process goes beyond the individual and testimonial value; it impinges on the outside as it also reflects the experiences of many families in similar situations. The picturebook offers multiple reading possibilities, from the deepening of a suffering subjectivity to the growth implied in reaching absolute love without hesitation. As it contains...

Cover Art Concept

Born and raised in Cairo, Egypt, Beya Khalifa weaves together different, often absurd worlds with the use of collage—digital and physical. Her collages serve as a visual examination of the human condition and its relation to the universe, often through quirky or satirical narratives. Her work exists in a perpetual state of surrealism and phantasmagoria, almost like a daydream come to life. Khalifa’s collages use antique photographs layered under digital graphics to combine kitsch, Orientalism, fantasy, and history into a seamless investigation of the absurdity of daily life. Representing the jarring dichotomy some Arabs struggle with in terms of identity fragmentation, her recent work is now split between Western and Arab aesthetics and issues. Think of each collage as a portal into a multitude of worlds: surreal, phantasmagorical, and, in a bizarre sense, reflective of the world we live in. In each collage, characters examine and prod their way as giants or as lilliputians through space and earthly terrain, subverting traditional power dynamics between humans and nature—and between humans. Some collages interrogate the universal, while others more specifically try to reconcile the past with the present, as is the case with Khalifa’s Orientalism series. She makes collages of photographs of different Middle Eastern tribes and cultures combined with ancient geometric patterns found throughout the Middle East, critically touching on themes of Orientalism, identity, and postcolonialism in surreal settings.

The Technique of Poetic Collage in the Selected Poems of New York school poets

The word 'collage' simply means pasting unrelated things together to form artistic objects of sorts. It began first to be used by the painters and artists in general to produce a kind of art suitable to the prevalent avant-garde movement in art and literature. T.S. Eliot's The Wasteland and Ezra Pound's The Cantos are two master examples of the use of collage in the early modernist poetry. The purpose of this paper is to examine the use of collage by the poets New York School in selected poems as exemplified in the major poets of the school, namely John Ashbery, Frank O'Hara and Kenneth Koch. The paper argues that the poets of the New York school have been influenced heavily by the prevalent art movements specially the Abstract Expressionism. They imitated the Abstract Expressionists in their rejection of figurative subject matter and their working completely in the abstract. Their resort to such art as collage is to challenge the conventional ideas about art.

MODERN UKRAINIAN PHOTO BOOK AS AN OBJECT OF CONCEPTUAL ART OF POSTMODERNISM

Purpose. The purpose of the study is to identify the features of modern Ukrainian photo books, which have become a striking example of following the trends of postmodern art. Methodology. The study is based on the integrated use of historical, comparative methods, systems analysis, synthesis, generalization. Results. The modern Ukrainian photo book is considered as a work of conceptual art of postmodernism. Certain artistic and compositional features and design techniques of Ukranian photobooks are identified; originality of form; author's presentation of textual, content and visual components of the indoor unit: inclusion of ready-made images (ready-made) and photo manipulation, use of collages, photos of utilitarian objects, etc. Scientific novelty. On the example of art history analysis of a number of well-known Ukrainian photobooks, the characteristic features of the photobook as an object of modern conceptual art is determined, the features of figurative, stylistic, artistic and compositional design solutions are systematized. Practical significance. The artistic and compositional features and design techniques used by photographers in the implementation of creative ideas have been identified, the theoretical basis of modern conceptual art have been expanded that can be useful in future creative projects of photobooks that will have both artistic and commercial value.

Adorno’s Magic Lantern: On Film, Semblance, and Aesthetic Heteronomy

AbstractRejecting a reading of Theodor W. Adorno as a critic of the culture industry who could not conceive of film’s critical potential, many commentators have argued that for Adorno, film can become autonomous and thus a medium for social critique. This article argues that such a reading is only partly correct. Indeed, Adorno thought that film could be a medium for critique, yet he never stopped asserting film’s heteronomy. Building on the work of Miriam Hansen, the article argues that for Adorno, critical film could overcome the limitation of technique by film’s representational base and its inability to achieve a neutral standpoint through the use of montage, which arranges the material without dominating it.

