From 4e8c17d754af3fa136b6c9232d49b5f3ef44e91a Mon Sep 17 00:00:00 2001 From: stervel Date: Sat, 14 Sep 2024 14:33:11 +0700 Subject: [PATCH] new post --- Gemfile.lock | 129 ++++++++++++++++--- _posts/2024-07-16-rant-ost-as-music.md | 11 ++ _site/2022/12/09/obat-panjang-umur.html | 2 +- _site/2023/08/10/review-jefre-in-summer.html | 2 +- _site/2024/07/16/rant-ost-as-music.html | 1 + _site/404.html | 2 +- _site/about.html | 2 +- _site/archive.html | 2 +- _site/atom.xml | 15 ++- _site/feed.json | 21 +++ _site/index.html | 2 +- _site/search.html | 2 +- _site/search.json | 11 ++ _site/sitemap.xml | 12 +- _site/tag/opinion/index.html | 2 +- _site/tag/review/index.html | 2 +- _site/works.html | 2 +- _site/works/cfp/index.html | 2 +- _site/works/id-mfa/index.html | 2 +- _site/works/latex-works/index.html | 2 +- 20 files changed, 192 insertions(+), 34 deletions(-) create mode 100644 _posts/2024-07-16-rant-ost-as-music.md create mode 100644 _site/2024/07/16/rant-ost-as-music.html diff --git a/Gemfile.lock b/Gemfile.lock index 2afc619..e02d999 100644 --- a/Gemfile.lock +++ b/Gemfile.lock @@ -1,21 +1,49 @@ GEM remote: https://rubygems.org/ specs: - addressable (2.8.4) - public_suffix (>= 2.0.2, < 6.0) + addressable (2.8.7) + public_suffix (>= 2.0.2, < 7.0) + bigdecimal (3.1.8) colorator (1.1.0) - concurrent-ruby (1.2.2) + concurrent-ruby (1.3.4) em-websocket (0.5.3) eventmachine (>= 0.12.9) http_parser.rb (~> 0) eventmachine (1.2.7) - ffi (1.15.5) + ffi (1.17.0) + ffi (1.17.0-aarch64-linux-gnu) + ffi (1.17.0-aarch64-linux-musl) + ffi (1.17.0-arm-linux-gnu) + ffi (1.17.0-arm-linux-musl) + ffi (1.17.0-arm64-darwin) + ffi (1.17.0-x86-linux-gnu) + ffi (1.17.0-x86-linux-musl) + ffi (1.17.0-x86_64-darwin) + ffi (1.17.0-x86_64-linux-gnu) + ffi (1.17.0-x86_64-linux-musl) forwardable-extended (2.6.0) - google-protobuf (3.23.1-x86_64-linux) + google-protobuf (4.28.0) + bigdecimal + rake (>= 13) + google-protobuf (4.28.0-aarch64-linux) + bigdecimal + rake (>= 13) + google-protobuf (4.28.0-arm64-darwin) + bigdecimal + rake (>= 13) + google-protobuf (4.28.0-x86-linux) + bigdecimal + rake (>= 13) + google-protobuf (4.28.0-x86_64-darwin) + bigdecimal + rake (>= 13) + google-protobuf (4.28.0-x86_64-linux) + bigdecimal + rake (>= 13) http_parser.rb (0.8.0) - i18n (1.13.0) + i18n (1.14.5) concurrent-ruby (~> 1.0) - jekyll (4.3.2) + jekyll (4.3.3) addressable (~> 2.4) colorator (~> 1.0) em-websocket (~> 0.5) @@ -46,28 +74,97 @@ GEM kramdown-parser-gfm (1.1.0) kramdown (~> 2.0) liquid (4.0.4) - listen (3.8.0) + listen (3.9.0) rb-fsevent (~> 0.10, >= 0.10.3) rb-inotify (~> 0.9, >= 0.9.10) mercenary (0.4.0) pathutil (0.16.2) forwardable-extended (~> 2.6) - public_suffix (5.0.1) + public_suffix (6.0.1) + rake (13.2.1) rb-fsevent (0.11.2) - rb-inotify (0.10.1) + rb-inotify (0.11.1) ffi (~> 1.0) - rexml (3.2.6) - rouge (4.1.1) + rexml (3.3.7) + rouge (4.3.0) safe_yaml (1.0.5) - sass-embedded (1.62.1-x86_64-linux-gnu) - google-protobuf (~> 3.21) + sass-embedded (1.78.0) + google-protobuf (~> 4.27) + rake (>= 13) + sass-embedded (1.78.0-aarch64-linux-android) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-aarch64-linux-gnu) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-aarch64-linux-musl) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-aarch64-mingw-ucrt) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-arm-linux-androideabi) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-arm-linux-gnueabihf) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-arm-linux-musleabihf) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-arm64-darwin) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-riscv64-linux-android) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-riscv64-linux-gnu) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-riscv64-linux-musl) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86-cygwin) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86-linux-android) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86-linux-gnu) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86-linux-musl) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86-mingw-ucrt) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86_64-cygwin) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86_64-darwin) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86_64-linux-android) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86_64-linux-gnu) + google-protobuf (~> 4.27) + sass-embedded (1.78.0-x86_64-linux-musl) + google-protobuf (~> 4.27) terminal-table (3.0.2) unicode-display_width (>= 1.1.1, < 3) - unicode-display_width (2.4.2) + unicode-display_width (2.5.0) webrick (1.8.1) PLATFORMS + aarch64-linux + aarch64-linux-android + aarch64-linux-gnu + aarch64-linux-musl + aarch64-mingw-ucrt + arm-linux-androideabi + arm-linux-gnu + arm-linux-gnueabihf + arm-linux-musl + arm-linux-musleabihf + arm64-darwin + riscv64-linux-android + riscv64-linux-gnu + riscv64-linux-musl + ruby + x86-cygwin + x86-linux + x86-linux-android + x86-linux-gnu + x86-linux-musl + x86-mingw-ucrt + x86_64-cygwin + x86_64-darwin + x86_64-linux-android x86_64-linux-gnu + x86_64-linux-musl DEPENDENCIES jekyll @@ -77,4 +174,4 @@ DEPENDENCIES jekyll-sitemap BUNDLED WITH - 2.5.4 + 2.5.11 diff --git a/_posts/2024-07-16-rant-ost-as-music.md b/_posts/2024-07-16-rant-ost-as-music.md new file mode 100644 index 0000000..4beda7e --- /dev/null +++ b/_posts/2024-07-16-rant-ost-as-music.md @@ -0,0 +1,11 @@ +--- +layout: post +title: "To listen to film soundtrack?" +tags: [opinion] +--- + +I've come across a ton of internet discussion and couldn't help but notice how people seem to be really divided (and often dogpile on each side) about Hans Zimmer's soundtrack for both parts of Villeneuve's Dune. Some folks think his music is pretty dull, uninteresting, full of long notes, and lacking meaningful musical tonality, while others rave about its grandness and the intricate pallette he brought to the table. Both sides have their valid points, and while I'd also like to share my thoughts on this, I’m still on the fence regarding the music since me myself thinks I'm too uneducated regarding both the musical theory and the "taste" aspect. + +Regretfully, also, I could only make it at the Part Two (and really wanted to watch the first one since I prefer the first one, comparatively speaking), but I genuinely think both have the best audially engineered movie I’ve ever watched, including the musics themselves. It honestly is something that broke my heart every time I left the theater room because I knew it might be ages at best before I could feel that way again. I definitely need to give it more "listens", as listening to a movie, but there’s only so much I can do. + +Here’s the thing I want to get across regarding the situation: the music is interesting, the thought behind it is interesting and profound (Zimmer said "why bring 21st century cellos and timpani in the world where nothing is the same but the humans?"), and the creation process itself is, each, impressive (experimental instruments out of PVC pipes and welding works). But I feel like to listen to it as "music" isn’t really the point. It’s a movie soundtrack, after all. It’s kind of like watching a 2024 or any contemporary movie without sound. It's an incomplete form of work. That’s why it might come off as boring or bland; you’re really meant to experience it while watching the film. It's just as stupid as saying "I listen to music" while in reality they "listened" to it while doing laundry. There's a difference between _listening to music_ and _hearing a music_ (and glad English have those words in store). diff --git a/_site/2022/12/09/obat-panjang-umur.html b/_site/2022/12/09/obat-panjang-umur.html index 6e8dffe..b23769f 100644 --- a/_site/2022/12/09/obat-panjang-umur.html +++ b/_site/2022/12/09/obat-panjang-umur.html @@ -1 +1 @@ - Obat Panjang Umur - Andre

