Relevant bibliographies by topics / Appropriation (Art)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Appropriation (Art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Appropriation (Art)"

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Hunter, Lisa. "Art of Appropriation." Afterimage 36, no. 1 (July 1, 2008): 22. http://dx.doi.org/10.1525/aft.2008.36.1.22.

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Sang jeong Lee. "Appropriation art and Copyright." Seoul Law Review 18, no. 1 (May 2010): 319–52. http://dx.doi.org/10.15821/slr.2010.18.1.010.

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Young, James O. "Art, authenticity and appropriation." Frontiers of Philosophy in China 1, no. 3 (September 2006): 455–76. http://dx.doi.org/10.1007/s11466-006-0019-2.

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Schiller, Shu Z., and Munir Mandviwalla. "Virtual Team Research." Small Group Research 38, no. 1 (February 2007): 12–59. http://dx.doi.org/10.1177/1046496406297035.

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Recent information systems research has studied various aspects of virtual teams. However, the foundations and theoretical development of virtual team research remain unclear. We propose that an important way to move forward is to accelerate the process of theorizing and theory appropriation. This article presents an in-depth analysis of the current state of the art of theory application and development in virtual team research. We identify the frequency, pattern of use, and ontological basis of 25 virtual team-relevant theories. A researcher’s tool kit is presented to promote future theory application and appropriation. The tool kit consists of a descriptive and analytical database of theories relevant for virtual team research. We also present a framework for appropriating virtual team theories based on seven criteria. A detailed example demonstrates the application of the theory appropriation framework. The article contributes to the literature by presenting the state of the art of theory use in virtual team research and by providing a framework for appropriating reference-discipline theories.
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Lafrenz. "Art across Cultures and Art by Appropriation." Journal of Aesthetic Education 54, no. 2 (2020): 1. http://dx.doi.org/10.5406/jaesteduc.54.2.0001.

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BÜLBÜL, Handan. "Appropriation Method in Visual Art Teacher Education Painting Art Studio Course." International Education Studies 16, no. 4 (July 24, 2023): 77. http://dx.doi.org/10.5539/ies.v16n4p77.

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This research is a case study aiming to reveal the experiences of art students towards the activity of “reproduction through appropriation”. During the activity process, students were firstly informed about appropriation and the art of appropriation, especially the works in which two works of art were appropriated by integrating them, and each student was asked to identify two works of art to be appropriated. Students made sketches by establishing relational links between the two works they chose. In the last stage, students were expected to make a new artistic production. In this research, which was conducted with the participation of 8 students attending the art studio course, the experiences of the students regarding the process formed the unit of analysis. Worksheets, process evaluation form and artworks were used as data sources. As a result of the research, it was identified that the students were able to produce thoughts about the concepts emerging with appropriation and appropriation art and question this art practice. The students made an effort to integrate the artistic elements in the two works they used for appropriation in an appropriate way and to create the best visual fiction, and they were able to bring a new interpretation by making use of the artists’ application of the paint technique and their understanding of colour in the appropriated works. They also realised that the artwork they produced was only a tool to force themselves into the artistic creation process and to gain artistic knowledge and skills. In other words, they developed an awareness of the limits of utilising the works in the history of art to ensure originality in their future arworks. It is possible to say that making use of the appropriation method in art studio courses will contribute to the artistic development of students.
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Markellou, Marina P. "Appropriation art and cultural institutions." Queen Mary Journal of Intellectual Property 3, no. 2 (April 1, 2013): 145–54. http://dx.doi.org/10.4337/qmjip.2013.02.03.

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Hick, Darren Hudson. "Forgery and Appropriation in Art." Philosophy Compass 5, no. 12 (December 2010): 1047–56. http://dx.doi.org/10.1111/j.1747-9991.2010.00353.x.

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Van Camp, Julie C. "Originality in Postmodern Appropriation Art." Journal of Arts Management, Law, and Society 36, no. 4 (January 2007): 247–58. http://dx.doi.org/10.3200/jaml.36.4.247-258.

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Irvin, Sherri. "Appropriation and Authorship in Contemporary Art." British Journal of Aesthetics 45, no. 2 (January 1, 2005): 123–37. http://dx.doi.org/10.1093/aesthj/ayi015.

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Dissertations / Theses on the topic "Appropriation (Art)"

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DE, SANTIS FEDERICA. "APPROPRIATION ART E DIRITTO D'AUTORE." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/253310.