Implementation of the Use of Collage in Improving Fine Motor Skills in Early Childhood

The teaching and learning process is a process that contains a series of actions by teachers and students on the basis of reciprocal relationships that take place in educational situations to achieve certain goals. Early Childhood Learning has a different way from adult learning such as: playing while learning, learning that is fun and interesting for children. fine motor development of learners should also increase at the age of four to five years. The coordination of eyes and hands is getting better, students can use fine motor skills with the help of adults such as: drawing, coloring, sticking, matching, writing, folding, and so on. In fine motoric development, the learning process that occurs is more about coloring activities. The activity of using natural collage materials will make students interested and excited in participating in learning and the fine motor skills of children will increase.

Treme (TV Milestones Series) by Jaimey Fisher

Reviewed by: Treme (TV Milestones Series) by Jaimey Fisher Nicholas K. Johnson Treme (TV Milestones Series) Jaimey Fisher Detroit: Wayne State University Press, 2019. ISBN: 9780814341513, $19.99, 152 pages. In Treme, a compact, critical guide to the David Simon and Eric Overmeyer-helmed HBO series of the same name (2010-2013), Jaimey Fisher explores how this underrated series depicts post-Katrina New Orleans through original, inventive techniques. Part of Wayne State University's TV Milestones series, Treme examines the series through the lenses of networked narrative, cultural production, criminal justice, disaster capitalism, and the "counter-publics" of New Orleans. In contrast with other scholarly or journalistic treatments of Treme, Fisher's volume goes beyond now-shopworn arguments about whether the series depicts New Orleans from a touristic, "outsider's" perspective—a David Simoncentric contention that quickly falls apart when one notes the large amount of local involvement in the production. Instead, Fisher examines Treme from the perspective of how it differs from other "prestige" television series of the early 2000s by dispensing with genre convention altogether. He notes that the series stands out for its prominent female characters and as the only prestige television series with a black protagonist, even though Antoine Batiste (Wendell Pierce) is the series' protagonist in only the loosest sense of term (5). In this short but detailed analysis of Treme, Fisher examines the series as an outlier in the "prestige television" landscape and critically investigates how it depicts a city recovering from trauma and rebuilding. Fisher begins the book by introducing twin concepts that ground his analysis: the "noconcept narrative" and "networked narrative." With the former, he refers to Treme's rejection of traditional television plotlines and generic tropes, such as The Wire's narcotics investigation narrative, in favor of a meandering, "slice of life" depiction of New Orleans—in layman's terms, it is, like Seinfeld, a "show about nothing." For him, Treme, with its "emphatic rejection of television genre…functions as a kind of counter-public, at odds not only with television's standard generic fare but even with the sort of widely praised genre variations in The Wire" (115). This is one of Fisher's most convincing arguments and helps his analysis go beyond that of other works on the series, which tend to focus on its depictions of New Orleans culture. The series' muted critical reception was in part due to puzzlement at a seemingly aimless follow-up to The Wire, which explored Baltimore through the lenses of the War on Drugs, education, politics, and the media. The networked narrative concept refers to the show's use of an ensemble cast of characters in order to depict the city of New Orleans as its main character, as opposed to focusing on a troubled male antihero, common to other "prestige TV" series such as Mad Men, The Sopranos, and Breaking Bad. Treme combines the networked narrative method of storytelling (which Simon initially employed in The Wire) with a strong emphasis on montage in order to draw disparate characters into a larger, more collective story. Fisher traces Treme's networked narrative style and its use of montage to urban crime films including Fritz Lang's M (1931) and argues that these techniques prove especially valuable for a film or series' "social engagement," that is, they help viewers think about systems, not just individual characters (16-17). Most valuable for readers of this journal are the intriguing possibilities such a networked narrative depiction could offer other historical television series. Also pioneered by other recent HBO fare such as High Maintenance, network narratives could offer historical drama series the possibility of moving beyond great man/woman storylines, as well as depicting urban environments through diverse viewpoints in order to interweave the stories of individual characters with larger, more system-level narratives. In short, Fisher argues that Treme's use of networked narrative strategies combined with montage allow the series to constantly shift scale in order to illustrate just [End Page 69] how New Orleans both suffered from and dealt with the fallout of Katrina at various societal levels, whether in the city's music and food scenes, failing criminal justice, housing and educational systems...