Obat Panjang Umur

Jika kita mengulas puluhan ribu tahun sejarah perjalanan manusia, gurat sejarah mengenai watak ketidakpuasan manusia umum ditemukan. Ketidakberdayaan manusia untuk menaruh kuasa pada faktisitas di sekelilingnya adalah tema yang berulang di seluruh sejarah manusia yang terekam. Salah satu faktisitas tersebut adalah waktu. Manusia tidak puas dengan rentang hidup dirinya yang pendek. Sedari ramuan hidup abadi hingga mesin waktu, manusia tampak haus akan kuasa atas waktu. Selayaknya Aristoteles: “Waktu meruntuhkan segalanya; segala sesuatu menjadi tua dan terlupakan di bawah kuasanya” (Φυσικὴ IV. XII).

Setelah puluhan ribu tahun upaya manusia, kini manusia lupa akan tujuan sebenarnya mengapa dirinya ingin berpanjang umur. Padahal, obat panjang umur sudah ditemukan bahkan sebelum entitas apapun mengerti gagasan yang disebut sebagai aktivitas menulis. Sedari makhluk kompleks hingga organisme nirkesadaran, aktivitas menulis dipraktikkan sepanjang waktu, terus-menerus tanpa henti. Ada alasan mengapa dunia masih eksis hingga kini: semua yang ada tertulis. Tulisan-tulisan tersebut, pada dasarnya, eksis semata-mata sebagai realisasi model yang penulis pahami atas dunia.

Tulisan, setidaknya, lebih kukuh ketimbang rapuhnya hidup. Tulisan bekerja sebagai wahana bagi ide yang temporal dan fana. Tulisan membolehkan kefanaan bahasa terukir dalam beku. Lauh Kish adalah salah satu bukti suksesnya kerja tulisan sebagai pemanjang umur eksistensi ide manusia yang fana. Namun, lokus pun pada dasarnya fana.

Kini, dengan loki gagasan kita dapat dibuat dan direplikasi (hampir) infinit, musuh kita bukan lagi rapuhnya medium, melainkan kotak-kotak yang membatasi tiap lokus. Terdapat gangguan antara penulis sebagai input dengan apa yang ditulisnya. Kini, penulis tidak pernah tahu apa yang ditulisnya. Kotak-kotak tersebut, tidak disangka, populer. Hal tersebut adalah masalah dan pada dasarnya adalah ancaman bagi tulisan. Desain adalah upaya yang tidak pernah selesai dan, dalam kasus ini, desain jauh dari selesai.

Jembatan tersebut sebenarnya sudah diatasi dengan format primitif seperti berkas text file, tempat tulisan direpresentasi dengan jembatan manusia–komputer yang sederhana dan minimal bising. Namun, plain text tidak populer dan problem manusia sering muncul karenanya. Satu hal yang membuat informasi tertulis sepanjang sejarah dapat diwariskan dan diakumulasi adalah transparannya hubungan antara penulis dan yang ditulisnya. Namun, pamor format berkas berhak cipta seperti .docx (milik Microsoft) dan .psd (Milik Adobe) menghapus transparansi tersebut. Alasan mengapa Lauh Kish dapat diulas dan memantik pikiran ribuan tahun setelah penulisnya mati adalah transparannya medium yang digunakan. Mungkin, ide-ide manusia yang tertuang kini tidak akan bertahan hingga seribu tahun mendatang, kala pemegang hak cipta pupus dan terlupakan di bawah kuasa waktu.

Saat entitas, apapun itu, menulis, maka ia hidup jauh melebihi rapuh dan fana dirinya.

· opinion
+ Obat Panjang Umur - Andre

Obat Panjang Umur

Jika kita mengulas puluhan ribu tahun sejarah perjalanan manusia, gurat sejarah mengenai watak ketidakpuasan manusia umum ditemukan. Ketidakberdayaan manusia untuk menaruh kuasa pada faktisitas di sekelilingnya adalah tema yang berulang di seluruh sejarah manusia yang terekam. Salah satu faktisitas tersebut adalah waktu. Manusia tidak puas dengan rentang hidup dirinya yang pendek. Sedari ramuan hidup abadi hingga mesin waktu, manusia tampak haus akan kuasa atas waktu. Selayaknya Aristoteles: “Waktu meruntuhkan segalanya; segala sesuatu menjadi tua dan terlupakan di bawah kuasanya” (Φυσικὴ IV. XII).

Setelah puluhan ribu tahun upaya manusia, kini manusia lupa akan tujuan sebenarnya mengapa dirinya ingin berpanjang umur. Padahal, obat panjang umur sudah ditemukan bahkan sebelum entitas apapun mengerti gagasan yang disebut sebagai aktivitas menulis. Sedari makhluk kompleks hingga organisme nirkesadaran, aktivitas menulis dipraktikkan sepanjang waktu, terus-menerus tanpa henti. Ada alasan mengapa dunia masih eksis hingga kini: semua yang ada tertulis. Tulisan-tulisan tersebut, pada dasarnya, eksis semata-mata sebagai realisasi model yang penulis pahami atas dunia.

