Relevant bibliographies by topics / Art exhibition audiences

Contents

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

Academic literature on the topic 'Art exhibition audiences'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Art exhibition audiences"

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Yu, Deng, and Wang Yao. "Research on holographic display and technology application of art museum based on immersive design." Journal of Physics: Conference Series 2425, no. 1 (2023): 012048. http://dx.doi.org/10.1088/1742-6596/2425/1/012048.

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Abstract With the rapid development of science and technology, artificial intelligence digital technology has gradually entered human life and combined with art. It has become a major trend of future exhibitions to create immersive exhibitions through the intervention of digital technology and artificial intelligence in art museums. The immersive art exhibition is to change the sensory conditions of the audience through the intervention of digital media, from the original visual experience to the fusion of various senses such as “sight, hearing and touch”, so that the audience can enter a new
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O’Reilly, Chiara, and Anna Lawrenson. "Revenue, relevance and reflecting community: Blockbusters at the Art Galley of NSW." Museum and Society 12, no. 3 (2015): 157–70. http://dx.doi.org/10.29311/mas.v12i3.257.

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Museums are judged not solely on the basis of their exhibition quality and collection care but, within a corporate model, they are also judged on quantitative measures such as audience numbers and, in turn, their financial viability. Programming has, therefore, become a major focus of forward planning and the basis for funding development. Blockbuster exhibitions, strategically placed throughout annual programs, have been a common way to increase audience numbers and sustain support. In more recent times, the blockbuster model has developed to address more complex measures of success beyond th
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Machal�kov�, Pavla. "Flowers and windows : the first art exhibitions in Prague in the nineteenth century and the shaping of modern exhibition spaces." Art East Central, no. 3 (2023): 111–39. http://dx.doi.org/10.5817/aec2023-3-6.

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The staging of art exhibitions has been a decisive factor in the formation of the modern art scene since the beginning of the 19th century at the latest. The art exhibition served as a space that facilitated regular viewing and discussions of contemporary artistic production. In the Spring of 1832 an art exhibition opened in Prague that provided an alternative to the official academic exhibition held annually since 1821. The show attracted critical opinions both inland and abroad. For this reason, its analysis can provide an insight into early concepts and ideas of an art exhibiting, which can
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Huang, Nanyan. "Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition." Communications in Humanities Research 3, no. 1 (2023): 318–24. http://dx.doi.org/10.54254/2753-7064/3/20220317.

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As an innovative form of art exhibition, immersive exhibitions have gained popularity all over the world in recent years. Such exhibitions are not only a departure from traditional gallery displays but also lead to different modalities of visiting cultural sites. One distinguishable tendency, one that could be detected in the curatorial strategies of most contemporary exhibitions, is the increasing emphasis put on the aesthetic effect that exhibitions could offer. Correspondingly, the relationship between the visitors and the artworks is changed through the ways visitors situate and perform th
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Nam, YunTae, and Jeho Oh. "Development of Exhibition Media Content for Overcoming COVID-19: Focused on The Exhibition <New Normal + Convergence Design> Utilizing Interactive Video and Augmented Reality Content." Korean Society of Culture and Convergence 45, no. 9 (2023): 1193–204. http://dx.doi.org/10.33645/cnc.2023.09.45.09.1193.

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Even in the post-COVID era, various exhibitions continue to provide audiences with the experience of art in both online and offline exhibitions. The aim of this research is to plan a user-centered exhibition for overcoming COVID-19 in the post-pandemic era and create media design exhibition content accordingly. The goal is to convey the message of overcoming COVID-19 to people in this era through the experiences of users with the &lt;New Normal + Convergence Design&gt; exhibition content. In order to achieve this, these six exhibition contents consist of three interactive video works using pro
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Castellano, Carlos Garrido, and Magdalena Lopez. "Inside and Outside the Exhibition Space." Small Axe: A Caribbean Journal of Criticism 24, no. 3 (2020): 31–52. http://dx.doi.org/10.1215/07990537-8749758.

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This essay deals with issues of citizenship, artistic labor, and belonging in the context of the Dominican Republic. It examines the collaborative work of the Colectivo Quintapata to understand how artistic collaboration is used as a way for generating social transformation and reaching audiences beyond the artistic medium. Analyzing art installations, public interventions, and socially engaged art pieces produced by Quintapata between 2009 and 2014, this essay argues that artistic collaboration works in the case of Quintapata, not so much as a formula but rather as a flexible tool employed to
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He, XiaoLing, and Yifei Li. "A Recommended Approach to Classical Literature and Art Exhibition Activities Oriented towards Interactive Modelling." Security and Communication Networks 2022 (August 25, 2022): 1–9. http://dx.doi.org/10.1155/2022/5491714.

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Chinese classical literature and art exhibition activities have a special role to play in improving the humanities of students. Introducing elements of classical literature into cultural activities can effectively complement the current humanities education in universities. To improve the efficiency and intelligence of classical literature and art exhibition activities, this paper proposes an interactive modelling-oriented method for recommending classical literature and art exhibition activities in response to the characteristics of existing art exhibition event management systems (AEEMS) in
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Hashim Amir, Nur Muhammad Amin, Aznan Omar, and Hilal Mazlan. "Utilizing and Evaluating of Virtual Tours in Art Exhibition Amidst Global Pandemic." INTERNATIONAL JOURNAL OF ART AND DESIGN 5, no. 2 (2021): 69–78. http://dx.doi.org/10.24191/ijad.v5i2.7.

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Covid-19 has sojourned the world as we know then into a cessation. It affects various disciplinary fields to a standstill which includes art and tourism. In Malaysia, to adapt to the global pandemic; new opportunities have emerged and dealt with it no longer becomes optional but rather a solution. Therefore, this research is mainly focused on implementing virtual tours to cope with the new norms; and evaluates its implication specifically in showcasing art exhibitions. The researcher uses the concept of Google Street View to capture virtual spaces; combining with Pano2Vr software as constructi
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.

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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibi
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Beasy, Kim, and Leah Page. "Exploring Food Cultures through Art: Meeting People Where They Are at." Education, Language and Sociology Research 2, no. 3 (2021): p47. http://dx.doi.org/10.22158/elsr.v2n3p47.

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Engaging people in critical conversations about food practices is often challenging. In this paper, we explore how an exhibition was used as an educative site to explore food insecurity and food cultures and to promote food ethics and healthy eating. Surveys and interviews from the opening night of an exhibition were collected and Bourdieu’s habitus was used to theoretically inform analysis. The diversity of artworks displayed were found to provoke critical reflection about food cultures among participants. Findings revealed the exhibition was a non-intrusive space for meeting people ‘where th
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Dissertations / Theses on the topic "Art exhibition audiences"

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Bernie, Victoria Clare. "The art of disappearance : the architecture of the exhibition and the construction of the modern audience." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23694.

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A critical culture requires that the site of appearance, the temporal coincidence of the subject, the object and the site, be acknowledged as a ground for meaning. Through a built investigation and a theoretical address this thesis examines the site of appearance for contemporary creative practice; the extent to which it continues to be defined by and contained within the conceptual frame of the Enlightenment aesthetic as the privileged discourse of the object. In a detailed analysis of the architecture of the exhibition, the 18th century Academy Salon and the Parisian bourgeois hotel are juxt
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Munro, Samantha Fawn. "Being for others : critical reflections on the stranger, the estranged and the self in participatory art." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017771.

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By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate
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Monks, Jacqueline. "The transience of the interior self: Exploring the lost Real within a creative visual praxis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/575.

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This research investigates psychological ideas of the interior self as transient and its relationship to the Real within a creative practice that includes video, projection and animation. The significance of the research is in the critical development of my creative practice and its creative outcome as a means of visually manifesting ideas of the interior self as explored by the theorist Slavoj Zizek. Theoretically, the notion of the interior self is defined as a transient state of co-existing contradictions. Its definition is located in Zizek’s reading of Jacques Lacan’ s triad of orders that
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Farquharson, Kirsten Leigh. "Audience observations of art, identity and schizophrenia : possibilities for identity movement." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012992.

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This research situates itself in the study of stigma in mental illness. In particular, the aim is to explore the potential that art making and exhibiting has in reducing stigma for those with a diagnosis of schizophrenia. The research explores one aspect (the exhibition stage) of an "art as therapy" project. The exhibiting of one’s artwork aims to counter limiting "patient" identities by allowing those labelled as psychiatric patients to extend their self-identity to an alternative identity of the "artist". However, this idea only stands strong if the artwork created is not discriminated again
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Mwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.

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This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project'
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Garbelotti, Raquel de Oliveira Pedro. "(In)audíveis: audiência e reflexividade para uma estética-política." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-13032013-113054/.

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(In)audíveis é um uma plataforma teórico-prático, que pensa mecanismos de reflexividade e de produção de uma audiência crítica, nos projetos de arte contemporânea com que se relaciona - como trabalho de minha própria localização diante do estado atual da Arte. Esta tese alinha-se às práticas artísticas de cunho estético-político e a questão documental. A produção teórico-prático desta pesquisa pautase primeiramente nas experiências artísticas dos anos de 1960 e 1970, por estar identificada com a forma de produção e pensamento auto-reflexivo e críticos de seu contexto. A pesquisa aqui apresenta
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Hamalainen, Bonnie. "Stories in Stone: Interpreting history in the context of a museum exhibition." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/10.

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This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.
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Cho, Sung Yeun. "Les expositions aux galeries nationales du Grand Palais : enjeux, pratique et développements 1966-2005." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H026.

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Cette thèse retrace l’histoire des expositions temporaires à caractère artistique organisées aux Galeries nationales du Grand Palais (GNGP) entre 1966 et 2005. Les analyses sur le contexte historique, politique et social et sur la politique artistique internationale en France révèlent que le pouvoir publique contribue à cette histoire des expositions dès l’origine : il soutient et institutionnalise des expositions temporaires en tant qu’action culturelle de l’État. La mise en oeuvre des expositions est coordonnée principalement par trois organismes publiques : la Réunion des Musées nationaux (
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Sager, Janine F. "The contemporary visual art audience : space, time and a sideways glance." Thesis, 2008. http://handle.uws.edu.au:8081/1959.7/487702.

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Appendix A on DVD can be viewed at UWS Library. The information on this DVD is provided as a visual aid to the thesis because the nature of the research depends on observation. These images and video footage are an overview of the sites used for fieldwork at the four locations.
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曹筱玥. "Art museum exhibition design and audience visiting behavior:using psychoanalysis and structuralism to scheme out the exhibition." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/85874635985481875317.

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Books on the topic "Art exhibition audiences"

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Bovio, Gloria. Lo stato dell'arte del pubblico. Mimesis, 2020.

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Strukelj, Vanja. Dal progetto al consumo: Le arti in mostra nell'Italia dell'Ottocento. MUP, Monte Università Parma, 2011.

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Maaretta, Jaukkuri, and Nykytaiteen museo (Helsinki Finland), eds. Dialogeja: 28.9.-27.10.1996, Nykytaiteen museo = Dialoger : 28.9.-27.10.1996, Museet för nutidskonst = Dialogues : 28.9.-27.10.1996, the Museum of Contemporary Art, Helsinki. Nykytaiteen museo, 1997.

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Evelyn, Beer, Leeuw Riet de, and Netherlands Rijksdienst Beeldende Kunst, eds. L' Exposition imaginaire: The art of exhibiting in the eighties = de kunst van het tentoonstellen in de jaren tachtig. SDU, 1989.

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Huber, Hans Dieter. Bild Beobachter Milieu: Entwurf einer allgemeinen Bildwissenschaft. Hatje Cantz, 2004.

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Lundström, Inga. Kunskap som kraft: [handlingsprogram för hur museerna med sitt arbete kan motverka främlingsfientlighet och rasism]. Kulturdepartementet, 1996.

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1942-, Muntadas, Rofes Octavi, and Witte de With, centrum voor hedendaagse kunst., eds. Muntadas: On translation--the audience. Witte de With, Center for Contemporary Art, 1999.

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1961-, Cruz Amada, Nickas Robert, Museum of Contemporary Art (Chicago, Ill.), and Museum of Contemporary Art, San Diego., eds. Performance anxiety: Angela Bulloch, Cai Guo Qiang, Willie Cole, Renee Green, Charles Long, Paul McCarthy, Julia Scher, Jim Shaw, RirkritTiravanija. Museum of Contemporary Art, 1997.

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Susanna, Pettersson, and Nykytaiteen museo (Helsinki Finland), eds. Lemminkäinen -näyttely: 19.10.-19.11.1995. Valtion taidemuseo, Museopedagoginen yksikkö, 1995.

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Gilmore, Holt Elizabeth Basye, ed. The Expanding world of art, 1874-1902. Yale University Press, 1988.

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Book chapters on the topic "Art exhibition audiences"

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Boyd, Candice P. "Staging and Evaluating the ‘Finding Home’ Exhibition." In Exhibiting Creative Geographies. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6752-8_4.

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AbstractIn this chapter, Boyd describes the staging and evaluation of the ‘Finding Home’ exhibition within the context of university ‘impact agendas’. The notion of societal impact is critiqued before the tasks involved in staging the ‘Finding Home’ exhibition are detailed. The findings from the exhibition’s evaluation, which included 100 visitor surveys and 31 phone interviews with exhibition audiences, are also presented in this chapter. The chapter concludes with reflections on the labour involved in bringing a research exhibition to multiple publics.
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Gamble, Antje. "Ceramic Sculpture's Special Role in Validating Italian Humanist Culture for an American Audience." In Cold War American Exhibitions of Italian Art and Design. Routledge, 2023. http://dx.doi.org/10.4324/9781003265900-4.

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Yuan, Xuechun. "The Influence and Thinking of Online Exhibition on Audience Expansion of Art Institutions." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022). Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_43.

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Vail, James, Theresa Heath, Lesley-Ann Dickson, and Rebecca Finkel. "Film Festivals on the Small Screen: Audiences, Domestic Space, and Everyday Media." In Rethinking Film Festivals in the Pandemic Era and After. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_5.

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AbstractSince March 2020 in the UK, film festivals have moved to a variety of broadcast, video-on-demand (VOD), and VOD-like forms of film exhibition. Film viewing takes place on home television sets, laptops, and mobile devices and, due to the often-flexible form of film scheduling, the film festival comes to sit within and against the rhythms of everyday media use. This chapter provides a conceptual framework to theorize film festival audiences in this context. We argue that any account of online film festival audiences should take into consideration the relationship between film festival viewing and other media practices. Specifically, we draw attention to the ways in which film festival viewing practices are framed as distinct from other domestic media practices in the context of everyday life. We outline three main “sites” in which this framing occurs. The first site relates to the spaces of media consumption. The second relates to the temporal rhythms of media use. The third encompasses the forms of social interaction between different audience members. We argue that it is within these three sites that the frame of the online film festival is performed, negotiated, or felt to be missing.
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Peirano, María Paz, and Gonzalo Ramírez. "Chilean Film Festivals and Local Audiences: Going Online?" In Rethinking Film Festivals in the Pandemic Era and After. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_7.

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AbstractThis chapter reviews the impact of the global pandemic of Covid-19 on Chilean film festivals and how this affected their relationship with local audiences. Chilean festivals are small events that exist under precarious conditions, facing different economic and cultural challenges that complicate their stability. After the Chilean estallido (a social outburst in 2019), the current health crisis has further affected their position, due to their cancelation and/or postponement, and most of them have temporarily transformed into online events to ensure their survival. We provide an overview on how Covid-19 has affected festivals in Chile as well as their responses to this crisis, which we understand within a particular context that has been pressuring onsite exhibitions and collective viewing. We mapped and tracked the festivals’ activities throughout 2020 and 2021 and used online ethnographic methods to observe some cases more closely, conducting participant observation of online activities and interviewing festival organizers. As such, the chapter addresses some of the new ways in which film festivals developed to engage with their audiences during the pandemic. We conclude with an emphasis on festivals’ responses as adaptive strategies and poses some questions on the future developments of these events.
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Endresen, Bente Elisabeth. "Red Snow—When the Climate Bleeds: A Nordic Art and Science Project Aimed at Overcoming Climate Apathy Through Collaboration Between Artists and Scientists." In Transformation Literacy. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93254-1_18.

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AbstractThis chapter describes the transformative potential of arts and science collaboration. The aim of the Nordic art and science project “Red Snow—When the Climate Bleeds” which was undertaken in 2014–2016 was to increase people's awareness of the accelerating climate changes we are witnessing in the twenty-first century. This chapter shows how people can be encouraged to take action for the care of our planet and to live in a more sustainable way. The project was centred around an exhibition, consisting of artwork and scientific presentations, established collaboration with students at schools and universities and was implemented in four countries. In order to highlight the urgency of the need for change, the project showed some future scenarios presented by climate researchers. With the use of visual art, music and dance, it was possible to reach a larger audience than science alone could: this opened people's hearts and minds to new knowledge. The chapter concludes that the collaboration between the arts and science is increasingly important. Art can successfully go beyond the mental mindset, and speak directly to the emotions of the audience, and once works of art have made an impression, visitors are generally more open to new knowledge.
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Elliott, Luba. "Discovering Culture with AI." In Edition Museum. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-016.

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The past few years have seen a rapid development in AI capabilities and applications, including in the fields of art and culture. Machine learning tools now find a varie- ty of uses in cultural institutions, such as improving accessibility, aiding research, and providing new forms of audience engagement by means of roaming robots, dee- pfake installations, chatbots, and interactive image processing applications. Muse- ums simultaneously serve as venues for AI art exhibitions and discussions of tech- nology ethics. This paper provides an overview of creative AI practices of cultural institutions, showcases artistic exploration with AI, and considers tools for public
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Lebocey, Pierre, Julie Fortune, Arnaud Puret, et al. "On the Popularization of Artificial Insects: An Interactive Exhibition for a Wide Audience to Explain and Demonstrate Computer Science and Robotic Problem Solving Taking Inspiration of Insects." In Ant Colony Optimization and Swarm Intelligence. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11839088_48.

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Gerber, Elizabeth. "The Los Angeles County Museum of Art at Charles White Elementary School." In Advances in Media, Entertainment, and the Arts. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1727-6.ch006.

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Since 2007 the Los Angeles County Museum of Art (LACMA) has presented exhibitions and related programs at Charles White Elementary School's gallery. These exhibitions present artworks from the museum's collection in innovative ways, support contemporary artists in the creation of new work, and allow LACMA to develop and expand its engagement with audiences in the MacArthur Park neighborhood of Los Angeles. This unique and unprecedented partnership with students, teachers, families, and community members supports learning goals and strengthens community. Ultimately, the exhibition program shares the museum's collection, creates new and dynamic works of art, engages with audiences, builds community, and educates—in the broadest possible sense—allowing for deeper and more sustained levels of engagement.
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Berghaus, Günter. "Theatre Performances In Art Galleries." In Italian Futurist Theatre 1909-1944. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0009.

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Abstract The expansion of the Futurist movement into the fine arts was first signalled to the general public through the publication of a number of manifestos: Manifesto of Futurist Painters (II February 19rn), Technical Manifesto of Futurist Painting (II April 19rn), Futurist Sculpture (II April 1912), and Painting of Sounds, Noise and Odours (II August 1913). The first examples of Futurist paintings and sculptures were presented in March/April 19rn in an exhibition of the Famiglia Artistica in Milan, followed by a number of mixed shows in Venice CTuly 19rn) and Milan CTuly 19rn, December 19rn, April 19II, December 19II). The participation of Futurist artists in these exhibitions was undoubtedly a significant achievement, but the real breakthrough of Futurist painting and sculpture on the international art scene only occurred in 1912/r3 with the opening of the touring exhibition of Futurist art works at the Galerie Bernheim Jeune in Paris (5 February 1912). The show was reviewed in many French, Italian, German, and English newspapers and attracted large audiences when it travelled to London (March 1912), Berlin (April 1912), Brussels CTune 1912), Amsterdam (September 1912), Chicago (March 1913), and Rotterdam (May 1913). Other important Futurist exhibitions were held in London (at the Marlborough Gallery in April 1913 and at the Dore Galleries in April 1914), in Paris (at the Galerie La Boetie in June/July 1913), and in Berlin (at the Stumz Gallery in November 1913). In 1913/r4 there were also several Futurist exhibitions in Rome, Florence, and Milan.
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Conference papers on the topic "Art exhibition audiences"

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Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.

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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive in
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Zhao, Hongrui, Jin Yu, Yanan Li, et al. "Dress like an Internet Celebrity: Fashion Retrieval in Videos." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/147.

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Nowadays, both online shopping and video sharing have grown exponentially. Although internet celebrities in videos are ideal exhibition for fashion corporations to sell their products, audiences do not always know where to buy fashion products in videos, which is a cross-domain problem called video-to-shop. In this paper, we propose a novel deep neural network, called Detect, Pick, and Retrieval Network (DPRNet), to break the gap between fashion products from videos and audiences. For the video side, we have modified the traditional object detector, which automatically picks out the best objec
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Aydoğan, Derya. "Art Exhibitions During the Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual realit
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Hu, Xin, and Po Hsun Wang. "Virtual Reality in Museum: Exploring the User Experience of Exhibition Narrative." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004530.

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The exhibition narrative of traditional museums is “artifact- centered”, while the modern virtual museum is “people- centered”. The paper first analyzes the current typical VR narrative cases, summarizes the relevant elements and basic characteristics of virtual space narrative, and finds that there are many similarities with the narrative methods in traditional movies, but the relationship between storytelling in the virtual world and the audience The interactive relationship is closer. How to attract the audience's attention to the exhibits to enhance the VR exhibition experience is particul
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He, Meixue, and Ao Jiang. "Thinking of Aesthetic Empathy in Immersive Exhibitions." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002084.

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Based on the phenomenon of immersive exhibitions becoming a boom in art experiences, the authors investigate the reasons for this phenomenon from the intersection of the two fields of cognition and art - “aesthetic empathy”, and consider the audience’s “aesthetic empathy” as one of the key factors contributing to the phenomenon. In addition, the authors believe that the communication effect of immersive exhibitions is ultimately completed by the joint construction of technical equipment and the personal characteristics of the audience. Then, the authors propose some conditions and methods for
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Xia, Xinyu. "A Study on the Audience’s Attitude Towards the Contents of the “Pop-up Exhibition” in RED." In 2021 International Conference on Education, Language and Art (ICELA 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.154.

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Contarini, Marina, Anna Bernabè, Marco Manfra, and Davide Turrini. "Design for Cultural Heritage at the University of Ferrara." In Sixth International Conference on Higher Education Advances. Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.11085.

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Alongside Teaching and Research, Italian universities are also committed to Public Engagement activities featuring teaching and cultural initiatives for a non-academic audience. At the University of Ferrara, this commitment was translated into an exhibition in April 2019, originating from a virtuous union of cultural heritage and teaching activities. The creation of the “Natura Naturata” exhibition involved the synthesis of taught courses and research by the University of Ferrara's Industrial Product Design students together with their teachers, in collaboration with librarians. In the Product
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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow d
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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of natio
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Benente, Michela, Valeria Minucciani, and Melania Semeraro. "Narrative apparatus in archaeological museums and communication for all." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004785.

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This paper focuses on the communication in museums, intended as solutions, both verbal and perceptive, to involve visitors and convey messages.Captions and panels are the first and most evident components of museum communication, and can entail difficulties of different nature: from the language for insiders to the inadequate font dimensions. Nevertheless, space can create atmospheres and communicative environments even without words or explicit references. Involving other senses than the sight, we are more exposed to them and less vigilant in recognising and critically evaluating them. This m
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Reports on the topic "Art exhibition audiences"

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic funct
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Ortiz, Verónica, Rosa Rodriguez, and Joaquin Tintoré. Lessons learnt from the EuroSea public engagement activities. EuroSea, 2023. http://dx.doi.org/10.3289/eurosea_d8.5.

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The overall goal of this report is to analyse the EuroSea itinerant exhibition as a case study of public engagement activity. Aimed at the general public, this modular and itinerant exhibition raises awareness about the EuroSea project while also promoting ocean literacy and highlighting the importance of ocean observing and forecasting. Public engagement plays a crucial role in Horizon 2020, the EU's research and innovation funding program. It aims to bridge the gap between researchers and society, ensuring that their work is aligned with societal needs and values. This involves bringing toge
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Morais, Carla, António Coelho, Alexandre Jacinto, and Marta Varzim, eds. The I SEA Project: Digital Publications. Faculdade de Ciências da Universidade do Porto, 2020. http://dx.doi.org/10.24840/2020/978-989-746-279-5.

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The I SEA project aimed at the development of a non-obtrusive, valid and replicable method to evaluate audience attitudes about science communication projects through an immersive virtual reality environment that can improve exhibitions while educating and empowering citizens. To achieve the objectives of this highly complex, highly interdisciplinary, and innovative project, a permanent articulation of the scientific approach with the technical and design development took place, aiming the construction of the non- invasive evaluation method. Because it is an intricate project, it required cons
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