Into the Video-Inferno: Vertical Television, Experimental Seriality and the Moving Collage in A TV Dante

This paper focuses on one of the most unique experiments in the history of television: A TV Dante, a fourteen-episode mini-series aired between 1990 and 1991, partly directed by Tom Phillips and Peter Greenaway, partly directed by Raoul Ruiz. We will analyse A TV Dante as an early attempt to explore the aesthetic potential of television seriality adopting an avant-garde approach towards a fundamental work of the Western canon. More specifically, we will compare Phillips-Greenaway and Ruiz’s approaches to the Inferno in order to highlight the formal, aesthetic and conceptual strategies that guide their respective works. Drawing on Phillips’ previous illustrations for the Inferno, the British duo creates an abstract video-otherworld through the use of collage and a rich visual symbology. On the other hand, Ruiz chooses a thoroughly contemporary re-reading of the cantica by setting the action in Santiago de Chile and moving between political commentary and surreal, hauntingly mysterious scenes.

Hacia una ética de la mirada: Farocki y las imágenes técnicas

El cine ensayo se ha convertido en uno de los géneros fílmicos más significativos de los últimos años al documentar y reflexionar sobre el papel de los medios de representación audiovisual, su injerencia en la percepción que tenemos del mundo que nos rodea o problematizar la noción de autonomía, autoría, acción, la imagen reencontrada. En este artículo se abordan varias de las características centrales del cine-ensayístico al examinar una de sus obras más importantes: Imágenes y epígrafes de guerra (Bilder der Welt und Inschrift des Krieges, 1989) de Harun Farocki. Se analizan algunos de los motivos formales que expresan de manera puntual la estética de este autor como la relación entre la escritura y el cine, el trabajo dialéctico del montaje, la relación entre la industria bélica y los medios de comunicación.

Catastrophic Encyclopedism: War and Cataclysm in Jean-Yves Jouannais

Jean-Yves Jouannais examines the history of war in L’Encyclopédie des guerres, a performance piece at the Centre Pompidou, which is ongoing since 2008. Compiling citations on the theme of war while also interrogating the possibilities of literary form, the work stages itself being composed session by session and year after year. Proposing itself as a “fiasco,” the work initially insisted on its protean, unpublishable nature. What began as a project with undefined contours has resulted in several published volumes, including MOAB: Épopée en 22 chants. Adopting the form of the epic by using a montage of citations from across the ages, MOAB stages the “Mother of All Battles.” This idiosyncratic use of montage foregrounds the chaos of warfare, while also insisting on its burlesque qualities.

