Academic literature on the topic 'Artisits' models'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Artisits' models.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Artisits' models"
1
Carter, Michelle, and Chris Carter. "The Creative Business Model Canvas." Social Enterprise Journal 16, no. 2 (March 11, 2020): 141–58. http://dx.doi.org/10.1108/sej-03-2019-0018.
Full textAbstract:
Purpose Creative and cultural producers, like social enterprises, operate in a complex business environment where the value proposition is difficult to define, and the organisational motivations are not always financially driven. In the case of Australian visual artists, low incomes and limited access to government funding magnify the importance of developing sustainable business models. This paper aims to present the Creative Business Model Canvas (CBMC), a reinterpretation of Osterwalder and Pigneur’s CBMC (2010), for the benefit of a visual artist’s business planning. Design/methodology/approach This qualitative study uses data from semi-structured interviews to analyse and evaluate the effectiveness of the Osterwalder and Pigneur’s BMC (2010) for use by creative artists to understand the value of their artwork beyond traditional profit-driven business models. A modified canvas is presented to capture a clearer snapshot of creative arts practice with a focus on value propositions that possess dimensions of symbolic value. Findings This study found that the symbolic value of an artist’s practice is difficult to capture using Osterwalder and Pigneur’s CBMC (2010). An artist value proposition is composed of the artifact, artistic services and the artist’s identity. The creative CBMC, as a modified CBMC, captures aspects of the artistic identity such as professional achievements, personal life and the artist’s authenticity. Originality/value This study builds on Osterwalder and Pigneur’s CBMC and reimagines it for use by visual artists and art-based social enterprise organisations where the notion of value can be challenging to articulate.
2
Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (November 10, 2020): 116. http://dx.doi.org/10.3390/arts9040116.
Full textAbstract:
This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.
3
Braden, L. E. A., and Thomas Teekens. "Reputation, Status Networks, and the Art Market." Arts 8, no. 3 (July 3, 2019): 81. http://dx.doi.org/10.3390/arts8030081.
Full textAbstract:
The effect of an artist’s prestige on the price of artwork is a well-known, central tenant in art market research. In considering how an artist’s prestige proliferates, much research examines networks, where certain artistic groupings and associations promote individual member’s artistic standing (i.e., “associative status networks”). When considering the role of associative status networks, there are two models by which status may increase. First, the confirmation model suggests that actors of similar status are associated with each other. Second, the increase model suggests that a halo effect occurs, whereby an individual’s status increases by association with higher-status artists. In this research, we examine the association of artists through museum exhibition to test confirmation versus increase models, ascertaining whether prestige acquisition is a selection or influence process. This research capitalizes on the retrospective digitization of exhibition catalogues, allowing for large-scale longitudinal analysis heretofore unviable for researchers. We use the exhibition history of 1148 artists from the digitized archives of three major Dutch museums (Stedelijk, Boijmans-Van Beuningen, Van Abbe) from 1930 to 1989, as well as data on artists’ market performance from artprice.com and bibliographic data from the WorldCat database. We then employ network analysis to examine the 60-year interplay of associative status networks and determine how different networks predict subsequent auction performance. We find that status connections may have a point of diminishing returns by which comparison to high prestige peers increases one’s own prestige to a point, after which a high-status comparison network becomes a liability.
4
Gas Barrachina, Silvia. "Revisión de la figura femenina en la España Moderna a través de su representación en la pintura = Review of the female figure in Modern Spain through her representation in painting." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 1 (February 5, 2018): 49. http://dx.doi.org/10.20318/femeris.2018.4073.
Full textAbstract:
Resumen. El arte, en este caso la pintura, constituye una fuente histórica que permite el estudio de la situación de las mujeres en determinados contextos históricos. Ninguna obra es creada de forma inocente, sino que está condicionada por la mirada de la persona que la produce. La pintura, en su dimensión vitalista, comprende una respuesta estética a una realidad en la que infieren de forma consciente o inconsciente la identidad del artista, así como el espacio político, social y económico en el que se desarrolla. De la misma forma ocurre con la repetición de temáticas y modelos de representación, no aluden a simples modas, ya que se generan en una sociedad determinada. Por tanto, a través del análisis de obras protagonizadas por mujeres se pretende mostrar los modelos femeninos que prevalecen en España en la década de 1920, época significativa respecto a la cuestión femenina. Así como la importancia de la mirada de el/la artista a la hora de representar figuras femeninas. Mientras que los artistas varones siguen situando a las mujeres como objetos de representación, las mujeres usan el arte como medio reivindicativo, situándose como sujetos creadores.Palabras clave: arte, mujeres, iconografía, España, años veinte.Abstract. Art, in this case paint, is a historical source that allows the study of the situation of women in certain historical contexts. No piece of art is created innocently; moreover, the perspective of the person who creates it conditions it. Painting, in its vitality dimension, comprises an aesthetic response to a reality in which consciously or unconsciously the identity of the artist, political, social and economic space infer. Something similar happens with the repetition of topics and models of representation, which do not refer to mere fashions, mostly because they are generated in a given society. Therefore, through the analysis of works that feature women, the objective is to show female models prevailing in Spain in the 1920s, as well as the importance of the perspective of the artist, both male and female, when representing female figures. While male artists continue using women as objects of representation, women use art as a means of protest, portraying themselves as creative subjects.Keywords: art, women, iconography, Spain, 1920s.
5
Haffner, Dorothee. "Artists' estates: keep or get rid of them?" Art Libraries Journal 41, no. 1 (January 2016): 56–61. http://dx.doi.org/10.1017/alj.2015.9.
Full textAbstract:
The fate of the estates (Nachlässe) of visual artists are as varied as the fortunes of the artists themselves.2 It is only the well-known, high value artists with considerable resources who have the means to create their own museum or archive.3 Yet the storage and preservation of the vast remains of artists' estates is an increasingly urgent matter. Artist output has dramatically increased since the middle of the 20th century, as has the awareness of the importance of artists bequests. Artists have often taken matters into their own hands while they are still living. More often though, it is the heirs to an estate who are faced with the task after the artist's death. The immediate family (widow, widower, children) understand the importance of the work and feel a sense of obligation. But the second generation (grandchildren) questions what to do with “all this stuff”? Often the heirs do not have the expertise, understandably, and are overwhelmed by the financial and other costs of appropriate storage for the permanent preservation of the material.4 How to professionally accommodate, develop and make such collections accessible? In the following, several models for the handling and storage of artist estates are presented, with specific reference to the issues of sifting, recording and selection.
6
Petrova, Olga. "The Phenomenon of “Distrust” as a Drive in the Development of Visual Art." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 113–18. http://dx.doi.org/10.18523/2617-8907.2021.4.113-118.
Full textAbstract:
The article researches the topic of “artistic distrust” as a possible rebel path of the rebellious artists from the mainstream to the underground existence. The artist’s existence of reality on the principle of doubt about any norms (the model of “anthropology of distrust”) has a long historical longevity. Through the analysis of both high-quality works of art and safe normative art in different periods we observe various examples that may show this point of view. In medieval art we notice the precedent of “disobedience” and non-compliance with the norms of the official church in decorations of the temples and overcoming of anonymity. Thus the artist Anton Pilgram resorted to self-affirmation, as long as the master signed his own work in the spotlight and made a self-portrait on it.From the Renaissance, the idea of individual search, experiment, that is, disobedience and doubt in traditions, has been working in the minds of Europeans. The latest philosophical thought of the beginning of the “anthropology of distrust” sees its origins in the worldview models of the Renaissance. Leonardo da Vinci, with his curiosity and the genius of exploration, has remained an iconic figure to this day and an obvious symbol of total doubt and distrust of all that is established. With the ideal of a beautiful, flawless man, philosophy and art parted with difficulty, in the dramatic realization that it was time to present the unattractive, the ugly, the unfinished, and the negative as artistic qualities in the works of the New Age. “Anthropology of distrust,” doubting the inviolability of existing (at different times) norms manifests itself dualistically. In the works of great masters the denial of norms thatexisted in the art of a particular era had a progressive, positive meaning, because it opened up new levels of worldview to culture. In global art practice, the vast majorities of artists were and are conformists. Conformism in art supports tradition, holds the level of skill, but has no pretensions to open new horizons in the artistic reflection of the world. The situation is quite different when the artist questions any stability in art, or totally denies them. This is not a riot for the sake of a riot, but a feeling of something missing that the artist himself is not yet able to explain. According to the promising thinking of the bright philosophers of the 17th–20th centuries, self-distrust, doubts about the perfection of one’s own achievements, and a look into the non-existent are productive for culture. These impulses of the psyche proved to be fundamental and indisputable in the mentality and culture of modern times. The most radical were the programs of Dadaism and Futurism. In a person of the pre-modern era, the deviation from the norm caused stupor. Now the procedural features of the “anthropology of distrust,” the feeling of one’s own deficiency activate the artist’s creative thought and encourage a reckless search, sometimes even complete self-denial. At all times, until today, the bravest in their own rebellion against existing norms (both artistic and social) often fall on the margins of life and the artistic process, or even underground. Such artists are not understood or supported by the general public, and even worse, they are treated with suspicion and sometimes hostility. In the early 1990s, when the young generation of Ukrainian artists opposed the remnants of the Soviet mentality in both art and social life, the “anthropology of distrust” had a life-giving meaning. The mobilizing philosophy of “distrust” regarding the normative nature of socialist realism led to the formation of Ukrainian “contemporary art” which later turned into neo-conformism.
7
García-Oliveros, Elena, and Gloria G. Durán Durán. "Cambiar el arte para cambiar el mundo (Una perspectiva feminista) Diálogo abierto con Suzanne Lacy." CALLE14: revista de investigación en el campo del arte 10, no. 17 (March 4, 2016): 114. http://dx.doi.org/10.14483/udistrital.jour.c14.2015.3.a11.
Full textAbstract:
RESUMENEste artículo ahonda en la perspectiva activista y transformadora de las artistas feministas que surgieron en la década de los años 70, indagando en su particular visión acerca de la capacidad del arte para crear nuevos modelos sociales integradores. A partir del caso de la artista norteamericana Suzanne Lacy, con quien las autoras han mantenido diversos encuentros de carácter público en el Centro de Arte Contemporáneo Matadero de Madrid, se pormenorizan las estrategias que el feminismo ha trabado en torno al arte público y se busca una redefinición de los ejes principales que sustentan el medio artístico actual: la autoría, la obra y su difusión y el valor final de la pieza. La investigación continúa con los estudios de caso de la artista ciberfeminista Shu Lea Cheang, la artista de origen paraguayo Faith Wilding y el colectivo madrileño Toxic Lesbian.PALABRAS CLAVESArte activista, arte colaborativo, arte procesual, ciberfeminismo, feminismo.CHUKAI KAWAITA CHUKANGAPA KAUSAITA WARMI KAWASPA RIMAPARLAMI TUKUIKUNAWA SUZANNE LACY SUGLLAPIKai iskai iacha warmikuna kawachirrei karrariskakuna kanchis wata Worramana tapuchingapa i Kawangapa imasan musu ruraikuna Kaiarrengapa, kai warmimSuzanne Lacy suti kawachii kallariska Sugrigcha ruraikuna katichingapa kasama kai kilkai suti Matadero de Madrid, kunaurra Maskanakui ima ministirri kaikama Chaiangapa, pim ruraska kawachiska y pasrlaska tukurregta kai Parlu kai iskai warmikuna shua Lea Cheang paraguaipi wiñaska Chasata kai warmi Faith Wilding Chasallata aidanakume. Toxio Lespian Madridmanda.IMA SUTI RIMAI SIMI: Arte Activista, Arte colaborativo, arte procesual, ciberfeminismo, feminismo.CHANGING ART TO CHANGE THE WORLD (A FEMINIST APPROACH) OPEN DIALOGUES WITH SUZANNE LACY ABSTRACTThis article delves into the activist and transformative perspective of feminist artists who emerged in the 70s, looking into their personal view about the ability of art to create new socially integrating models. Based on the case study of American artist Suzanne Lacy, with whom the authors have held several meetings of public character at the Center for Contem- porary Art Matadero of Madrid, the authors reveal the strategies that feminism has interwo- ven around public art, while at the same time looking for a redefinition of the main pillars that support the current art world: the author, the work and its dissemination, and the final value of the piece. The article concludes with case studies of cyberfeminist artist Shu Lea Cheang, the Paraguayan born artist Faith Wilding and Toxic Lesbian collective Madrid. t Autoretrato. Fotografía análoga. Fotografía: Camila Camacho. 2012KEYWORDSActivist art, collaborative art, process art, cyberfeminism, feminism.CHANGEZ L’ART POUR CHANGER LE MONDE (UNE PERSPECTIVE FÉMINISTE) UN DIALOGUE OUVERT AVEC SUZANNE LACY RÉSUMÉCet article se penche sur la perspective militante et transformatrice des artistes féministes qui ont émergé dans les années 70, en regardant dans leur point de vue personnel sur la capacité de l’art de créer de nouveaux modèles sociaux intégrateurs. À partir du cas de l’artiste américaine Suzanne Lacy, avec lesquels les auteurs ont tenu plusieurs réunions à caractère public au Centre d’Art Contemporain Matadero de Madrid, on détaille les stratégies que le féminisme a empêtré autour de l’art public, et on recherche une redéfinition des principaux piliers qui soutiennent le monde de l’art actuel : l’auteur, l’œuvre et sa diffusion et la valeur finale de la pièce. Les recherches se poursuivent avec des études de l’artiste cyberféministe Shu Lea Cheang, de l’artiste d’origine paraguayenne Faith Wilding et du collectif Toxic Lesbian de Madrid. MOTS-CLEFS Art activiste, art collaboratif, process art, cyberféminisme, féminisme.MUDAR A ARTE PARA MUDAR O MUNDO (UMA PERSPECTIVA FEMINISTA) DIÁLOGO ABERTO COM SUZANNE LACY RESUMOEste artigo aprofunda na perspectiva ativista e transformadora das artistas feministas que surgiram na década dos anos 70, questionado em sua particular visão sobre a capacidade da arte para criar novos modelos sociais integrados. A partir do caso da artista americana Suzanne Lacy, com quem as autoras têm mantido diversos encontros de caráter público no centro de Arte Contemporâneo “Matadero de Madrid”, se pormenoriza as estratégias que o feminismo há travado em torno à arte pública e se busca uma redefinição e o valor final da peça. Este artigo trata na perspectiva ativista e transformadora das artistas feministas que sur- giram na década dos anos 70, indagando em sua particular visão. PALAVRAS CHAVES Arte ativista, arte colaborativo, arte processual, ciber-feminismo, feminismo.
8
Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
Full textAbstract:
This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
9
Blom, Ivo. "Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 97–110. http://dx.doi.org/10.2478/ausfm-2014-0017.
Full textAbstract:
Abstract The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.
10
Mesías-Lema, José-María. "Artivism and social conscience: Transforming teacher training from a sensibility standpoint." Comunicar 26, no. 57 (October 1, 2018): 19–28. http://dx.doi.org/10.3916/c57-2018-02.
Full textAbstract:
This article incorporates research involving artivist and pedagogical curatorships (200717) that were developed by contemporary artists, university professors, students from the Faculty of Education, practising teachers and students from nursery, elementary and secondary school. It intends to showcase a series of artistic research projects financed by public institutions, facing the challenge of transforming teacher training. These contemporary artivismbased projects have been able to break academic barriers and obsolete routines in teacher training. One of the results of this experimentation has been materialised in exhibitions at renowned museums and contemporary art centres. They have managed to expand teaching models beyond the classroom space, as the emergence of the collective and the educational interest in the commons. A/r/tography was used as a research methodology that unveils the three interconnected identities of the 'artist, researcher and teacher' as the person who, in his or her teaching practice, is capable of developing a creative practice with students through experimental processes in artistic research. A/r/tography generates a learning space where educational meanings can be broken. It is in this intermediate zone of intellectual incitement that curators propose artivist projects capable of generating tactics of proximity between two apparently separate fields: art and education. Este artículo consiste en una investigación sobre comisariados de carácter artivista y pedagógico (200717) que ha sido desarrollada por artistas contemporáneos, profesores universitarios y estudiantes de la facultad de educación, docentes en activo y alumnado de infantil, primaria y secundaria. Pretende visibilizar una serie de proyectos de investigación artística financiados por instituciones públicas, con el reto de modificar la formación del profesorado. Uno de los resultados de esta experimentación se ha plasmado en exposiciones en museos y centros de arte contemporáneo de reconocido prestigio. Estos proyectos, basados en el artivismo contemporáneo, han conseguido romper las barreras académicas y las rutinas obsoletas en la formación del profesorado. Han conseguido expandir los modelos docentes más allá del espacio del aula, como emergencia de lo colectivo y del interés educativo en lo procomún. Se empleó la artografía como una metodología de investigación que desvela las tres identidades interconectadas del «artista, investigador y profesor», como aquella persona que, en su acción docente, es capaz de desarrollar una práctica creadora con su alumnado a través de procesos experimentales en la investigación artística. La artografía genera un espacio de aprendizaje para el quiebre de significados educativos. Es en esta zona intermedia de provocación intelectual, en donde los comisarios plantean proyectos artivistas capaces de generar tácticas de proximidad entre dos campos aparentemente separados, el del arte y la educación.
Dissertations / Theses on the topic "Artisits' models"
1
Schneider, Justine Marie. "The Scenic Charge Artist as Leader: Research in Historical Models, Exploration in Practice, and Synthesis in Documentation." Marietta College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1366897186.
Full text
2
Aguirre, Lopez Nicolas Enrique, Echeverria Carlos Augusto Garrido, Giannotti Haris Giordano Papadelis, Castro Enrique Sebastian Robles, and Chueca Flavio Cesar Rodriguez. "Modelo de negocio para validar el emprendimiento de una agencia de marketing musical en Lima Metropolitana." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626507.
Full textAbstract:
El presente proyecto sobre nuestra agencia de marketing musical para artistas del género urbano nos muestra la viabilidad de su ejecución, en base a la investigación realizada en Lima Metropolitana de los NSE “A” y “B”, que permitió detectar una demanda insatisfecha debido a la necesidad que tienen para promocionar su música en el mercado local.
Actualmente existen agencias de marketing musicales que no están enfocadas en el género urbano, sino en música de todos los tipos, lo que genera frustración en los artistas urbanos que tratan de llegar a todo su público objetivo sin éxito debido a la falta de información y de prácticas de promoción.
Nuestro proyecto contempla la venta del servicio de plan de marketing dirigidos a músicos del género urbano, que contiene: el brief, la investigación del mercado, la conceptualización, estrategias de marketing, así como su implementación tanto en la elaboración de piezas graficas como la coordinación y seguimiento del cumplimiento de las estrategias propuestas.
Para la implementación de este proyecto se requerirá la inversión de S/ 56 116 financiado en un 100% con aporte de los accionistas, descartando requerimiento de préstamos bancarios por las tasas altamente elevadas para pequeñas y primerizas empresas, que se estima recuperar al tercer año de operación.The present project about our musical marketing agency for artists of the urban genre shows us the feasibility of it’s execution, based on the research carried out in Metropolitan Lima of the socioeconomic level "A" and "B", that allowed to detect an unsatisfied demand due to the need that they have to promote their music in the local market. Currently there are music marketing agencies that are not focused on the urban genre, but on music of all types, which generates frustration in urban artists who try to reach all their target audience without success due to lack of information and promotion practices. Our project includes the sale of a marketing plan service to musicians of the urban genre, which contains: the brief, market research, conceptualization, marketing strategies, as well as the implementation of the promotional content, additionally coordination and monitoring the fulfillment of the proposed strategies For the implementation of this project the investment will be required the amount of S /56 166, financed in a 100% with contribution of the shareholders, discarding requirement of bank loans for the highly elevated rates for small and first companies, which is estimated to recover in the third year of operation.
Trabajo de investigación
3
Nabais, Raquel Nogueira. "Calendarização das visitas dos artistas da operação nariz vermelho aos hospitais." Master's thesis, Instituto Superior de Economia e Gestão, 2019. http://hdl.handle.net/10400.5/18452.
Full textAbstract:
Mestrado em Métodos Quantitativos para a Decisão Económica e EmpresarialEste trabalho final de mestrado foi desenvolvido sob a forma de projeto, em parceria com a Operação Nariz Vermelho (ONV), estando o seu tema ligado à afetação dos artistas profissionais, Doutores Palhaços, da ONV às visitas a realizar aos vários hospitais, abrangidos pelo programa de visitas desta instituição, na região da Grande Lisboa. O objetivo deste projeto é facilitar a execução desta tarefa que, nos tempos que decorrem, é uma tarefa bastante morosa e trabalhosa para os colaboradores da ONV. Assim, e de forma a atingir todos os objetivos pensados pela instituição, foi de extrema importância, numa fase inicial, fazer o levantamento de todos as especificidades da calendarização das visitas. Depois, e recorrendo a estudos já realizados, foi formulado em Programação Linear Binária Mista um modelo de otimização capaz de gerar uma solução para dar resposta ao problema do planeamento das visitas. Adicionalmente, foi também desenvolvido um programa recorrendo ao uso da linguagem Visual Basic for Applications do Excel. Este é capaz de ler os dados do problema e colocá-los como parâmetros do software OpenSolver, executar o software de forma automática, escrever e estruturar a solução gerada com o intuito de possibilitar a análise e o uso desta pelos colaboradores da ONV.
This Masters Final Work was developed in the form of a project in partnership with Operação Nariz Vermelho (ONV). This work is related to the assignment of ONV professional artists, Clown Doctors, to visits to be made to the various hospitals, covered by the visits program of this institution, in region of Lisbon. The objective of this project is to make easier the execution of this task, which, currently, is a very time consuming and laborious task for the staff of the institution. Thus, and in order to achieve all the objectives considered by the institution, it was extremely important, at an initial stage, to survey all the specific aspects of the visit schedule. Then, and basing our work on studies previously carried out, an optimization model was formulated using a Mixed Binary Linear Programming model capable of generating a solution to the problem for assignment of the visits. In addition, a program was developed using the Visual Basic for Applications language available in Excel. This software can read the data of the problem and place them as parameters of the OpenSolver software, execute the software automatically, write and structure the generated solution in order to allow the analysis and usage of this solution by ONV employees.
info:eu-repo/semantics/publishedVersion
4
Stakemeier, K. "Entkunstung : artistic models for the end of art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1339143/.
Full textAbstract:
Entkunstung is a term coined by philosopher Theodor W. Adorno to describe the disintegrating influences of mass culture on the production and reception of modern art. It characterises what he understands as the fate of art in the 20th century, the dissolution of boundaries between its media as well as between art and other cultural productions. In my thesis I discuss this process not as a fate but rather as an enabling principle of artistic production since the beginning of the 20th century. I delineate a history of Entkunstung, a history of artists who attempted to desert the field of art in reconstructing its means and materials in accordance with the popular culture of their time and its schemes of production. Starting from the productivist artistic approaches of the Russian Revolution and their understanding of art’s possible dissolution into a general characteristic of a revolutionized form of industrial labour, I proceed to discuss the practices of a group of architects, artists and critics who introduced practices of popular culture into the arts in Western Europe in the early 1950s. The London-based Independent Group’s exhibitions, discussions and works, I argue, operate as actualizations of the practices of Russian Productivism in an altered political and economic context. The figure of "actualization" (from Walter Benjamin’s Arcades Project) is a central methodological principle of my project. Benjamin introduces it to critique historical narratives of progress and replace them with the notion of history in flux, a web of figures in actualization. He suggests that historical moments are never sublated within their aftermaths but reappear in unresolved and still open aspects. I consider the actualisations of Productivism in, first, the affirmation of American popular culture in the Independent Group, and second, in the "dematerialising'" practices in American Conceptual art in the 1960s. Where Production Art sought to assimilate artistic to industrial practices, and the Independent Group explored the implications of consumerist models for art production, certain Conceptual practices aimed at disassembling art into a set of practices and performed gestures, into an action in and also outside of art. The thesis seeks to assemble the fragments of a history of Entkunstung, a history of artistic models for the end of art.
5
Dowson, Kurt. "Towards extracting artistic sketches and maps from digital elevation models." Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:3566.
Full textAbstract:
The main trend of computer graphics is the creation of photorealistic images however, there is increasing interest in the simulation of artistic and illustrative techniques. This thesis investigates a profile based technique for automatically extracting artistic sketches from regular grid digital elevation models. The results resemble those drawn by skilled cartographers and artists.The use of cartographic line simplification algorithms, which are usually applied to complex two-dimensional lines such as coastlines, allow a set of most important points on the terrain surface to be identified, these form the basis for sketching.This thesis also contains a wide ranging review of terrain representation techniques and suggests a new taxonomy.
6
Castilho, Takami Marina. "De la Sonate à Kreutzer (1956) au Trio en mi bémol (1987) : la musique comme modèle idéal dans l'œuvre d'Eric Rohmer." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080101/document.
Full textAbstract:
La musique était pour Éric Rohmer une passion et un modèle de création artistique. Dans cette perspective, elle participe intimement de sa pratique cinématographique et de sa théorisation sur les arts, ainsi que de sa reconnaissance comme artiste-intellectuel. Cette étude se consacre à l'analyse de l’œuvre du cinéaste dans le but de vérifier comment la musique peut être considérée comme son modèle idéal. Ce travail s'intéresse à la formation de la culture musicale de Rohmer en tant que facteur déterminant pour comprendre sa conception de l'art musical et, par conséquent, de la musique au cinéma. Il s'agit de confronter sa pensée (à travers ses écrits et déclarations) à sa pratique, en rendant compte de la diversité de son œuvre - du court métrage Sonate à Kreutzer (1956), sonorisé au magnétophone de la rédaction des Cahiers du cinéma, à la pièce de théâtre le Trio en mi bémol (1987)For Éric Rohmer, music was a passion and a model of artistic creation. This perspective played an intimate role in his cinematography and in his theorization of the arts, as well as in his recognition as an intellectual artist. This study is devoted to the analysis of the filmmaker's work with the goal of verifying how music can be considered as his ideal model. The work is focused on the formation of Rohmer’s musical culture as a determining factor in understanding his conception of the art of music and, as a result, of film music. It confronts his thoughts (based on his writings and declarations), his practice, and the diversity of his work - from the 1956 short film Sonate à Kreutzer (with its soundtrack captured using the Cahiers du cinema office tape recorder) to the 1987 play le Trio en mi bémol
7
Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
Full text
8
O'Rourke, Christopher Paul. "Models, artistes and photoplayers : the film actor in Britain, 1895-1929." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610163.
Full text
9
Vogelberg, Gabriele Maria. "Künstler und Modell : zwischen Imagination und Wirklichkeit : Untersuchung zum Modellkult zwischen 1860 und 1920 /." Frankfurt am Main : Lang, 2005. http://catalogue.bnf.fr/ark:/12148/cb41231745q.
Full text
10
Fain, Jessica (Jessica Elizabeth). "Remediation by inspiration : artist-driven models for environmental clean-up." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/67226.
Full textAbstract:
Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2011.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 108-110).
While often seen as utilitarian and technical, environmental remediation efforts have significant cultural, social and physical impacts. Accordingly, they demand responses that utilize a multi-disciplinary approach to the cleanup. The twelve case studies explored in this thesis represent examples of artists taking on leadership roles in environmental remediation projects as part of their artistic practice. The cases represent a unique type of public practice operating at the margins of aesthetics, science and public engagement. An examination of the details of these cases and their categorization along broad themes reveals lessons on where such an approach can be most effective and how, through interdisciplinary efforts, the practice of artists, planners, engineers and designers can be expanded to address the complex layers of environmental remediation. I conclude with seven factors that must be considered if such a model is to gain traction, including, but not limited to: the capacity for leveraging diverse funding sources, the need to acknowledge the professional uniqueness of artists, and the importance of public sector support. These factors point to a set of policy suggestions to help promote areas and approaches for successful interdisciplinary environmental remediation projects in the future. The case studies are organized under four categories. 'Artist-led remediation" cases include Spoils Pile Reclamation Park (Helen and Newton Harrison, 1976-1978), Twin Stupas (Angelo Ciotti, 1987-1996), Wheatfield- A Confrontation (Agnes Denes, 1982), Veden Taika (The Magic of Water) (Jackie Brookner, 2006-2009). "Post-facto artist engagement" cases include Byxbee Park (Peter Richards, Michael Oppenheimer, George Hargreaves, 1988-1992), North Waterfront Park Master Plan (Richard Haag, John Roberts, Agnes Denes, 1989-91), and Wingfield Pines (Allegheny Land Trust, Angelo Ciotti, 2001-2010). Cases where there is an "artist as activator" are New Haven Long Wharf Master Plan (Michael Singer, 1988-1990), Nine Mile Run Watershed Project (STUDIO for Creative Inquiry, 1997-2000), and Fundred/Operation Paydirt (Mel Chin, 2005-present). Lastly, the two "integrated models" explored are Vintondale AMD&ART Park (AMD&ART, 1994-2005) and West Palm Beach Waterfront (Michael Singer Studio, 2005- 2010).
by Jessica Fain.
M.C.P.
Books on the topic "Artisits' models"
2
Prada, Teresa de. Bolivian artists' guide =: Guía de artistas bolivianos. La Paz, Bolivia: [s.n., 1991.
Find full text
3
Prada, Teresa de. Bolivian artists' guide =: Guía de artistas bolivianos. La Paz, Bolivia: [s.n., 1991.
Find full text
6
Jori, Marcello. La città meravigliosa degli artisti straordinari =: [The wonderful city of extraordinary artists]. Milano: Charta, 1996.
Find full text
8
Sylvester, David. Henry Moore: Sketch-models and working-models. London: South Bank Centre, 1990.
Find full text
10
Susan, Hall, and Warmus William, eds. Learning to see: An artist's view on contemporary artists from Artschwager to Zakanitch. [West Palm Beach, Fla.]: StarGroup International, 2008.
Find full textBook chapters on the topic "Artisits' models"
1
Paquette, Andrew. "Optimization of CG Models." In An Introduction to Computer Graphics for Artists, 103–15. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-5100-5_8.
Full text
2
Paquette, Andrew. "Validation of CG Models." In An Introduction to Computer Graphics for Artists, 117–48. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-5100-5_9.
Full text
3
Allen, David H. "The Artistic Renaissance." In How Mechanics Shaped the Modern World, 105–23. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01701-3_5.
Full text
4
Rogers, Sarah. "“An Artistic Coup”." In Modern Art in Cold War Beirut, 39–60. New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780367175511-3.
Full text
5
Strukov, Vlad. "Digital Art: A Sourcebook of Ideas for Conceptualizing New Practices, Networks and Modes of Self-Expression." In The Palgrave Handbook of Digital Russia Studies, 241–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42855-6_14.
Full textAbstract:
AbstractThe chapter traces the evolution of digital art produced in the Russian Federation and in the Russian language by critically considering a number of case studies and re-conceptualizing historical periods. It takes into account technologies, institutions, individual artists and artistic networks, and modes of presentation, appreciation and re-contextualization. It contributes to the debates about the nature and focus of art in the digital era by assessing historical, economic and creative factors. It showcases how digital art might be understood as a particular medium, platform, network, aesthetic and function, and it also argues that digital art does not fit into those categories. Instead notions of transformation, scope and duration are used to account for new forms of artistic expression.
6
Boyer, V. "An Artistic Portrait Caricature Model." In Advances in Visual Computing, 595–600. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11595755_72.
Full text
7
Lang, Felix. "Transformations of the “Syrian” Literary Field Since 2011." In Re-Configurations, 261–75. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31160-5_17.
Full textAbstract:
Abstract The events unfolding in Syria since spring 2011 have led to a thorough transformation of the intellectual and artistic space in which Syrian authors, filmmakers, and artists move. Starting from an overview of the connections of institutions, artists, and works that form this contemporary space of cultural production, this chapter goes on to consider the problems existing theoretical conceptions of such spaces from the sociology of arts encounter when faced with the empirical realities of the Syrian case. It shows that the transnational, unstable, and often transient nature of these formations and their links with large-scale socio-political changes, such as wars, are difficult to grasp with conceptual toolkit developed on the model of the unusually stable spaces of production of Western Europe and the US.
8
Abuhamdeh, Sami, and Mihaly Csikszentmihalyi. "The Artistic Personality: A Systems Perspective." In The Systems Model of Creativity, 227–37. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9085-7_14.
Full text
9
Daichendt, G. James. "The Artist-Teacher: Models of Experiential Learning." In Discourse and Disjuncture between the Arts and Higher Education, 75–93. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55243-3_4.
Full text
10
Csikszentmihalyi, Mihaly, and Jacob W. Getzels. "The Personality of Young Artists: An Empirical and Theoretical Exploration." In The Systems Model of Creativity, 11–26. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9085-7_2.
Full textConference papers on the topic "Artisits' models"
1
Ma, Zhuoqi, Nannan Wang, Xinbo Gao, and Jie Li. "From Reality to Perception: Genre-Based Neural Image Style Transfer." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/485.
Full textAbstract:
We introduce a novel thought for integrating artists’ perceptions on the real world into neural image style transfer process. Conventional approaches commonly migrate color or texture patterns from style image to content image, but the underlying design aspect of the artist always get overlooked. We want to address the in-depth genre style, that how artists perceive the real world and express their perceptions in the artwork. We collect a set of Van Gogh’s paintings and cubist artworks, and their semantically corresponding real world photos. We present a novel genre style transfer framework modeled after the mechanism of actual artwork production. The target style representation is reconstructed based on the semantic correspondence between real world photo and painting, which enable the perception guidance in style transfer. The experimental results demonstrate that our method can capture the overall style of a genre or an artist. We hope that this work provides new insight for including artists’ perceptions into neural style transfer process, and helps people to understand the underlying characters of the artist or the genre.
2
Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
Full textAbstract:
Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
3
Panchenko, Svetlana. "Mental Map of Yekaterinburg in the Book 'The Drawn City' By A. Ryzhkov: Linguistic Analysis." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-42.
Full textAbstract:
The article contains a linguistic analysis of the book ‘The Drawn City’ by A. Ryzhkov; the book comprises reproductions of pictures and respective text in the context of a mental map of the city of Yekaterinburg. In approaching the mental map as spatial information in people’s minds, reflecting the image of the city, the goals of linguistic analysis are to show the vision of the metropolis and the linguistic ways of verbally expressing the thoughts and feelings of the landscape artist; to determine the value to society of the private perception of the city through artistic representation and textual expression. Stylistic analysis of the text reveals the dominant features regarding the lexical, morphological and syntactic levels, while the pragmatics of the text consider its social relevance. Peculiar traits of the author’s style of the artist and the writer, as perceived by readers, have been listed; important points of the mental map of the city have been defined accounting for the book’s content: architecture, dominant idea, eclectics. The perception of time in synchronicity and diachronicity in the narrative regarding Yekaterinburg is considered, the motif of transition from reality to imagery is shown. Examples are given of positive, negative and contradictory evaluations of architectural objects, verbally influencing readers through the creation of visual images. There are linguistic tricks listed which were used in the book by A. Ryzhkov uses language techniques that hold the attention of the recipient of the text: comparison, personification, the use of colloquial language, humour and wordplay, and dialogisation. Methods of the creation of an imagery-geographic map of urban space have been shown in the author’s iconic-symbolic form. A conclusion was made on the significance of the book of A. Ryzhkov having used a visual-verbal method for the creation of a sustainable and replicable image of the city in the human mind. The artist’s civic stance on city protection has been set forth.
4
García Vázquez, Milagros. "La pedagogía de la Bauhaus como modelo para la expresión plural en las comunidades artísticas actuales." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10317.
Full textAbstract:
En 1933, un gobierno totalitario cerraba las puertas de una de las comunidades artísticas más significativas para la Historia del Arte del siglo XX y del actual, tanto desde el punto de vista de la creación, como de la pedagogía de las artes: la Bauhaus. Aquella clausura no supuso, sin embargo, su fin. En 1937 tomaría su testigo la New Bauhaus, abierta en Chicago por László Moholy-Nagy, uno de los profesores más influyentes en la plantilla de aquella institución creada por Walter Gropius en 1919. Su nombre ha variado desde entonces, «Chicago School of Design» (1939), «Institute of Design» (1944), hasta llegar a integrarse en el «Illinois Institute of Technology», existente en la actualidad. El paréntesis entre dos guerras mundiales había sido ocasión para el encuentro de artistas, especialistas en diversos ámbitos de la creación y de diferentes orígenes culturales, con un objetivo común, formar a otros creadores para «desear, proyectar y crear todos juntos la nueva estructura del futuro», como decía Gropius en el manifiesto original. Su pretendido final, impuesto por un régimen político, encontró su punto y aparte en un estado democrático al otro lado del Atlántico, dando pie no solo a una iniciativa mantenida a nivel académico en el Instituto de Illinois, sino inspirando a otra, fuera de las estructuras estatales, que puede servir a su vez como ejemplo de aplicación creativa del presente disenso en las culturas democráticas. Precisamente en Chicago surgiría, en 1990, un proyecto de la mano de la Fundación MacArthur, para potenciar la diversidad artística y cultural y orientarla hacia una meta, reconocer y promover procesos creativos y nuevas ideas como cauces esenciales en la mejora de la vida. Se dotaría económicamente a una serie de instituciones artísticas, colonias, comunidades o residencias de artistas, para celebrar un encuentro llamado «Special Initiative on Artists». De aquella reunión que tuvo lugar en 1991, surgió la creación de un consorcio internacional de comunidades artísticas, hoy conocida como «Alliance of Artists Communities», donde la formación y la puesta en común de trabajos y nuevos proyectos son los ejes fundamentales. Quizá pueda ser este un ejemplo de salto creativo por encima de las barreras de las políticas del consenso, si fracasan, o del desacuerdo, si tienen lugar.
5
Kulchenko, Yulia. "COMPOSITIONAL SPECIFICITY OF ARTISTIC TEXTS WITH SACRAL COMPONENTS." In Current Issues in Modern Linguistics and Humanities. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/09321-2019-346-356.
Full text
6
Zhang, Hefeng. "Artistic Exploration of Competitive Wushu Routine." In 2017 2nd International Conference on Modern Management, Education Technology, and Social Science (MMETSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/mmetss-17.2017.49.
Full text
7
"Geo-humanistic Cultivation of Artistic Creation in Northern Grassland." In 2020 Conference on Social Science and Modern Science. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000726.
Full text
8
Chen, Dongliang, Yue Zhang, Huimin Liu, and Pin Xu. "Real-Time Artistic Silhouettes Rendering for 3D Models." In 2015 8th International Symposium on Computational Intelligence and Design (ISCID). IEEE, 2015. http://dx.doi.org/10.1109/iscid.2015.201.
Full text
9
O'Neill, Shaleph J. "The Artist as Model User." In C&C '19: Creativity and Cognition. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3325480.3325492.
Full text
10
Luo, Lin, and Xianzhong Sun. "Research on artistic gymnastics training guidance model." In ADVANCES IN ENERGY SCIENCE AND ENVIRONMENT ENGINEERING: Proceedings of the 2017 International Workshop on Advances in Energy Science and Environment Engineering (AESEE 2017). Author(s), 2017. http://dx.doi.org/10.1063/1.4979760.
Full textReports on the topic "Artisits' models"
1
Galenson, David. The Life Cycles of Modern Artists. Cambridge, MA: National Bureau of Economic Research, February 2002. http://dx.doi.org/10.3386/w8779.
Full text
2
Galenson, David. The Life Cycles of Modern Artists: Theory, Measurement, and Implications. Cambridge, MA: National Bureau of Economic Research, March 2003. http://dx.doi.org/10.3386/w9539.
Full text
3
Galenson, David. The Careers of Modern Artists: Evidence from Auctions of Contemporary Paintings. