Academic literature on the topic 'Artification'
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Journal articles on the topic "Artification"
Lories, Danielle. "Artification/désartification." Nouvelle revue d’esthétique 24, no. 2 (2019): 5. http://dx.doi.org/10.3917/nre.024.0005.
Full textAndrzejewski, Adam. "Framing Artification." Estetika: The European Journal of Aesthetics 52, no. 2 (November 25, 2015): 131. http://dx.doi.org/10.33134/eeja.136.
Full textHughson, John. "The Artification of Football: A Sociological Reconsideration of the ‘Beautiful Game’." Cultural Sociology 13, no. 3 (June 20, 2019): 305–20. http://dx.doi.org/10.1177/1749975519852802.
Full textHeinich, Nathalie. "Signature et artification." Hypothèses 9, no. 1 (2006): 377. http://dx.doi.org/10.3917/hyp.051.0377.
Full textShapiro, Roberta. "Artification as Process." Cultural Sociology 13, no. 3 (August 16, 2019): 265–75. http://dx.doi.org/10.1177/1749975519854955.
Full textHyla, Magdalena, Katarzyna Krasoń, and Jolanta Jastrząb. "The Boundary Situation as a Space of Artification." New Educational Review 74 (2023): 43–56. http://dx.doi.org/10.15804/tner.23.74.4.04.
Full textBeom, Seohee, and Eunhyuk Yim. "Artification of Luxury Fashion Products." Journal of the Korean Society of Clothing and Textiles 45, no. 2 (April 30, 2021): 346–55. http://dx.doi.org/10.5850/jksct.2021.45.2.346.
Full textVukadin, Ana, Jean-François Lemoine, and Olivier Badot. "Store artification and retail performance." Journal of Marketing Management 35, no. 7-8 (March 11, 2019): 634–61. http://dx.doi.org/10.1080/0267257x.2019.1583681.
Full textVorontsova, D. O., V. R. Zhyliak, and R. V. Karpenko. "WOMEN’S RIGHT TO ARTIFICATION OF PREGNANCY." Juridical scientific and electronic journal, no. 11 (2021): 145–48. http://dx.doi.org/10.32782/2524-0374/2021-11/34.
Full textAndrzejewski, Adam. "Authenticity Manifested: Street Art and Artification." Rivista di estetica, no. 64 (April 1, 2017): 167–84. http://dx.doi.org/10.4000/estetica.2077.
Full textDissertations / Theses on the topic "Artification"
Anderlini-Pillet, Véronique. "L'artification du luxe dans le discours médiatique : convergence des signes et du sens (2010-2014)." Thesis, Université Côte d'Azur (ComUE), 2016. http://www.theses.fr/2016AZUR2031/document.
Full textThis work deals with luxury in the information and communication sciences to the media prism in an interdisciplinary approach based on aesthetics, semiotics, the study of visual identities, museography and analysis of speech. Using the concept of artification put forward by Nathalie Heinich and Roberta Shapiro in 2012 to describe the transition to the art of non-artistic practices, we analyze the sociotechnical information and communication devices used to try to transform the object of luxury as an object of art, and its consummation in aesthetic experience. We ask the media discourses operating on this exposure to verify the operativity of the device and analyze the mode of operation of the convergence of signs and the meaning that produces the artification. This work is one of the possible answers to the question "Can a device transform a handbag into a work of art? "
Lévêque, Cyrielle. "Artification de l’archive : une dialectique entre figures et absences." Electronic Thesis or Diss., Université de Lorraine, 2018. http://www.theses.fr/2018LORR0334.
Full textThe development of this thesis work falls within an academic approach, andis also simultaneously thought in connection with the artistic creation. It deals with personal and private questioning, but is also « hunted » in a different way regarding yet genealogy, family and documentary pictures and the shadow zones that are part of all personal history. Mechanisms of resistance to arti- fication are deployed as an attempt at an artistic and theoretical response, facing a mute story, a lack of words. The family history is the origin of plural filiations, transmissions–with or without words–but also secrets. Sometimes some empty spaces appear on portraits. The missing element, thus, becomes an obsession due to its lack in the logic of the story. The artists working on those corpuses specifically aim to collect, reclaim and exhibit those blurred pictures in order to re-use them into an artistic, voluble and efficient circuit. These new pictures–private stories and testimony art at once–turn into a collective memory : by a clever telescope of meaning, the work, born out of the vernacular image, breaks through thanks to its plasticity, and offers a new meaning to the erased or absent figure. This theoretical and artistic reflection, based on the polysemous relations between documentary pictures and « erasing poietic », analyses the way that art acts into old archive pictures. How can art give the power to « read » a picture that is invisible ? Which ways, implemented devices, social and histo- ric beliefs allow it ? Conversely, what levers are developed by the artists, to update images that do not belong to them and that change our vision of the initial information ? Here is the challenge of this theoretical and plastic research that let us understand a mechanism of the artifying archival image, midway between private story and artistic mythology ; or how can images or vacilla- ting figures between presence and absence appear from invisible elements, as archives of a reformulated future
Lévêque, Cyrielle. "Artification de l’archive : une dialectique entre figures et absences." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0334.
Full textThe development of this thesis work falls within an academic approach, andis also simultaneously thought in connection with the artistic creation. It deals with personal and private questioning, but is also « hunted » in a different way regarding yet genealogy, family and documentary pictures and the shadow zones that are part of all personal history. Mechanisms of resistance to arti- fication are deployed as an attempt at an artistic and theoretical response, facing a mute story, a lack of words. The family history is the origin of plural filiations, transmissions–with or without words–but also secrets. Sometimes some empty spaces appear on portraits. The missing element, thus, becomes an obsession due to its lack in the logic of the story. The artists working on those corpuses specifically aim to collect, reclaim and exhibit those blurred pictures in order to re-use them into an artistic, voluble and efficient circuit. These new pictures–private stories and testimony art at once–turn into a collective memory : by a clever telescope of meaning, the work, born out of the vernacular image, breaks through thanks to its plasticity, and offers a new meaning to the erased or absent figure. This theoretical and artistic reflection, based on the polysemous relations between documentary pictures and « erasing poietic », analyses the way that art acts into old archive pictures. How can art give the power to « read » a picture that is invisible ? Which ways, implemented devices, social and histo- ric beliefs allow it ? Conversely, what levers are developed by the artists, to update images that do not belong to them and that change our vision of the initial information ? Here is the challenge of this theoretical and plastic research that let us understand a mechanism of the artifying archival image, midway between private story and artistic mythology ; or how can images or vacilla- ting figures between presence and absence appear from invisible elements, as archives of a reformulated future
Trapani, Roberta. "Patrimoines irréguliers en France et en Italie : origines, artification, regard contemporain." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100087.
Full textSince the 1930s, a slow process of « artification » invested living spaces decorated bytheir own inhabitants with improvised techniques. Originally regarded as localcuriosities, these sites have been introduced to the artistic world by the Surrealists, whobegan their documentation. In the post war period, they have been seen with increasingenthusiasm in some artistic circles and then have been linked to mediumistic art, naiveart, art brut, outsider art, fantastic architecture, among others, creating a plethora ofdefinitions. Irregular environments have often been considered as the spontaneousexpression of inner impulses, without influence or tradition. This thesis proposes toreturn to the origins of this form of art, revealing the circular movement that connects it,on one hand, to the popular cultures and, on the other hand, to the officials movementsof the history of contemporary art. It also examines the conditions of its own reception,in a context dominated until the 1970s by the primitivist paradigm, before of focusing onthe many initiatives that, since the late 1970s, brought a renewed look. All along,irregular environments have been questioned in their ability to combine fundamentalconcepts - art, architecture, culture, marginality, ornamental, among others - and to betaken as an operational tool for a form of artistic or cultural authenticity
Masè, Stefania. "Art & Business : from sponsorship and philanthropy to the contemporary process of artification." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040011.
Full textIn a two-volume bilingual dissertation in English and in Italian, we research the way companies weave relationships with the art world. First, we account for this phenomenon through a Systematic Literature Review. It allows us to identify the relational Art & Enterprise forms in nine areas of research spanning from sponsorship to philanthropy and to artification. We define this new concept as a specific relational mode between contemporary artists and business enterprises which is frequent in luxury fashion. The visual arts become a viable third source capable of maintining brand value for consumers who are ever more sensitive to a loss in luxury brand value. It is caused by globalization and the frequent mergers and acquisitions that are transforming the luxury sector in the fashion industry. Luxury businesses’aim is to elevate their products into objects of art. Process of Artification additionally results in their acting as key players in the art world. After a case study of French company Louis Vuitton, we finally test what we term Artification Effect by carrying out a consumer-based survey: with the help of INSEAD-SORBONNE BEHAVIOURAL LAB, we designed a survey with questionnaires distributed to an 880 French-consumers sample. We tested the Artification Effect through the model of Customer-Based Brand Equity and The Measurement of the Aesthetic Scale. The results and our in-depth statistical analysis prove that the visual arts effectively play the role of third source capable of changing the value of a brand. The Artification Process therefore acts as stimulus eliciting the perception of luxury in the end or potential consumer
Giancaspero, Laura. "L'art mural comme stratégie de survie des communautés rurales. Trois études de cas en milieu rural italien." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA158/document.
Full textThis thesis is focused on Italian mural paintings in rural environments. Through three case studies, it analyses artistic phenomenon as an expression of the ecological relationship between the local community and their environment. The study of this phenomenon, conducted by combining the geohistorical approach with American ecocriticism, reveals that these murals represent a response to the many fractures: territorial, identity and ecological, which have occurred in this rural area during contemporary times. All these changes, therefore, broke the centuries-old relationships that local communities maintained with their territory by threatening their own existence. This is a common phenomenon in Italy that has resulted in the abandonment of many rural villages. In the case of the three villages analyzed, the local population employed the mural art in order to reclaim their place and to redefine the relationship with their environment, which finally affirmed the survival of these small communities
Piette, Jacques-Erick. "Le neuvième art, légitimations et dominations." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA081/document.
Full textIn France, museums and libraries exhibit comics, galleries devoted to them sell their original drawings and renowed art auction houses do too, but does it mean thereby that comics are truly legitimated as art within these fields ? Who initiated the process and today who keeps participating in it, and in doing so, according to which strategies ? This thesis seeks to answer these questions by gathering together the concepts of fields and legitimacy developed by Pierre Bourdieu but also by borrowing theories and methodologies from art socioloists such as Howard Becker, Serge Chaumier, Jean-Louis Fabiani, Nathalie Heinich, Bernard Lahire, Eric Maigret, Raymonde Moulin, or Alain Quemin. By questioning the three poles formed by the artists, the institutions and the art market, we have established a corpus of events, of strip cartoonists highlighted by these events and of the producers of these same events. By studying their declarations and by meeting them to interview them, we have analysed their motivations. We have finally come to establish the relativity of the legitimation of comics both for their quality and the number of the individuals concerned. Despite the fact that a generational phenomenon has been given prominence in the evolution of the status and the recognition of comics, we can conclude that the acquisition of a semi-legitimacy (to employ Jean-Louis Fabiani’s own word) by the ninth art is more of a fact than a dynamic process in development
Borén, Oskarsson Michelle, and Oskar Lehtinen. "Yngre förskolebarns spontana musikskapande : Musicking och konstifikation." Thesis, Stockholms universitet, Barn- och ungdomsvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-170341.
Full textCandian, Elisiana Frizzoni. "Uma análise da mediação no FILE: artificação e gamificação." Universidade Federal de Juiz de Fora (UFJF), 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/5502.
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Nesta dissertação buscamos apresentar questões pertinentes à Arte e Tecnologia tomando a 14a e 15a edições do Festival Internacional de Linguagem Eletrônica, o FILE, como objeto de estudo. Além de o FILE ser um espaço comprometido em apresentar obras de artistas dedicados a experimentações com linguagens eletrônicas e digitais, é também conhecido por democratizar o acesso à arte, por meio de suas obras interativas. Partindo dessa perspectiva, nosso objetivo com este trabalho é entender como o FILE aproxima o público da tecnologia através da interatividade da maioria das obras que compõe a exposição. Apresentamos como o FILE media às relações com o público a partir da interatividade das obras, analisando as diversas instâncias de mediação: desde a forma como o festival é organizado institucionalmente, passando por como a imprensa divulga o festival, até a mediação do educativo, responsável por agenciar relações entre o público e as obras. Consideramos importante no trabalho pontuar características da Arte Interativa, contextualizando-a dentro do digital e destacando suas especificidades. E para a análise do objeto, consideramos pertinentes dois conceitos conhecidos como Gamificação e Artificação, e a partir do seu entendimento e da oposição entre eles, analisamos três obras que estiveram expostas nas edições do festival em questão como estudos de caso, entendo-as inseridas em um contexto brasileiro de exibição.
In this dissertation it is aimed to present issues which concerns art and technology, taking as object of study the 14th and 15th editions of the Electronic Language International Festival, the FILE. In addition to be a space committed to present works of artists dedicated to experimentations using digital and electronic language, the FILE is also recognized for making the art access more democratic, through their interactive works. From this perspective, our objective concerning this study is to understand how the FILE draws the audience near to the technology by means of the interactivity of most of the works that take place at the exhibition. We present how the FILE mediates the relations with the audience using the works interactivity, analyzing the several mediation instances: from the festival setting, passing through the way the press promotes the event, to the educational mediation, responsible for mediating relations between the audience and the works. It is considered important in this work to highlight characteristics of the Interactive Art, contextualizing it inside the digital and emphasizing its specificities. And to analyze the object, we considered as pertinent two concepts that are known as Gamification and Artification, and from the elucidation of these concepts and the differences between them, we analyze three works that were exhibited at the editions of the FILE as case studies, understood them within a Brazilian context of exhibition.
Zancanaro, Frédéric. "Le processus de production des œuvres dans l'art culinaire contemporain français." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20025.
Full textThe level of technical and aesthetic excellence reached by learned cuisine in the second half of the 17th century and the capacity to create novel works and or reinterpret some have propelled domestic and artisanal cooking into the world of artistic professional practice. We have chosen to address the problem of work construction in French contemporary culinary art from the production process viewpoint. The analytical and expert reading of the food offer as evidenced in menus of three-starred restaurants and in chefs’ interviews clearly underlines that the production process differs between chefs since it depends on the professional socialization but also on the chefs’ life history and on their interactions with the world of culinary art in the gastronomic arena. The way chefs aggregate all these elements is the hallmark of their artistic production (interpreter vs creator – national dimension vs terroir-focused). The culinary type to which they belong (conservative/avant-garde) seems to be closely linked to the type of aesthetic signature which differentiates them. The theoretical contribution of this research work may help define some social space that could be referred to as « gastronomic social space ». Such an approach could help outline the contours of the chefs’ signature that might prove quite valuable to the researchers who intend to study culinary art, to the professionals who try to position themselves with regard to « culinary and scenic design », to the reviewers who need an analytical framework and to the trainers who plan to educate the general public. In this respect, this research work can be considered as an asset to incorporate culinary art to the domain of food sociology
Books on the topic "Artification"
Massi, Marta, and Alex Turrini, eds. The Artification of Luxury Fashion Brands. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4.
Full textFuture of Luxury Brands: Artification and Sustainability. de Gruyter GmbH, Walter, 2022.
Find full textJoy, Annamma. Future of Luxury Brands: Artification and Sustainability. de Gruyter GmbH, Walter, 2022.
Find full textJoy, Annamma. Future of Luxury Brands: Artification and Sustainability. de Gruyter GmbH, Walter, 2022.
Find full textKapferer, Jean-Noël, Marta Massi, and Alex Turrini. Artification of Luxury Fashion Brands: Synergies, Contaminations, and Hybridizations. Springer International Publishing AG, 2021.
Find full textKapferer, Jean-Noël, Marta Massi, and Alex Turrini. The Artification of Luxury Fashion Brands: Synergies, Contaminations, and Hybridizations. Palgrave Pivot, 2020.
Find full textAtik, Deniz. New Directions in Art, Fashion, and Wine: Sustainability, Digitalization, and Artification. Lexington Books/Fortress Academic, 2023.
Find full textAtik, Deniz. New Directions in Art, Fashion, and Wine: Sustainability, Digitalization, and Artification. Lexington Books/Fortress Academic, 2023.
Find full textBook chapters on the topic "Artification"
Salciute Civiliene, Gabriele. "Data Artification." In Springer Series in Design and Innovation, 234–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61671-7_22.
Full textPiancatelli, Chiara, Piergiacomo Mion Dalle Carbonare, and Manuel Cuadrado-García. "Balenciaga: The Master of Haute Couture." In The Artification of Luxury Fashion Brands, 141–62. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_6.
Full textSepe, Giorgia, and Alessia Anzivino. "Guccification: Redefining Luxury Through Art—The Gucci Revolution." In The Artification of Luxury Fashion Brands, 89–112. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_4.
Full textAntonaglia, Federica, and Juliette Passebois Ducros. "Christian Dior: The Art of Haute Couture." In The Artification of Luxury Fashion Brands, 113–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_5.
Full textPaolino, Chiara, and Ariane Berthoin Antal. "Sergio Rossi and Its Magic Kingdom: Artistic Interventions, Brand Identity Renewal, and Stakeholder Awareness." In The Artification of Luxury Fashion Brands, 33–61. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_2.
Full textMassi, Marta, and Alex Turrini. "When Fashion Meets Art: The Artification of Luxury Fashion Brands." In The Artification of Luxury Fashion Brands, 1–32. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_1.
Full textRurale, Andrea, and Stefano Prestini. "Trussardi Art and Fashion: A Long-Distance Relationship?" In The Artification of Luxury Fashion Brands, 63–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-26121-4_3.
Full textBiondo, Sandra. "Corporate Fashion Museums Communication Strategies: The Case of the Louis Vuitton Maison de Famille in Asnières-sur-Seine." In Fashion Communication in the Digital Age, 304–15. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-38541-4_28.
Full textSalciute Civiliene, Gabriele. "Data Artification: Knowledge Design Against and Beyond Data Factories and Regimes." In Springer Series in Design and Innovation, 437–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75867-7_28.
Full textDe Angelis, Matteo, Cesare Amatulli, and Margherita Zaretti. "The Artification of Luxury: How Art Can Affect Perceived Durability and Purchase Intention of Luxury Products." In Sustainable Luxury and Craftsmanship, 61–84. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3769-1_4.
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