أثر الفن التجريدي باستخدام الکولاج على تنمية الإبداع الفني لدى طفل الروضة

هدف البحث الحالي إلى التعرف على الفن التجريدي وتاريخه وأنواعه وأهم طرقه والمتمثلة في تقنية الکولاج و کيفية استخدام هذه التقنية مع طفل الروضة لتنمية الإبداع الفني وتوظيف الخامات المصنعة بأنواعها لتکون مصدر إلهام لطفل الروضة للوصول إلى الإبداع الفني مع تحديد العلاقة الإرتباطية بين استخدام الکولاج ببقايا الخامات المصنعة و بين الإبداع وإعداد وتنفيذ أنشطة قائمة على استخدام تقنية الکولاج ببقايا الخامات المصنعة مع طفل الروضة. ولتحقيق هدف البحث، اعتمدت الباحثة على المنهج الشبه تجريبي و ذلک للتعرف على فاعلية تقنية الکولاج کأحد طرق الفن التجريدي وذلک باستخدام بقايا الخامات المصنعة في تنمية الإبداع الفني لدى طفل الروضة. واستخدمت الباحثة مقياس تورانس للإبداع (إعداد تورانس و زملاءه، 1966م)، واقتصرت الباحثة على استخدام الصورة (ب) من المقياس. وبطاقة أنشطة للمفاهيم البيئية لطفل الروضة باستخدام تقنية الکولاج ببقايا الخامات المصنعة. (إعداد الباحثة) کأدوات للبحث. وطبقت الباحثة أدوات البحث على عينة من فئة الأطفال من أطفال المستوى الثاني من رياض الأطفال (5- 6) سنوات وعددهم 30 طفل. وأسفرت نتائج البحث عن فاعلية تقنية الکولاج کأحد طرق الفن التجريدي وذلک باستخدام بقايا الخامات المصنعة في تنمية الإبداع الفني لدى طفل الروضة ، حيث ساعدت الفنون الإبداعية على تنمية ثقة الطفل بنفسه، وتأسيسه في الفن البصري التشکيلي، والدرامي، والموسيقي الحرکي. The aim of the current research is to identify abstract art, its history, types and most important methods, which are represented in collage technology, and how to use this technique with a kindergarten child to develop artistic creativity and employ various types of raw materials to inspire a kindergarten child to reach artistic creativity while identifying the correlation between the use of collage with remnants of manufactured materials And between creativity and the preparation and implementation of activities based on the use of collage technology residues of raw materials manufactured with a kindergarten child. To achieve the goal of the research, the researcher relied on the semi-experimental approach to identify the effectiveness of collage technology as one of the methods of abstract art by using the remnants of raw materials manufactured in developing artistic creativity in a kindergarten child. The researcher used the Torrance scale for creativity (prepared by Torrance and his colleagues, 1966 AD), and the researcher limited the use of image (B) from the scale. And an activity card for environmental concepts for a kindergarten kid using collage technology with remnants of manufactured materials. (Preparing the researcher) as research tools. The researcher applied the research tools to a sample of the 30-year-old kindergarten children (5-6 years), who are children. The results of the research on the effectiveness of collage technology as one of the methods of abstract art by using the remnants of raw materials manufactured in the development of artistic creativity of the kindergarten child, where creative arts helped to develop the child's self-confidence, and its founding in visual, dramatic, and dynamic musical art.

An Aesthetic Pattern of Nonbelonging—Immigration and Identity in Contemporary Israeli Art

This research pinpoints a local pattern of migratory aesthetics recurrently employed by four Israeli artists in the early years of the 21st century. I argue that works by artists Philip Rantzer, Gary Goldstein, Haim Maor, and David Wakstein showcase a hybrid migratory self-definition that is embedded in the artistic language itself. By harnessing a collagistic language of juxtaposition and fragmentation, they frame Israeli identity as uncanny, reflecting a cultural mindset of being neither “here” nor “there”. I contend that this pattern is used by a particular generation of artists, born in the early 1950s, and reflects a reaction, in hindsight, to the Zionist ethos of collective local identity. Employing old photographs from their family albums that they transform into framed detached figures, these artists draw upon childhood memories of immigration. Their art marks an identity clash between two homelands, which is the result of intertwined aesthetic and socio-cultural characteristics. The first is evident in the prevalent use of collage in local art—in itself a language of oppositions. The second is the negation of the diaspora in the Israeli socio-cultural mentality, which constructs identity through binary thinking. To date, no other study has acknowledged this aesthetic pattern nor the common ground these artists share in their works.

Restless Dickens: A Victorian Life in Motion, 1872–1927

Abstract By comparing John Forster’s The Life of Charles Dickens (1872–1874) with subsequent amateur forms of biographical activity in the period 1872–1927, this essay aims to challenge lingering conceptualizations of the material properties of Victorian biography as smooth and standardized. I argue that the parity of practice revealed between Forster’s biography and the various composite forms of biographical narrative that came in its wake, such as Grangerizations and photography collections, throws into question the supposed unity of Forster’s original text. It shows the ways in which his Dickens was always an unstable and metamorphosing figure, tracing an alternative genealogy for the subsequent forms of memorialization that push these biographical qualities further. It demonstrates continuities of preoccupation and practice in biographical activity 1872–1927, producing a narrative of Victorian and Modernist biography that emphasizes connection rather than rupture. Examining these composite forms of biographical narrative also reveals the proto-cinematic way in which they juxtapose and sequence similar but marginally different Dickenses, in order to create the sense of a figure temporally, physically and mentally in motion. From Forster’s text onwards, Dickens is thus produced materially as well as verbally as a ‘restless’ subject, continually poised between stasis and movement. The recurring biographical use of montage, collage and compilation in order to put the subject in motion suggests a previously unconsidered dimension to the ancestry of cinema. It also works to extend our understanding of the media available to Victorian biography.