Tulisan, setidaknya, lebih kukuh ketimbang rapuhnya hidup. Tulisan bekerja sebagai wahana bagi ide yang temporal dan fana. Tulisan membolehkan kefanaan bahasa terukir dalam beku. Lauh Kish adalah salah satu bukti suksesnya kerja tulisan sebagai pemanjang umur eksistensi ide manusia yang fana. Namun, lokus pun pada dasarnya fana.

Kini, dengan loki gagasan kita dapat dibuat dan direplikasi (hampir) infinit, musuh kita bukan lagi rapuhnya medium, melainkan kotak-kotak yang membatasi tiap lokus. Terdapat gangguan antara penulis sebagai input dengan apa yang ditulisnya. Kini, penulis tidak pernah tahu apa yang ditulisnya. Kotak-kotak tersebut, tidak disangka, populer. Hal tersebut adalah masalah dan pada dasarnya adalah ancaman bagi tulisan. Desain adalah upaya yang tidak pernah selesai dan, dalam kasus ini, desain jauh dari selesai.

Jembatan tersebut sebenarnya sudah diatasi dengan format primitif seperti berkas text file, tempat tulisan direpresentasi dengan jembatan manusia–komputer yang sederhana dan minimal bising. Namun, plain text tidak populer dan problem manusia sering muncul karenanya. Satu hal yang membuat informasi tertulis sepanjang sejarah dapat diwariskan dan diakumulasi adalah transparannya hubungan antara penulis dan yang ditulisnya. Namun, pamor format berkas berhak cipta seperti .docx (milik Microsoft) dan .psd (Milik Adobe) menghapus transparansi tersebut. Alasan mengapa Lauh Kish dapat diulas dan memantik pikiran ribuan tahun setelah penulisnya mati adalah transparannya medium yang digunakan. Mungkin, ide-ide manusia yang tertuang kini tidak akan bertahan hingga seribu tahun mendatang, kala pemegang hak cipta pupus dan terlupakan di bawah kuasa waktu.

Saat entitas, apapun itu, menulis, maka ia hidup jauh melebihi rapuh dan fana dirinya.

· opinion
diff --git a/_site/2023/08/10/review-jefre-in-summer.html b/_site/2023/08/10/review-jefre-in-summer.html index 964ae13..10d9159 100644 --- a/_site/2023/08/10/review-jefre-in-summer.html +++ b/_site/2023/08/10/review-jefre-in-summer.html @@ -1 +1 @@ - ‘In Summer’, ephemeral lay put in a love music - Andre

‘In Summer’, ephemeral lay put in a love music


Bandcamp · Spotify

I remember that my first exposure to works which have that special abrasive flavor and the sweet atmospheric quality was through his most famous and, for me, his quite elusive long play “Love Is a Stream”. It’s understandable because that particular album was the gateway of many, and with that, it’s the most popular of his. Jefre Cantu-Ledesma, spun and fueled with the imagery of the boom and gloom of 1960–1980 pop, is no stranger to that feeling of your open graze wound roughly rubbed with a harsh sandpaper coated with fast-acting psychedelics. I’d say his works are love song without any words that semantically connect to act of love. However, my ears weren’t charmed by that. Instead, it’s by his EP “In Summer”, which the cassette cover reads “… [a work that] can be thought of as a catalogue of photographs … snapshots of people, places, interests, etc. …”. Jefre thought of it as a mere travelog, but for me, it was the sweetest work that won my ears and ultimately my heart.

I am biased by that blurb, because I can’t help but imagine an actual travelog—you know … photos, videos, keepsakes—conjured in my head. But I think it’s something that’s really familiar and that I’ve longed to happen to me. I haven’t been long in this world, and maybe the actual count of my travel, so to speak, is in the amount of a number countable with two bare hands. Ever since I was finally able to hold my own camera phone, I started taking and keeping numerous pictures, even more so when I embarked on my own journey. My ritual is to look at those photos back sometime in the future, often with a contemplative sense of nostalgia. This album evokes the idea of those ritual with the flair of a romanticized way reminiscent of the good old days.

Talking about numbers, this album has 5 tracks divided into 2 sides (as in tape sides): A1–A2 and B1–B3 each containing 2 separated noise–musique concrète tracks. On the other hand, upon listening, my mental counting sees this as 3 different “units” which divides the work as namely A1–B1, B2, and ultimately B3, based on the themes they carry and the imagery they evoke. As such, I think I will use this frame of thought for the rest of my writing.

The first part opens with “Love’s Refrain” which, as the name tells, carries a simple musical refrain which is delivered after a simple “intro” that repetitively cycled, never go back to the main part, as if to hypnotize me, the listener, to hum along. It carries, as I said before, the pop 1960–1980 beach music feel with intentional noise and “compressions” which are definitely the signature touch of Jefre neatly glazed thoroughly. The aforementioned refrain itself delivered after a chaotic transition, a boredom among the ephemeral and fleeting moments. Only after that passed, you will know the most beautiful love song that “refrain” holds.

The way I see the refrain part is that as consisting of 3 elements: the bass player, the “vocalist”, and the atmospherics. The track’s structure is basically a build into the all-consuming clamor, a motif that Jefre particularly holds firmly in much of his works. The bass player continously plays as if it’s the engine that pulls everything forward, keeping the movement and acting as the carrier of this lovely journey. The vocalist, which is basically the melodic synth, allures me to sing along and will occasionally takes a break and ultimately submerging itself in the all-consuming overpowering atmosphere. As it fills every corner of the scape, the force takes everything into its grasp until the end, which also took the powerful bass player into its sparkling, glimmery boom, like incense smoke slowly dissolving into the overpowering thin air. Overall, the way I see it is that this format and the experience are very sweet and powerful. The track wants me to surrender and dissolve myself in whatever psychedelia this track offers. Personally, I find this track to be delightful and ecstatic in its way. It fills me with a memorable euphoria.

“Love’s Refrain” then is put into an abrupt intermission “Little Dear Isle”, which is an emotional and somewhat melting noise–field recording track that I think serves as a prelude for that which comes next, which is the romanticized experimentation of the “Love’s Refrain”, eponymously titled “In Summer”. It’s a look back to the old golden summer days: the sun, the laughter, the lovely smiles, sweat, light rays, anything. It puts me in a mellow mood and reminds me of the good days. The track ends with an emotional transitional similar to that of “Little Dear Isle”.