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Appropriation Art is generally defined as a form of contemporary art which borrows images from popular culture, advertising, the mass media, other artists and elsewhere, and incorporates them into new works of art. By taking these items out of their contexts and presenting them in new forms, combinations, or contexts, artists transform their meaning and force the viewer to reconsider his or her former understandings about a certain image. Appropriation art traces its origins back to Conceptual Art and, before, to the “readymades” of Marcel Duchamp, works (objet tout fait) consisting entirely of everyday objects presented largely unchanged as “art.” The originality and artistic value of these kinds of works lies in the new meaning associated with the work and in the artistic gesture, and not in its external aspect or form. Under a legal perpective, the main question arising out of Appropriation Art is whether the second work is a copy (thus, a counterfeit), a derivative work (requiring the copyright owner’s consent to exploit the work of art) or, instead, a totally new and original work. To answer this question, this dissertation examines whether the appropriation artwork can be considered original under a copyright law standpoint, and analyzes the relationship between the appropriated work and the second work. Sometimes the works of Appropriation Art can be considered lawful as parody, insofar as they transform the meaning of a previous work for comic effect, creating a new artwork. This dissertation also analyzes the transformativeness relevant under the fair use analysis within US copyright system as well as the key fair use Appropriation Art cases handed down by US courts. In particular, the analysis focuses on the Jeff Koons and on the Mattel cases, and addresses the Cariou v. Prince case, relating to the alleged copy by renowned appropriation artist Richard Prince of Cariou’s portraits of Jamaican Rastafarians for use in a series of paintings by Prince titled “Canal Zone”. In this case, the court held that the message behind the use of Cariou’s photos in “Canal Zone” was so different from Cariou’s message in the original portraits that Prince had transformed their meaning and therefore created new art. Italian courts addressed Appropriation Art only in one case, concerning the use by appropriation artist John Baldessari of certain works made by Alberto Giacometti. Finally, it is necessary to analyze Appropriation Art also under a trademark law standpoint, to assess whether appropriation of a mark can be considered trademark infringement.
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Krueger, Pamela. "Counterfeit cultures, cultural appropriation, art by Native artists and Canadian art galleries." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ31446.pdf.

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Heger, Katrina. "Hope for Appropriation." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/497.

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This thesis presents the shortcomings of the Fair Use exemption within the Copyright Act through an in depth analysis of the recent Shepard Fairey v. Associated Press surrounding the well-regarded Hope Poster. The thesis critiques the unpredictability of the law, the copyright holder’s growing sense of monopolized ownership over her or his work, the complex facets of art that are overlooked in the court’s legal analysis, and finally, the social justice implications of the Copyright Act. The thesis argues that Fair Use should make room for appropriation art, otherwise successful and progressive artists, such as Shepard Fairey, will be discouraged from creating.
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Coulter-Smith, Graham. "Appropriation en abyme : the postmodern art of Imants Tillers." Thesis, De Montfort University, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247657.

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Noonan-Ganley, Joseph. "The contagion of desire : two case studies of appropriation art." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:d86430f7-41dd-4b85-b094-2e256b899d9c.

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My doctoral thesis is comprised of two bodies of research: two artworks taking the form of installations (videos, audio recordings, textiles, texts), which will be exhibited for viva. Femme Fabrications, 2016, is made from research into the American artist Joseph Cornell's (1903-1972) source materials held in the Smithsonian American Art Museum alongside research on Jean Wilkinson's 1977 book Flower Fabrications. A series of textile works encased in silk lined boxes trace my step-by-step construction of a rose from organdie. The floral emblem of the white rose (dried), 'death is preferable to a loss of innocence' , becomes an editing device, which I use to consider a number of possible recipients for the rose, such as Cornell himself. Spoken word audio recordings, which ruminate on how his sexuality pertain to the criteria of the rose are edited together with home-camcorder video footage of the house that Cornell lived in for most of his life - the house he made the entirety of his artworks within. Central to The Cesspool of Rapture, 2017, are moving-image studies of zippers, stains, rips, abrasions, openings, and closings in a series of dresses made by the American couturier Charles James (1906-1978). These videos register and move through the material research, the garments, at alternating speeds. The changing speed is registered in sound by clicks synced to each individual frame. It is at times violent and at other times tentative and gentle as the uncovering of the damage to the dresses unfolds. Audio recordings of James explicating his interests in eroticism and sexuality persistently interject the footage. This work includes the installation of a series of reconstructions of James's 1932 Taxi dress. Its black linen body is reconfigured and abstracted as the splayed design makes unfinished seams and unzipped zippers visible. In each artwork I configure viewing and consuming as a mode of authorship. I show how these diverse processes of identification become authored acts. When drawn into intimate relation with the leftover material of these historical authors, my contamination proves deviant: I gain possession of the capacity to speak for them, to expose, idolise, misrepresent, and fictionalise them. My thesis is composed of this group of methodologies, which were found and developed within the production of the artworks.
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Schaar, Elisa Frederica. "Deja-vu : the 'forerunners' of appropriation art c. 1964-1974." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567919.

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This historiographical thesis charts an aspect of the complex transition from pop to later appropriation art associated with the 1980s by examining forerunners of appropriation in the period from the emergence of pop's logic of serial repetition to the beginnings of 'pictures' in the mid- to late 1970s and their places in the relevant art-historical narratives. In view ofthe fact that the principal genealogies of appropriation have been conceptualist ones, this thesis reappraises the role of pop by considering readyrnade imagery, image.multiplication and the participatory aspects of Andy Warhol's Factory production in particular as enabling conditions for early appropriators Elaine Sturtevant and Richard Pettibone, who applied pop's serial logic to pop imagery itself and who marked out its divergent implications in the process. While I interpret Pettibone's pursuit of pop's simulacral aspects as a form of nostalgic prolonging related to photorealism and liken his small-scale, carefully crafted copies to souvenirs, I conceive of Sturtevant's performative practice of repetition as a way of abbreviating processes of production and of her works as conceptualist catalysts. If carrying forward pop's logic of serial repetition in neither case amounted to a systematic critique of modernist originality, the fictitious artist Hank: Herron, who was the subject of a hoax review in an anthology of conceptual art and who could appear modelled on Sturtevant specifically, entered the stage readily theorized in a way that anticipated the poststructuralist discourse of the copy and thus signalled a point of transition in the narratives. I propose that Sturtevant's practice of repetition still had a critical edge and show how its recent rediscovery was ironically channelled through a European reception context in which the initial closeness of her practice to pop did not compromise its perceived critical import. If the notion of 'appropriation' is commonly associated with the 'pictures generation' and if the deconstructive capacity of 'pictures' has been secured in the literature by way of reference to a conceptualist lineage conceived predominantly in terms of institutional critique, this thesis broadens the narratives by inserting precedents starting from pop.
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Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.

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La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentation
The present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
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Pettersson, Johanna. "Ett rollspel : självporträttet som iscensättning och appropriation." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-508.

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Mitt examensarbete behandlar frågeställningen: Hur gestaltar iscensatta och approprierade självporträtt identitet och kön/genus och vad får det för konsekvenser för hur vi betraktar oss själva och andra människor? Jag vill med min undersökning försöka problematisera och vidga sätten att använda självporträtt på som uppgift i skolan. Att visa upp hur samtida konstnärer jobbar med självporträtt, tror jag kan skapa en mer dynamisk bild av vad ett självporträtt är och kan vara för eleverna. Att göra ett självporträtt betyder inte att man måste visa sitt ”riktiga jag”. Det kan handla om att leka och försätta sig själv i olika roller, vilket kan upplevas som väldigt befriande och lustfyllt. I viss mån kan man säga att vi människor alltid spelar en roll, men i konsten kan man dra dessa roller till det extrema. I uppsatsen analyseras tre stycken självporträtt som alla är skapade efter 1980. De har alltså kommit till i vad man inom konsten kallar för postmodernismen. Det är Andy Warhols Self-portrait (in Drag), 1981, Cindy Shermans Untitled #224, 1990 och Charlotte Gyllenhammars Nachsagen – Ich und Meinhof (B 3), 2004. Urvalet är grundat på att konstnärerna i de här verken på ett tydligt sätt arbetar med självporträttet som iscensättning och appropriation vilket är det jag vill titta närmare på och undersöka. De huvudsakliga teoretiska perspektiven som används är semiotiken och psykoanalysen. I analyserna går jag först in på vad man inom semiotiken kallar för den manifesta nivån. Med andra ord en beskrivning av hur bilden är uppbyggd och vad som konkret finns där att se. Efter det går jag över på den latenta nivån, alltså vad dessa synliga tecken kan ha för underliggande betydelser. Resonemangen som uppstår ur detta kopplas sedan till teorier som framför allt kan knytas till psykoanalysen, som bland annat den manliga blicken, kvinnlig maskerad, kön och genus. I min gestaltning har jag arbetat med att göra egna iscensatta och approprierade självporträtt. I en serie fotografier och broderier har jag undersökt identitet och kön/genus på ett visuellt gestaltande plan. Parallellt med mitt skrivande har jag använt min egen kropp för att visa att vi människor är så mycket mer komplexa än de begrepp som vi tillskrivs. Det har varit fascinerande att få upptäcka hur bilden kan fungera som en plattform för ett rollspel som kan fortsätta i all oändlighet. De iscensatta och approprierade självporträtt jag analyserar visar att det inte är lika intressant att framställa sig själv så som vi är vana att traditionella självporträtt ser ut längre. Istället fokuserar konstnärerna på att försöka få oss att förstå att det sätt som vi ser oss själva och våra medmänniskor på är konstruerat av det samhälle vi lever i. En värld som upprättat två olika kön vilka tillskrivits olika egenskaper och attribut. Där kvinnan är objektet och mannen utgör normen för hela samhällskonstruktionen. Han har makten och det är hans begär som styr blicken. Andy Warhol, Cindy Sherman och Charlotte Gyllenhammar bilder bidrar alla till att ifrågasätta denna makt och blick. De är en del i arbetet att skapa medvetna betraktare som förstår att kvinnan inte är ett objekt och att maskuliniteten inte tillhör mannen och feminiteten inte tillhör kvinnan. För att kunna få en universell jämställd blick måste den manliga blicken analyseras och nedmonteras. Blicken kan förändras, men det förutsätter att vi ständigt ifrågasätter den. Att i bildundervisningen arbeta med frågor som rör identitet och kön/genus genom självporträtt tror jag kan bidra till att förändra synen på vad som är ”normalt”. Skolan är en plats där ungdomar dagligen försöker anpassa sig till rådande normer för att passa in och känna att de tillhör en grupp. Vi behöver öppna upp gränserna vi sätter upp för oss själva och andra. Den ”normala människan” existerar inte någon annanstans än i fantasin.

BI/Konst

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Seck, Momar. "Appropriation d'objets et de matériaux de récupération dans l'art sénégalais contemporain." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00748257.