The next part, titled “Blue Nudes (I–IV)”, is really a track consisting of 4 parts. Each is indicated with the audible rough switch and the difference in the construction of each. It uses the same formula as “Love’s Refrain”: gradually fills the scape until the listener lose themself, but this time with a different presentation. This is, I think, the further experimentation of the motif done well, and I think it won the cake. A very noteworthy track.

I strongly believe that this track is the embodiment of the blurb on the cassette cover. It reminds me of the ritual I said before. “Blue Nudes” conjures the imagery of a perfect vacation divided into 4 parts. Picture with me, if you please.

At first, I’m introduced to the bass player, plus this time with the percussion which, again, evocation of the beach pop era, and the atmospherics which drones as the continuous synth that colors the scape. The start of a travel, the ghosts of the familiars: excited but tired minds, eagerness of the heart of the people, travel baggages, tickets, sun rays through the clouded bus’ window, stories of the people, banalities. A few photos, boring but are nonetheless important, something which you can watch as a slideshow at the speed of 3 seconds in between photos.

Second, at the top of everything else, enter the vocalist, which further colors the scape, the sign of the gradual increase of the scape’s presence. The first days of the excitement and enthusiasm: discoveries, crumpled tickets, preludes, laughters, photos of people, photos of the nature, sun rays, your friends, the stories. Some photos, important but mostly fleeting, a slideshow at the speed of 1 second in between photos.

Third, the atmospherics began to stir, bringing the tingles into the scape. The high of the vacation: people having the moment as one, the camaraderie of friends, empowering and contagious laughters, warm sun rays, the grains of the sandy beach at your skin, the lovely faces of your friends … as if the everything everyone gone through for the bonds of friendship: the sweats, the tears, every thoughts and efforts, paid off and culminated in a very lovable, cherished moments. Many photos, a slideshow at the speed of half a second in between photos.

Fourth, the second vocalist so powerful that it drowns out everything else. The hightime: the thoughts of pure love and the highest joy.

A slideshow at the speed of quarter of a second or less in between photos.

The rich, shimmering fourth part of the track is unable be ended properly because it’s so powerful I hoped it doesn’t ended that soon. I think it’s very sweet and cathartic. It brings many tears of happiness to my eyes, a lot of times in fact.

The title itself is I think refers to the Matisse’s work, which is a collage of four gouaches. My take of what the “blue” and what is “naked” here is very different, I think. The “blue” is the sky and the “nudes” are the series of smiles that shed of the hardest social mask of man. A group of travelers, spiritually naked beneath the blue skies.

The album then concludes with an abrasive noise–recording mix entitled “Prelude” which serves to cleanse the palate after the very sweet “Blue Nudes”.

The EP “In Summer” is, I believe, the intense and overwhelming yet very sweet album. I think it’s the one of my all-time favorites. It personally reminds me of my keepsakes and small moments I have collected and kept which often forgotten by most, the ephemeral, a tiny keeper of memories, but without them, the memories are mere cloudy simulation. All in all, a very lush, rich, and flavorful album and it has won a special corner in the deepest part of my heart.

· review
+ ‘In Summer’, ephemeral lay put in a love music - Andre

‘In Summer’, ephemeral lay put in a love music


Bandcamp · Spotify

I remember that my first exposure to works which have that special abrasive flavor and the sweet atmospheric quality was through his most famous and, for me, his quite elusive long play “Love Is a Stream”. It’s understandable because that particular album was the gateway of many, and with that, it’s the most popular of his. Jefre Cantu-Ledesma, spun and fueled with the imagery of the boom and gloom of 1960–1980 pop, is no stranger to that feeling of your open graze wound roughly rubbed with a harsh sandpaper coated with fast-acting psychedelics. I’d say his works are love song without any words that semantically connect to act of love. However, my ears weren’t charmed by that. Instead, it’s by his EP “In Summer”, which the cassette cover reads “… [a work that] can be thought of as a catalogue of photographs … snapshots of people, places, interests, etc. …”. Jefre thought of it as a mere travelog, but for me, it was the sweetest work that won my ears and ultimately my heart.

I am biased by that blurb, because I can’t help but imagine an actual travelog—you know … photos, videos, keepsakes—conjured in my head. But I think it’s something that’s really familiar and that I’ve longed to happen to me. I haven’t been long in this world, and maybe the actual count of my travel, so to speak, is in the amount of a number countable with two bare hands. Ever since I was finally able to hold my own camera phone, I started taking and keeping numerous pictures, even more so when I embarked on my own journey. My ritual is to look at those photos back sometime in the future, often with a contemplative sense of nostalgia. This album evokes the idea of those ritual with the flair of a romanticized way reminiscent of the good old days.

Talking about numbers, this album has 5 tracks divided into 2 sides (as in tape sides): A1–A2 and B1–B3 each containing 2 separated noise–musique concrète tracks. On the other hand, upon listening, my mental counting sees this as 3 different “units” which divides the work as namely A1–B1, B2, and ultimately B3, based on the themes they carry and the imagery they evoke. As such, I think I will use this frame of thought for the rest of my writing.

The first part opens with “Love’s Refrain” which, as the name tells, carries a simple musical refrain which is delivered after a simple “intro” that repetitively cycled, never go back to the main part, as if to hypnotize me, the listener, to hum along. It carries, as I said before, the pop 1960–1980 beach music feel with intentional noise and “compressions” which are definitely the signature touch of Jefre neatly glazed thoroughly. The aforementioned refrain itself delivered after a chaotic transition, a boredom among the ephemeral and fleeting moments. Only after that passed, you will know the most beautiful love song that “refrain” holds.

The way I see the refrain part is that as consisting of 3 elements: the bass player, the “vocalist”, and the atmospherics. The track’s structure is basically a build into the all-consuming clamor, a motif that Jefre particularly holds firmly in much of his works. The bass player continously plays as if it’s the engine that pulls everything forward, keeping the movement and acting as the carrier of this lovely journey. The vocalist, which is basically the melodic synth, allures me to sing along and will occasionally takes a break and ultimately submerging itself in the all-consuming overpowering atmosphere. As it fills every corner of the scape, the force takes everything into its grasp until the end, which also took the powerful bass player into its sparkling, glimmery boom, like incense smoke slowly dissolving into the overpowering thin air. Overall, the way I see it is that this format and the experience are very sweet and powerful. The track wants me to surrender and dissolve myself in whatever psychedelia this track offers. Personally, I find this track to be delightful and ecstatic in its way. It fills me with a memorable euphoria.