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Redonner une vie à un objet et à un matériau destinés à la destruction et à la disparition est devenu une préoccupation pour maints créateurs. Ce phénomène de détournement de l'usage de l'objet passe par le truchement et l'ingéniosité des mains de l'artiste pour devenir un objet d'art ou être prétexte à faire œuvre de création artistique. Ce détournement en acte de l'objet illustre parfaitement la porosité entre la sensibilité de l'artiste et son milieu de vie ou d'extraction. À cet égard la perméabilité de l'artiste à son milieu de vie analyse le renouvellement des visions, des pensées et des sensibilités que permet ce nouvel agencement des matériaux. Preuve en est ainsi faite que ni la pauvreté, ni l'abondance ne peuvent être des obstacles à la création, encore moins des freins à celle-ci. Et si l'objet perd ainsi sa fonctionnalité pratique et sociale pour laquelle il a été pensé, conçu et confectionné, il n'en est pas moins un dispositif de renouvellement du regard. De la fonction utilitaire première, il acquiert d'autres fonctions formelles dont celle de support de création esthétique aux enjeux divers. L'étude a pris en compte les années succédant aux indépendances des pays africains en général et du Sénégal en particulier. Ces indépendances projetaient de bâtir des nations, de créer et de développer des systèmes éducatif et judiciaire, et de préserver l'intégrité territoriale de ces nouveaux pays.C'est dans ce contexte politique et à la lumière de la politique culturelle, ainsi qu'à l'évolution de la première génération d'artistes que nous avons tenté de montrer la manière dont l'art de la récupération s'est introduit dans le langage ou l'expression plastique des artistes sénégalais contemporains.
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Robards, Andrew. "Repetition, revision, appropriation and the Western." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12843.

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The aim of this research paper is to demonstrate the innate dialogue that exists between the Western genre and Contemporary Art practice. Initially, the fundamental qualities of a ‘Classic’ Western are defined, before moving on to a broader examination of the genre’s key developments and evolutions post World War II. Using George Steven’s Shane as a case study, the paper traces the prominent position of appropriation inside the meta-cinematic form, whilst also tying various filmic examples to the practice’s of visual artists who employ congruous strategies when developing their own work. The paper concludes with a detailed exploration of my own creative practice, highlighting how my theoretical research has informed a body of work that employs prominent connections and appropriations from both cinematic and artistic forms of expression. The exhibited component of my studio research is a three part installation and accompanying online database of film stills. Each piece in the body of work explores the position of the Western genre in the cinematic and contemporary art contexts, representing a refined culmination of my various work and its development through a sustained process of visual and theoretical investigation. All four parts of the project employ the well established revisionist imperatives that characterise the Western and Contemporary Art spheres. Through the combination of these shared practices my work seeks to hybridise the two traditionally separate, but increasingly homogeneous creative mediums.
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Books on the topic "Appropriation (Art)"

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David, Evans, ed. Appropriation. Cambridge, MA: MIT Press, 2009.

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(Austria), Fotogalerie Wien, ed. Aneignung, Appropriation. Wien: Fotogalerie Wien, 2012.

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Baudoin, Tanja, and VivianVivian Ziherl. Rereading appropriation. Amsterdam: If I can't dance, I don't want to be part of your revolution, 2015.

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1961-, COLEMAN ELIZABETH BURNS. ABORIGINAL ART, IDENTITY AND APPROPRIATION. ALDERSHOT: ASHGATE, 2005.

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Andy, Warhol. Andy Warhol, art from art. Köln: Edition Schellmann, 1994.

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Koninklijk Instituut voor de Tropen, ed. Duet for cannibals: Forms of cultural appropriation. Heyningen: JAP SAM Books, 2010.

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(Austria), Museum Moderner Kunst, ed. Blühendes Gift: Zur feministischen Appropriation des österreichischen Unbewussten. Köln: Verlag der Buchhandlung Walther König, 2016.

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Gamper, Verena. Remastered: Die Kunst der Aneignung = the art of appropriation. Köln: Buchhandlung Walther König, 2017.

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Krueger, Pamela Rae. Counterfeit cultures: Cultural appropriation, art by native artists and canadian art galeeries. Sudbury, Ont: Laurentian University, Interdisciplinary Master of Arts in Humanities, 1998.

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Magee, Alan. Beyond recognition: The art of Alan Magee. Wilkes-Barre, PA: Sordoni Art Gallery, 2007.

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Book chapters on the topic "Appropriation (Art)"

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Brooks, Daniel J. "Appropriation Art." In The Routledge Companion to Copyright and Creativity in the 21st Century, 145–50. New York, NY; Milton Park, Abingdon, Oxon: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781315658445-19.

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Koegel, John. "Appropriation Art." In The Routledge Companion to Copyright and Creativity in the 21st Century, 151–59. New York, NY; Milton Park, Abingdon, Oxon: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781315658445-20.

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Schneider, Arnd. "The Buenos Aires Art World: Sites of Appropriation." In Appropriation as Practice, 35–61. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983176_3.

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Hamilton, Andy. "Cultural Appropriation and Artistic Freedom." In Art and Entertainment, 227–47. London: Routledge, 2024. http://dx.doi.org/10.4324/9780429485435-15.

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Blaikie, Fiona. "Vignettes of Resistance, Appreciation, and Appropriation." In Counternarratives from Asian American Art Educators, 175–82. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003222293-27.

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Kristberga, Laine. "Performance art in Latvia as intermedial appropriation." In Performance Art in the Second Public Sphere, 138–50. New York : Routledge, 2018. | Series: Routledge advances in theatre and performance studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315193106-11.

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Patch, Justin. "Parody, Appropriation, and Editing for Affect." In The Art of Populism in US Politics, 99–125. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003320937-5.

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Blond, Simon. "Appropriation and the Critique of Originality." In Art, Agency and the Continued Assault on Authorship, 110–35. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003124191-6.

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Dabène, Olivier. "Bogotá: Public Space Between Appropriation and Deliberation." In Street Art and Democracy in Latin America, 43–74. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26913-5_3.

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Crawford, Garry, and David Hancock. "Playful Cultures and the Appropriation of Urban Space." In Cosplay and the Art of Play, 199–230. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15966-5_7.

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Conference papers on the topic "Appropriation (Art)"

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Zubaidi-Polli, Anna Maria Al, Nervo Verdezoto, Nawfal Al Zubaidi R-Smith, and Gabriele Anderst-Kotsis. "Ex-situ technology appropriation of an e-deliberation platform in an art gallery." In iiWAS2017: The 19th International Conference on Information Integration and Web-based Applications & Services. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3151759.3151761.

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MOCANU, Liuba. "The role of adjectives in the language development of young children." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p202-205.

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The article reflects the process of appropriation by young children of the lexicon in general, of the principles of their grouping, of the grammatical component of children’s language. It is characterized the process of appearance, of appropriating adjectives in the speech of the little ones, with the reflection of certain problems. Some of the forms of knowledge with adjectives are proposed.
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Flores Miranda, Margarita Beatriz. "Proposal for a systemic process: Managing the creative abilities of students pursuing the architectural studio at mexican universities." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3644.

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“Education´s goal is the ability to master life with self-creative forces, in order to achieve something good and beautiful.” Götze, C. (1898). Das kind als Künstler Projects at Mexican schools of architecture often focus on conventional issues of dimension and function; in a country with the largest number of students in the architectural discipline there is an existing disinterest in the appropriation of knowledge, exploration of complexity, and expression of ideas. Such a disinterest calls for the evolution of architectural education. This research proposes it is possible to manage the creative forces of individuals. A working model composed of distinct components will be generated to stimulate areas related to artistic development. In preparation, essential components of the model have been extracted by analysis from the Bauhaus Preliminary Course developed by Johannes Itten, considering its influence on sequential tutors as well as its moment of historic implementation (1918-1923). The objective is to transform Itten´s pedagogy by means of a systemic design process focusing on the development of creative skills. The first methodological approach has been extracted from three of Itten’s thematic fields, each structured by a set of common elements: principle, objective, common material, exercises, and phases (Fig. 1). The sets are related according to their role in the development of talent as a means to discern and reveal artistic character: - BEING UNDER CONSTRUCTION: A physical-soul-spiritual unity that incorporates artistic education through exercises for awakening the body and intellectual harmonization (Fig. 1a). - BALANCED COMPOSITION: Refinement of the senses through intuitive analysis of artistic structures and a critical drawing of reality (Fig. 1b). - CONTRAST: The art of objectivity through the study of opposites: feeling-thinking, intuition-intellect, expression-construction (Fig. 1c). A responsible party, acting as structural element, directs the capacities stimulated within the group and materialized by cohesive exercises, guiding students to define an authentic trajectory: - FAMILIARIZATION: Understanding the bases. - EXPERIMENTATION: Articulation of new configurations. - APPROPRIATION: Creation from the unknown. - OPERATION: Execution in real-time. - REDIRECTION: Return to the origin to adjust and resume. By asserting the student is the center of his or her unique working model the implementation of this method in architectural studios allows for the assignment of any creative exercise and is suitable for all levels of investigation.DOI: http://dx.doi.org/10.4995/IFDP.2016.3644
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Wu, Ruohong. "Copy As Original: Artistic Practice Before and After Appropriation." In The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.33.

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Jamil, Bushra, and Umer Ismail. "THE KASHMIRI SHAWL: RETHINKING PERSPECTIVES OF AUTHENTICITY AND APPROPRIATION IN POST-COLONIAL ERA." In International Conference on Arts and Humanities. The International Institute of Knowledge Management - TIIKM, 2019. http://dx.doi.org/10.17501/23572744.2018.5108.

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Souliotou, AZ. "TRANSFORMATIONS OF MONA LISA: THE CASE OF A DISTANCE EDUCATION ART-ANDTECHNOLOGY PROJECT." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7131.

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Mona Lisa by Leonardo Da Vinci has been subject to numerous and various transformations in the form of (re)interpretations, reproductions, replicas, appropriations and parodies. Mona Lisa is far more than a mere Renaissance portrait or a symbol of its time. Instead Mona Lisa is radically connected with artistic movements and practices throughout the history of art as well as with the 20th and 21st century visual culture, visual commerce and social media imagery. This paper presents an activity in a higher education Department of Early Childhood where students experimented with digital tools and made a collective artwork of digital transformations of Mona Lisa. This digital experiment was a distance education project which took place during the COVID-19 pandemic restrictions in Greece. At first, students were given examples of appropriations and parodies of Mona Lisa from the history of art as well as from the visual culture. Then students gave their own "responses" through making digitally transformed versions of Mona Lisa which they put together in a collective digital mosaic. Clones, distortions, semi-transparencies, repositions and other transformations within 75 Mona Lisa versions render this collective artwork a composition with reference to pixel structure. Students' collective artwork contributed to the deeper understanding of Da Vinci's masterpiece and increased their confidence and familiarity with Renaissance painting. The case of this activity proves that digital culture is a catalyst for art history learning and creativity in the classroom. Furthermore, this activity fosters collaborative learning through distance education and turns out to be a vehicle for empowering learners in a digital world, as well as for developing linguistic, numerical and multisensory skills through digital creativity. Keywords: Mona Lisa, Leonardo Da Vinci, distance education, higher education, digital art, participatory practices, community resilience
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Shamekh, Eman, and Shaimaa Ashour. "Temporary Appropriation Practices and Spontaneity in Public Spaces: The Case of Downtown Cairo Passageways." In The Barcelona Conference on Arts, Media & Culture 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2435-9475.2022.15.

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Pacini, Benjamin, Robert Kuether, and Daniel Roettgen. "An Investigation into Shaker-Structure Interaction During Nonlinear Force Appropriation Testing (Submission 10073)." In Proposed for presentation at the International Modal Analysis Conference. US DOE, 2020. http://dx.doi.org/10.2172/1837394.

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Kensah, David, and Aard Groen. "Appropriation of value in biomedical research outcome at public research organisations." In 16th Annual High Technology Small Firms Conference, HTSF 2008. University of Twente, 2008. http://dx.doi.org/10.3990/2.268487997.

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Transactions on biomedical research outcomes bring into play strategies that are determined by leveraging resources into quasi-markets and on options based on expectations. To govern such transactions, the choice of appropriate governance structures and the governance of interaction are all too often in remittance of risk and uncertainty. Organisation and communities are prompted by issues concerning intellectual property (IP) to underwrite information, which is inherently fraught with difficulties of discerning ownership and quantifying qualitative business variables. Against that backdrop, we enquire on the mechanisms underpinning value dissipation and value appropriation of biomedical research outcomes to make proposition on the organisational antecedence to innovation. It is a preamble study with the view to developing a meso-level framework to describe mechanisms of value appropriation of upstream biomedical (non-invasive) research at Public Research Organisation. Its underpinning is largely based on the availability appropriability regimes and viability of organizational governance decisions and how the choice of organizational governance form affects both the creation and appropriation of economic value.
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Dinccag Kahveci, Aysegül. "The appropriation of traditional houses in Imbros/Gökçeada." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15722.

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This paper explores the transformation of locality in relation to vernacular architecture on the former Greek island of Imbros (Gökçeada) in Turkey. The people of Imbros were forced to leave their homeland due to a state-initiated policy of Turkification that started in the early 1960s. The structural evolution of the traditional Imbriotic House came to a halt due to the forced immigration of the Imbrian people. Today, the material remains of houses in villages contribute to heritage capital, while allowing returnees a chance to critically reflect on their tangible heritage. The paper aims to understand changes in the built environment and its cultural and historical contexts and records the contemporary architectural applications of the social transition of a rural community in a global age. The study shows how traditional houses are ‘modernized’ by 2nd and 3rd generation returnees of the Imbrian community, in line with the changing needs of their inhabitants, and questions how the local identity is reproduced by the heritage community. By analysing the spatial modifications of the typologies and the construction adaptation of the buildings, the study examines which architectural components are kept and/or changed in order to preserve the “local identity” in everyday life on the island today. The paper compiles preliminary findings based on ethnographic field research conducted in 2018-2019, which yielded qualitative data from oral narratives and participatory observations, and also uses the data obtained from architectural research tools. Focusing on the reconstruction of old houses by returnees from the Imbrian community, this paper showcases the appropriation of vernacular architecture in a contested area in relation to locality.
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Reports on the topic "Appropriation (Art)"

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Hinrichs, Peter L. State Appropriations and Employment at Higher Education Institutions. Federal Reserve Bank of Cleveland, November 2022. http://dx.doi.org/10.26509/frbc-wp-202232.

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This paper studies the impacts of state appropriations on staffing and salaries at public higher education institutions in the United States using employment and revenue data from the Integrated Postsecondary Education Data System, along with an instrumental variables strategy borrowed from Deming and Walters (2018) and Chakrabarti, Gorton, and Lovenheim (2020). The instrument sidesteps the potential endogeneity of state appropriations for a given institution in a given year by interacting an institution’s historical reliance on state appropriations with total state appropriations for all higher education institutions in a given year. The results suggest that higher state appropriations are associated with an increase in tenure-track assistant professors at four-year institutions. They are also associated with an increase in part-time instructional staff at both four-year and two-year institutions. However, they are not associated with a change in the number of tenured faculty. Appropriations are also positively related to salaries for a variety of employee groups, although notably not for instructional staff who are instructors, lecturers, or without an academic rank. Overall, the results show that public higher education institutions use state appropriations in a variety of ways, but I do not find evidence that they replace contingent faculty with tenured or tenure-track faculty when appropriations rise.
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Jackson, Michael H. Separate Authorization and Appropriation Processes: Are We Beyond Their Usefulness? Fort Belvoir, VA: Defense Technical Information Center, March 1992. http://dx.doi.org/10.21236/ada249532.

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Bergeron, John J. Earmarks and the FY 2005 Defense Appropriations Act: A Study of Congressional Control of DoD. Fort Belvoir, VA: Defense Technical Information Center, June 2005. http://dx.doi.org/10.21236/ada435696.

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Boix, Carles, Alícia Adserà, and J. Mark Payne. Are You Being Served?: Political Accountability and Quality of Government. Inter-American Development Bank, November 2000. http://dx.doi.org/10.18235/0010787.

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This paper explores, both formally and empirically, the political accountability mechanisms that lie behind the varying levels of public corruption and of effective governance taking place across nations. The first section develops a principal-agent model in which good governance is a function of the extent to which citizens can hold political officials accountable for their actions. Although policy-makers may have strong incentives to appropriate parts of the citizens' income, well-designed institutions (those increasing both informational flows and elite competitiveness) boost political accountability and reduce the space left for the appropriation of rents. The following sections of the paper test the model. The presence of democratic mechanisms of control and an increasingly informed electorate, measured through the frequency of newspaper readership, explain considerably well the distribution of corrupt practices and governmental ineffectiveness in three types of data sets: a large cross-section of countries in the late 1990s for which an extensive battery of governance indicators has been recently developed by Kaufmann et al. (1999a); a panel data set for the period 1980-95 and about 100 nations on corruption and bureaucratic quality based on experts' rankings; and corruption data for the cross-section of US states in the period 1977-95.
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Cochrane, C. B. Summary and Assessment Acquisition Policy Implications: National Defense Authorization Act for Fiscal Year 1993 and Department of Defense Appropriations Act for Fiscal Year 1993. Fort Belvoir, VA: Defense Technical Information Center, January 1993. http://dx.doi.org/10.21236/ada273210.

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Siebert, Rudolf J., and Michael R. Ott. Catholicism and the Frankfurt School. Association Inter-University Centre Dubrovnik, December 2020. http://dx.doi.org/10.53099/ntkd4301.

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The paper traces the development from the medieval, traditional union, through the modern disunion, toward a possible post-modern reunion of the sacred and the profane. It concentrates on the modern disunion and conflict between the religious and the secular, revelation and enlightenment, faith and autonomous reason in the Western world and beyond. It deals specifically with Christianity and the modern age, particularly liberalism, socialism and fascism of the 2Oth and the 21st centuries. The problematic inclination of Western Catholicism toward fascism, motivated by the fear of and hate against socialism and communism in the 20th century, and toward exclusive, authoritarian, and totalitarian populism and identitarianism in the 21st. century, is analyzed, compared and critiqued. Solutions to the problem are suggested on the basis of the Critical Theory of Religion and Society, derived from the Critical Theory of Society of the Frankfurt School. The critical theory and praxis should help to reconcile the culture wars which are continually produced by the modern antagonism between the religious and the secular, and to prepare the way toward post-modern, alternative Future III - the freedom of All on the basis of the collective appropriation of collective surplus value. Distribution and recognition problems are equally taken seriously.
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Hamanyuk, Vita. Literarische Texte moderner deutscher Literatur als Mittel für die Entwicklung der interkulturellen Kompetenz. Univerzita Pardubice, 2018. http://dx.doi.org/10.31812/123456789/6064.

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The article analyzes some of the literary texts of modern German literature with an intercultural potential in the modern literary context of Germany and the question whether they are relevant to the development of an intercultural competence in foreign language teaching. Theoretical aspects of the appropriation and extension of the intercultural competence are summarized and exemplified by the works of modern German authors. Three novels and their intercultural potential are analyzed, including: S. Kuegler „Dschungelkind“, S. Möller „Viva Polonia“ and H. Akyün „Einmal Hans mit scharfer Soße“. Various groups of characteristics and the characteristics which testify to the intercultural potential of these works, as well as the practice typology for their use in the foreign language and literature lessons, are considered. Im Beitrag werden manche literarischen Texte moderner deutscher Literatur mit interkulturellem Potenzial im modernen literarischen Kontext Deutschlands analysiert, und die Frage, ob sie für die Herausbildung und Entwicklung der interkulturellen Kompetenz im Fremdsprachenunterricht relevant sind. Theoretische Aspekte der Aneignung und Erweiterung der interkulturellen Kompetenz sind zusammengefasst und am Beispiel der Werke moderner deutscher Autoren veranschaulicht. Es werden drei Romane und deren interkulturelles Potenzial analysiert, darunter: S. Kuegler „Dschungelkind“, S. Möller „Viva Polonia“ und H. Akyün „Einmal Hans mit scharfer Soße“. Verschiedene Gruppen von Merkmalen und Charakteristika, die vom interkulturellen Potenzial dieser Werke zeugen, sowie auch Übungstypologie für deren Einsatz im DaF-, und Literaturunterricht werden betrachtet.
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Marsden, Eric, Noëlle Laneyrie, Cécile Laugier, and Olivier Chanton. La relation contrôleur-contrôlé au sein d’un réseau d’acteurs. Fondation pour une culture de sécurité industrielle, June 2023. http://dx.doi.org/10.57071/933rrr.

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This document concerns the regulatory oversight and governance of high-hazard industrial activities. A complex set of laws, regulations and institutions contribute to the social control of these activities, reinforcing and serving as a complement to the risk prevention mechanisms put in place by operating companies. This document focuses in particular on the relationships between regulated firms, regulatory authorities and third party intermediaries who play a role in safety oversight (certification bodies, auditors, insurers, professional associations, etc.) and the impact of the quality of these relationships on industrial safety. The scope is the prevention of major accident hazards in different industry sectors (process industry, transport, energy), in France and at an international level. We focus our attention on different forms of “coregulation”, the act of enrolling the entities concerned by regulatory measures in their elaboration and the verification of their compliance, which is believed to improve their appropriation by private actors and thereby produce better oversight than classical command-and-control regulation. We analyze in particular the partial delegation of authority, internal risk control mechanisms and the use of third party intermediaries in the oversight process. This coproduction of regulation by public and private entities is increasingly used in different industry sectors, and leads to a more collaborative and interconnected regulatory process, based on a network of actors rather than a simple regulator-regulatee duopole.
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Author, Not Given. Report to the Congress on expansion of the Strategic Petroleum Reserve in one billion barrels: Submitted in response to the conference report accompanying the Department of the Interior and Related Agencies Appropriations Act for fiscal year 1989 (H. R. Report No. 100-862). Office of Scientific and Technical Information (OSTI), April 1989. http://dx.doi.org/10.2172/6304757.

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Eldar, Avigdor, and Donald L. Evans. Streptococcus iniae Infections in Trout and Tilapia: Host-Pathogen Interactions, the Immune Response Toward the Pathogen and Vaccine Formulation. United States Department of Agriculture, December 2000. http://dx.doi.org/10.32747/2000.7575286.bard.

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In Israel and in the U.S., Streptococcus iniae is responsible for considerable losses in various fish species. Poor understanding of its virulence factors and limited know-how-to of vaccine formulation and administration are the main reasons for the limited efficacy of vaccines. Our strategy was that in order to Improve control measures, both aspects should be equally addressed. Our proposal included the following objectives: (i) construction of host-pathogen interaction models; (ii) characterization of virulence factors and immunodominant antigens, with assessment of their relative importance in terms of protection and (iii) genetic identification of virulence factors and genes, with evaluation of the protective effect of recombinant proteins. We have shown that two different serotypes are involved. Their capsular polysaccharides (CPS) were characterized, and proved to play an important role in immune evasion and in other consequences of the infection. This is an innovative finding in fish bacteriology and resembles what, in other fields, has become apparent in the recent years: S. iniae alters surface antigens. By so doing, the pathogen escapes immune destruction. Immunological assays (agar-gel immunodiffusion and antibody titers) confirmed that only limited cross recognition between the two types occurs and that capsular polysaccharides are immunodominant. Vaccination with purified CPS (as an acellular vaccine) results in protection. In vitro and ex-vivo models have allowed us to unravel additional insights of the host-pathogen interactions. S. iniae 173 (type II) produced DNA fragmentation of TMB-8 cells characteristic of cellular necrosis; the same isolate also prevented the development of apoptosis in NCC. This was determined by finding reduced expression of phosphotidylserine (PS) on the outer membrane leaflet of NCC. NCC treated with this isolate had very high levels of cellular necrosis compared to all other isolates. This cellular pathology was confirmed by observing reduced DNA laddering in these same treated cells. Transmission EM also showed characteristic necrotic cellular changes in treated cells. To determine if the (in vitro) PCD/apoptosis protective effects of #173 correlated with any in vivo activity, tilapia were injected IV with #173 and #164 (an Israeli type I strain). Following injection, purified NCC were tested (in vitro) for cytotoxicity against HL-60 target cells. Four significant observations were made : (i) fish injected with #173 had 100-400% increased cytotoxicity compared to #164 (ii) in vivo activation occurred within 5 minutes of injection; (iii) activation occurred only within the peripheral blood compartment; and (iv) the isolate that protected NCC from apoptosis in vitro caused in vivo activation of cytotoxicity. The levels of in vivo cytotoxicity responses are associated with certain pathogens (pathogen associated molecular patterns/PAMP) and with the tissue of origin of NCC. NCC from different tissue (i.e. PBL, anterior kidney, spleen) exist in different states of differentiation. Random amplified polymorphic DNA (RAPD) analysis revealed the "adaptation" of the bacterium to the vaccinated environment, suggesting a "Darwinian-like" evolution of any bacterium. Due to the selective pressure which has occurred in the vaccinated environment, type II strains, able to evade the protective response elicited by the vaccine, have evolved from type I strains. The increased virulence through the appropriation of a novel antigenic composition conforms with pathogenic mechanisms described for other streptococci. Vaccine efficacy was improved: water-in-oil formulations were found effective in inducing protection that lasted for a period of (at least) 6 months. Protection was evaluated by functional tests - the protective effect, and immunological parameters - elicitation of T- and B-cells proliferation. Vaccinated fish were found to be resistant to the disease for (at least) six months; protection was accompanied by activation of the cellular and the humoral branches.
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