“Love’s Refrain” then is put into an abrupt intermission “Little Dear Isle”, which is an emotional and somewhat melting noise–field recording track that I think serves as a prelude for that which comes next, which is the romanticized experimentation of the “Love’s Refrain”, eponymously titled “In Summer”. It’s a look back to the old golden summer days: the sun, the laughter, the lovely smiles, sweat, light rays, anything. It puts me in a mellow mood and reminds me of the good days. The track ends with an emotional transitional similar to that of “Little Dear Isle”.

The next part, titled “Blue Nudes (I–IV)”, is really a track consisting of 4 parts. Each is indicated with the audible rough switch and the difference in the construction of each. It uses the same formula as “Love’s Refrain”: gradually fills the scape until the listener lose themself, but this time with a different presentation. This is, I think, the further experimentation of the motif done well, and I think it won the cake. A very noteworthy track.

I strongly believe that this track is the embodiment of the blurb on the cassette cover. It reminds me of the ritual I said before. “Blue Nudes” conjures the imagery of a perfect vacation divided into 4 parts. Picture with me, if you please.

At first, I’m introduced to the bass player, plus this time with the percussion which, again, evocation of the beach pop era, and the atmospherics which drones as the continuous synth that colors the scape. The start of a travel, the ghosts of the familiars: excited but tired minds, eagerness of the heart of the people, travel baggages, tickets, sun rays through the clouded bus’ window, stories of the people, banalities. A few photos, boring but are nonetheless important, something which you can watch as a slideshow at the speed of 3 seconds in between photos.

Second, at the top of everything else, enter the vocalist, which further colors the scape, the sign of the gradual increase of the scape’s presence. The first days of the excitement and enthusiasm: discoveries, crumpled tickets, preludes, laughters, photos of people, photos of the nature, sun rays, your friends, the stories. Some photos, important but mostly fleeting, a slideshow at the speed of 1 second in between photos.

Third, the atmospherics began to stir, bringing the tingles into the scape. The high of the vacation: people having the moment as one, the camaraderie of friends, empowering and contagious laughters, warm sun rays, the grains of the sandy beach at your skin, the lovely faces of your friends … as if the everything everyone gone through for the bonds of friendship: the sweats, the tears, every thoughts and efforts, paid off and culminated in a very lovable, cherished moments. Many photos, a slideshow at the speed of half a second in between photos.

Fourth, the second vocalist so powerful that it drowns out everything else. The hightime: the thoughts of pure love and the highest joy.

A slideshow at the speed of quarter of a second or less in between photos.

The rich, shimmering fourth part of the track is unable be ended properly because it’s so powerful I hoped it doesn’t ended that soon. I think it’s very sweet and cathartic. It brings many tears of happiness to my eyes, a lot of times in fact.

The title itself is I think refers to the Matisse’s work, which is a collage of four gouaches. My take of what the “blue” and what is “naked” here is very different, I think. The “blue” is the sky and the “nudes” are the series of smiles that shed of the hardest social mask of man. A group of travelers, spiritually naked beneath the blue skies.

The album then concludes with an abrasive noise–recording mix entitled “Prelude” which serves to cleanse the palate after the very sweet “Blue Nudes”.

The EP “In Summer” is, I believe, the intense and overwhelming yet very sweet album. I think it’s the one of my all-time favorites. It personally reminds me of my keepsakes and small moments I have collected and kept which often forgotten by most, the ephemeral, a tiny keeper of memories, but without them, the memories are mere cloudy simulation. All in all, a very lush, rich, and flavorful album and it has won a special corner in the deepest part of my heart.

· review
diff --git a/_site/2024/07/16/rant-ost-as-music.html b/_site/2024/07/16/rant-ost-as-music.html new file mode 100644 index 0000000..a77ae67 --- /dev/null +++ b/_site/2024/07/16/rant-ost-as-music.html @@ -0,0 +1 @@ + To listen to film soundtrack? - Andre

To listen to film soundtrack?

I’ve come across a ton of internet discussion and couldn’t help but notice how people seem to be really divided (and often dogpile on each side) about Hans Zimmer’s soundtrack for both parts of Villeneuve’s Dune. Some folks think his music is pretty dull, uninteresting, full of long notes, and lacking meaningful musical tonality, while others rave about its grandness and the intricate pallette he brought to the table. Both sides have their valid points, and while I’d also like to share my thoughts on this, I’m still on the fence regarding the music since me myself thinks I’m too uneducated regarding both the musical theory and the “taste” aspect.

Regretfully, also, I could only make it at the Part Two (and really wanted to watch the first one since I prefer the first one, comparatively speaking), but I genuinely think both have the best audially engineered movie I’ve ever watched, including the musics themselves. It honestly is something that broke my heart every time I left the theater room because I knew it might be ages at best before I could feel that way again. I definitely need to give it more “listens”, as listening to a movie, but there’s only so much I can do.

Here’s the thing I want to get across regarding the situation: the music is interesting, the thought behind it is interesting and profound (Zimmer said “why bring 21st century cellos and timpani in the world where nothing is the same but the humans?”), and the creation process itself is, each, impressive (experimental instruments out of PVC pipes and welding works). But I feel like to listen to it as “music” isn’t really the point. It’s a movie soundtrack, after all. It’s kind of like watching a 2024 or any contemporary movie without sound. It’s an incomplete form of work. That’s why it might come off as boring or bland; you’re really meant to experience it while watching the film. It’s just as stupid as saying “I listen to music” while in reality they “listened” to it while doing laundry. There’s a difference between listening to music and hearing a music (and glad English have those words in store).

· opinion
diff --git a/_site/404.html b/_site/404.html index d09e8eb..af90e17 100644 --- a/_site/404.html +++ b/_site/404.html @@ -1 +1 @@ - 404: Page not found - Andre

404: Page not found

Sorry, we've misplaced that URL or it's pointing to something that doesn't exist.
+ 404: Page not found - Andre

404: Page not found

Sorry, we've misplaced that URL or it's pointing to something that doesn't exist.
diff --git a/_site/about.html b/_site/about.html index 4058dea..3f2866b 100644 --- a/_site/about.html +++ b/_site/about.html @@ -1 +1 @@ - About - Andre

About

Writing (noun), for me, is a scourge. From bored scribbles to solid works, I’ve done them all, that’s not where my anxiety lies. Writing is a vehicle for spaces that are latent. When something is thrown and written, the children are separated from their mother … except they can’t defend themselves on their own, as letters do.

This is the personal website, mainly functioning as a blog, of me, Andre, to motivate myself to write and overcome said anxiety. It’s one of the good exercises of the mind, isn’t it?

My comments, if any, are mere comments afterall and I am always open to ideas and feedback you might have. If you found the contents here interesting, feel free to hit me on Mastodon.

I appreciate your visit! <3

This web is possible because of Github Pages, built using Jekyll in a modified theme Sidey (MIT License) by Ronalds Vilciņš set with Inter (OFL) by Rasmus Andersson.

+ About - Andre

About

Writing (noun), for me, is a scourge. From bored scribbles to solid works, I’ve done them all, that’s not where my anxiety lies. Writing is a vehicle for spaces that are latent. When something is thrown and written, the children are separated from their mother … except they can’t defend themselves on their own, as letters do.

This is the personal website, mainly functioning as a blog, of me, Andre, to motivate myself to write and overcome said anxiety. It’s one of the good exercises of the mind, isn’t it?

My comments, if any, are mere comments afterall and I am always open to ideas and feedback you might have. If you found the contents here interesting, feel free to hit me on Mastodon.

I appreciate your visit! <3

This web is possible because of Github Pages, built using Jekyll in a modified theme Sidey (MIT License) by Ronalds Vilciņš set with Inter (OFL) by Rasmus Andersson.

diff --git a/_site/archive.html b/_site/archive.html index f8b3f95..7ba6894 100644 --- a/_site/archive.html +++ b/_site/archive.html @@ -1 +1 @@ - Archive - Andre
+ Archive - Andre
diff --git a/_site/atom.xml b/_site/atom.xml index cb062be..bc61f26 100644 --- a/_site/atom.xml +++ b/_site/atom.xml @@ -4,7 +4,7 @@ Andre - 2024-08-12T14:46:27+07:00 + 2024-09-14T14:32:30+07:00 http://localhost:4000 @@ -12,6 +12,19 @@ + + To listen to film soundtrack? + + 2024-07-16T00:00:00+07:00 + http://localhost:4000/2024/07/16/rant-ost-as-music + <p>I’ve come across a ton of internet discussion and couldn’t help but notice how people seem to be really divided (and often dogpile on each side) about Hans Zimmer’s soundtrack for both parts of Villeneuve’s Dune. Some folks think his music is pretty dull, uninteresting, full of long notes, and lacking meaningful musical tonality, while others rave about its grandness and the intricate pallette he brought to the table. Both sides have their valid points, and while I’d also like to share my thoughts on this, I’m still on the fence regarding the music since me myself thinks I’m too uneducated regarding both the musical theory and the “taste” aspect.</p> + +<p>Regretfully, also, I could only make it at the Part Two (and really wanted to watch the first one since I prefer the first one, comparatively speaking), but I genuinely think both have the best audially engineered movie I’ve ever watched, including the musics themselves. It honestly is something that broke my heart every time I left the theater room because I knew it might be ages at best before I could feel that way again. I definitely need to give it more “listens”, as listening to a movie, but there’s only so much I can do.</p> + +<p>Here’s the thing I want to get across regarding the situation: the music is interesting, the thought behind it is interesting and profound (Zimmer said “why bring 21st century cellos and timpani in the world where nothing is the same but the humans?”), and the creation process itself is, each, impressive (experimental instruments out of PVC pipes and welding works). But I feel like to listen to it as “music” isn’t really the point. It’s a movie soundtrack, after all. It’s kind of like watching a 2024 or any contemporary movie without sound. It’s an incomplete form of work. That’s why it might come off as boring or bland; you’re really meant to experience it while watching the film. It’s just as stupid as saying “I listen to music” while in reality they “listened” to it while doing laundry. There’s a difference between <em>listening to music</em> and <em>hearing a music</em> (and glad English have those words in store).</p> + + + ‘In Summer’, ephemeral lay put in a love music diff --git a/_site/feed.json b/_site/feed.json index ec554aa..a9a495f 100644 --- a/_site/feed.json +++ b/_site/feed.json @@ -12,6 +12,27 @@ "items": [ + { + "id": "http://localhost:4000/2024/07/16/rant-ost-as-music", + "title": "To listen to film soundtrack?", + "summary": null, + "content_text": "I’ve come across a ton of internet discussion and couldn’t help but notice how people seem to be really divided (and often dogpile on each side) about Hans Zimmer’s soundtrack for both parts of Villeneuve’s Dune. Some folks think his music is pretty dull, uninteresting, full of long notes, and lacking meaningful musical tonality, while others rave about its grandness and the intricate pallette he brought to the table. Both sides have their valid points, and while I’d also like to share my thoughts on this, I’m still on the fence regarding the music since me myself thinks I’m too uneducated regarding both the musical theory and the “taste” aspect.Regretfully, also, I could only make it at the Part Two (and really wanted to watch the first one since I prefer the first one, comparatively speaking), but I genuinely think both have the best audially engineered movie I’ve ever watched, including the musics themselves. It honestly is something that broke my heart every time I left the theater room because I knew it might be ages at best before I could feel that way again. I definitely need to give it more “listens”, as listening to a movie, but there’s only so much I can do.Here’s the thing I want to get across regarding the situation: the music is interesting, the thought behind it is interesting and profound (Zimmer said “why bring 21st century cellos and timpani in the world where nothing is the same but the humans?”), and the creation process itself is, each, impressive (experimental instruments out of PVC pipes and welding works). But I feel like to listen to it as “music” isn’t really the point. It’s a movie soundtrack, after all. It’s kind of like watching a 2024 or any contemporary movie without sound. It’s an incomplete form of work. That’s why it might come off as boring or bland; you’re really meant to experience it while watching the film. It’s just as stupid as saying “I listen to music” while in reality they “listened” to it while doing laundry. There’s a difference between listening to music and hearing a music (and glad English have those words in store).", + "content_html": "

I’ve come across a ton of internet discussion and couldn’t help but notice how people seem to be really divided (and often dogpile on each side) about Hans Zimmer’s soundtrack for both parts of Villeneuve’s Dune. Some folks think his music is pretty dull, uninteresting, full of long notes, and lacking meaningful musical tonality, while others rave about its grandness and the intricate pallette he brought to the table. Both sides have their valid points, and while I’d also like to share my thoughts on this, I’m still on the fence regarding the music since me myself thinks I’m too uneducated regarding both the musical theory and the “taste” aspect.

Regretfully, also, I could only make it at the Part Two (and really wanted to watch the first one since I prefer the first one, comparatively speaking), but I genuinely think both have the best audially engineered movie I’ve ever watched, including the musics themselves. It honestly is something that broke my heart every time I left the theater room because I knew it might be ages at best before I could feel that way again. I definitely need to give it more “listens”, as listening to a movie, but there’s only so much I can do.

Here’s the thing I want to get across regarding the situation: the music is interesting, the thought behind it is interesting and profound (Zimmer said “why bring 21st century cellos and timpani in the world where nothing is the same but the humans?”), and the creation process itself is, each, impressive (experimental instruments out of PVC pipes and welding works). But I feel like to listen to it as “music” isn’t really the point. It’s a movie soundtrack, after all. It’s kind of like watching a 2024 or any contemporary movie without sound. It’s an incomplete form of work. That’s why it might come off as boring or bland; you’re really meant to experience it while watching the film. It’s just as stupid as saying “I listen to music” while in reality they “listened” to it while doing laundry. There’s a difference between listening to music and hearing a music (and glad English have those words in store).

", + "url": "http://localhost:4000/2024/07/16/rant-ost-as-music", + + + + + + "date_published": "2024-07-16T00:00:00+07:00", + "date_modified": "2024-07-16T00:00:00+07:00", + + "author": + "{"twitter"=>nil, "name"=>nil, "avatar"=>nil, "email"=>nil, "url"=>nil}" + + + }, + { "id": "http://localhost:4000/2023/08/10/review-jefre-in-summer", "title": "‘In Summer’, ephemeral lay put in a love music", diff --git a/_site/index.html b/_site/index.html index d33c4ef..d871b15 100644 --- a/_site/index.html +++ b/_site/index.html @@ -1 +1 @@ - Andre - Writings

Welcome

Archive · About · RSS

I believe we should all write at least once at some point in life. It's a good test to know how well you actually know something. This blog is merely a repository of mine to motivate myself to write and create.

The site is partially written in Indonesian.

+ Andre - Writings

Welcome

Archive · About · RSS

I believe we should all write at least once at some point in life. It's a good test to know how well you actually know something. This blog is merely a repository of mine to motivate myself to write and create.

The site is partially written in Indonesian.

diff --git a/_site/search.html b/_site/search.html index 892a4ec..458737b 100644 --- a/_site/search.html +++ b/_site/search.html @@ -1 +1 @@ - Cari - Andre

Cari

    + Cari - Andre

    Cari

      diff --git a/_site/search.json b/_site/search.json index dd19302..92742ed 100644 --- a/_site/search.json +++ b/_site/search.json @@ -1,5 +1,16 @@ [ + { + + "title" : "To listen to film soundtrack?", + "description" : "", + "url" : "/2024/07/16/rant-ost-as-music", + "category" : "", + "tags" : "opinion", + "date" : "2024-07-16 00:00:00 +0700" + + } , + { "title" : "‘In Summer’, ephemeral lay put in a love music", diff --git a/_site/sitemap.xml b/_site/sitemap.xml index f0278ff..597cb43 100644 --- a/_site/sitemap.xml +++ b/_site/sitemap.xml @@ -2,19 +2,19 @@ http://localhost:4000/about -2024-08-12T14:46:27+07:00 +2024-09-14T14:32:30+07:00 http://localhost:4000/archive -2024-08-12T14:46:27+07:00 +2024-09-14T14:32:30+07:00 http://localhost:4000/search -2024-08-12T14:46:27+07:00 +2024-09-14T14:32:30+07:00 http://localhost:4000/works -2024-08-12T14:46:27+07:00 +2024-09-14T14:32:30+07:00 http://localhost:4000/2022/12/09/obat-panjang-umur @@ -25,6 +25,10 @@ 2023-08-10T00:00:00+07:00 +http://localhost:4000/2024/07/16/rant-ost-as-music +2024-07-16T00:00:00+07:00 + + http://localhost:4000/works/cfp/ 2023-02-02T00:00:00+07:00 diff --git a/_site/tag/opinion/index.html b/_site/tag/opinion/index.html index 32e21c3..1d5bcd1 100644 --- a/_site/tag/opinion/index.html +++ b/_site/tag/opinion/index.html @@ -1 +1 @@ - opinion - Andre

      Tag #opinion

      + opinion - Andre

      Tag #opinion

      diff --git a/_site/tag/review/index.html b/_site/tag/review/index.html index 5b18d18..2251bd5 100644 --- a/_site/tag/review/index.html +++ b/_site/tag/review/index.html @@ -1 +1 @@ - review - Andre

      Tag #review

      + review - Andre

      Tag #review

      diff --git a/_site/works.html b/_site/works.html index 51513b6..8ee9310 100644 --- a/_site/works.html +++ b/_site/works.html @@ -1 +1 @@ - Works - Andre

      Works

      + Works - Andre

      Works

      diff --git a/_site/works/cfp/index.html b/_site/works/cfp/index.html index b3055ef..fceb4fc 100644 --- a/_site/works/cfp/index.html +++ b/_site/works/cfp/index.html @@ -1 +1 @@ - LSF Cogito “Call for Papers” - Andre
      2016, 2017, 2018

      LSF Cogito “Call for Papers”

      Every academic year, Lingkar Studi Filsafat Cogito publishes two issues of an anthology Jurnal Cogito. It contains of selected scholarly articles written by communities and students throughout Indonesia. The “Call for Papers” posters began as an outlet for artistic expression among this literacy circle. Established in May 2014, LSF Cogito community was still young. Due to its small network, the distribution of physical posters was limited to a few campuses of major universities in Java region.

      I understand that the main, primary task of a poster is not to be read, but to draw attention so that the audience may read. I figured that the one important thing that a busy audience like university students need to see is “why and what is this poster here about”. Visual elements were reduced to a minimum to emphasize intelligibility and clarity. I also presented the contrasting difference in hierarchy to convey the purpose, then the details follow.

      2016 poster

      2016

      2017 poster

      2017

      2018 poster

      2018

      square posters

      The ‘Instagram-proportioned’ 1:1 version is also available for each
      + LSF Cogito “Call for Papers” - Andre
      2016, 2017, 2018

      LSF Cogito “Call for Papers”

      Every academic year, Lingkar Studi Filsafat Cogito publishes two issues of an anthology Jurnal Cogito. It contains of selected scholarly articles written by communities and students throughout Indonesia. The “Call for Papers” posters began as an outlet for artistic expression among this literacy circle. Established in May 2014, LSF Cogito community was still young. Due to its small network, the distribution of physical posters was limited to a few campuses of major universities in Java region.

      I understand that the main, primary task of a poster is not to be read, but to draw attention so that the audience may read. I figured that the one important thing that a busy audience like university students need to see is “why and what is this poster here about”. Visual elements were reduced to a minimum to emphasize intelligibility and clarity. I also presented the contrasting difference in hierarchy to convey the purpose, then the details follow.

      2016 poster

      2016

      2017 poster

      2017

      2018 poster

      2018

      square posters

      The ‘Instagram-proportioned’ 1:1 version is also available for each
      diff --git a/_site/works/id-mfa/index.html b/_site/works/id-mfa/index.html index 4b7b95c..0b67ec8 100644 --- a/_site/works/id-mfa/index.html +++ b/_site/works/id-mfa/index.html @@ -1 +1 @@ - The Strategic Lab “Mhd Fadhil Arief”, a memoir - Andre
      2023

      The Strategic Lab “Mhd Fadhil Arief”, a memoir

      In June 2023, The Strategic Lab, an organization which specializing in the research and development of political and youth issues, partnered with the Regent of Batanghari to produce a biographical art book based on the manuscript written by a colleague and a good writer Melfin Zaenuri.

      book cover

      a showcase of one of the interstitials

      The project employs many forms of interstitials, this is one of them

      a sample of the page

      a design of timeline

      A design of the timeline of a person’s life, one of the front matters

      a small art of the chapter divider

      Chapter divider. Background is the outline of rivers of Jambi, from which their slogans, which I personally queried and set from the OSM data.

      Personal remarks and learning

      I’ve worked on many books but rarely process on a work that has many assets. I used to be part of the student magazine design department, but apart from helping with the master layout and generalia, I only ever designed a few segments of showcases.

      The situation presented to me is that at the early stage of design construction (general layout design and schematics derived from the brief) I was handed a rather long manuscript (about 21,000 words) and several dozen mixed photographs. I quickly pointed out to them that, according to the project definition, with such an amount of assets were not fit to build such an art book project, unless we fell to the textbook approach, which then soon we came to the concordance of them to provide more assets gradually.

      Such a scenario requires me to strategize the general layout scheme to optimize the process. I was able to break down the project into a general scheme of modular configuration of layouts, which then serve as my master pages. The process of addition of assets is then just a matter of tallying the numbers and moving and swapping the page configurations. In addition, the client wanted the photo to be somewhat relevant to the topics, so I constructed the simple system to assign each asset with my own system of categorization (based on the reading the write-up), function similar to metadata. For photo management, I used the wonderful DigiKam, a photo management software, to take advantage of its powerful advanced tagging system.

      Ultimately, this project, which is the first art book I’ve ever done, gave me insight into the importance of managing the project up front (and thankfully, my method works flawlessly to the end). Also, the importance of the initial discussion of the brief, which led to the construction of this project. The client was satisfied with the work and I appreciate the cooperation.

      + The Strategic Lab “Mhd Fadhil Arief”, a memoir - Andre
      2023

      The Strategic Lab “Mhd Fadhil Arief”, a memoir

      In June 2023, The Strategic Lab, an organization which specializing in the research and development of political and youth issues, partnered with the Regent of Batanghari to produce a biographical art book based on the manuscript written by a colleague and a good writer Melfin Zaenuri.

      book cover

      a showcase of one of the interstitials

      The project employs many forms of interstitials, this is one of them

      a sample of the page

      a design of timeline

      A design of the timeline of a person’s life, one of the front matters. The design process of this part was particularly challenging.

      a small art of the chapter divider

      Chapter divider. Background is the outline of the many rivers of the swath of Jambi, from which their slogans, which I personally queried and set from the OSM data.

      Personal remarks and learning

      I’ve worked on many books but rarely process on a work that has many assets. I used to be part of the student magazine design department, but apart from helping with the master layout and generalia, I only ever designed a few segments of showcases.

      The situation presented to me is that at the early stage of design construction (general layout design and schematics derived from the brief) I was handed a rather long manuscript (about 21,000 words) and several dozen mixed photographs. I quickly pointed out to them that, according to the project definition, with such an amount of assets were not fit to build such an art book project, unless we fell to the textbook approach, which then soon we came to the concordance of them to provide more assets gradually.

      Such a scenario requires me to strategize the general layout scheme to optimize the process. I was able to break down the project into a general scheme of modular configuration of layouts, which then serve as my master pages. The process of addition of assets is then just a matter of tallying the numbers and moving and swapping the page construction configurations. In addition, the client wanted the photo to be somewhat relevant to the topics, so I constructed the simple system to assign each asset with my own system of categorization (based on the rough segmentation derived from the reading of the write-up), function similar to metadata. As for the asset management, I used the wonderful DigiKam, a photo management software, to take advantage of its powerful advanced tagging system, which then I make use of my system with.

      Ultimately, this project, which is the first art book I’ve ever done, gave me insight into the importance of managing the project up front (and thankfully, my method works flawlessly to the end). Also, the importance of the initial discussion of the brief, which led to the construction of this project. The client was satisfied with the work and I appreciate the cooperation.

      diff --git a/_site/works/latex-works/index.html b/_site/works/latex-works/index.html index ab5b63c..30a9c2d 100644 --- a/_site/works/latex-works/index.html +++ b/_site/works/latex-works/index.html @@ -1 +1 @@ - Antinomi Institute’s LaTeX works - Andre
      2022–2023

      Antinomi Institute’s LaTeX works

      In October 2022, Antinomi Institute, a non-profit organization consisting of scholarly writers, contacted me to handle the layout process of their translated works after a casual chat about LaTeX as a document processor. I, who had previously only dabbled with LaTeX as a helper for hobby projects, was genuinely delighted to take the reins of the entire process, which began with a complete handover of their code templates. I took the liberty of consulting and advising with the team for a code simplification and restructuring which was finally fully realized at the time of the work of their second project with me. So far, we’ve worked together on 3 projects, each with different schemata which is a real pleasure for me to work with.

      I learned so much through the making of these projects, in which LaTeX introduced me to the world of manuscript optimization through scripting, the concept of markup language, and the world of text manipulations.

      chapter heading and TOC

      Chapter heading with author name and attributives which are sent into table of contents

      bibliography and footnote showcase

      Bibliography showcase, full and short version according to Chicago style guide

      math and TikZ showcase

      Mathematical formatting and simple diagram using TikZ
      + Antinomi Institute’s LaTeX works - Andre
      2022–2023

      Antinomi Institute’s LaTeX works

      In October 2022, Antinomi Institute, a non-profit organization consisting of scholarly writers, contacted me to handle the layout process of their translated works after a casual chat about LaTeX as a document processor. I, who had previously only dabbled with LaTeX as a helper for hobby projects, was genuinely delighted to take the reins of the entire process, which began with a complete handover of their code templates. I took the liberty of consulting and advising with the team for a code simplification and restructuring which was finally fully realized at the time of the work of their second project with me. So far, we’ve worked together on 3 projects, each with different schemata which is a real pleasure for me to work with.

      I learned so much through the making of these projects, in which LaTeX introduced me to the world of manuscript optimization through scripting, the concept of markup language, and the world of text manipulations.

      chapter heading and TOC

      Chapter heading with author name and attributives which are sent into table of contents

      bibliography and footnote showcase

      Bibliography showcase, full and short version according to Chicago style guide

      math and TikZ showcase

      Mathematical formatting and simple diagram using TikZ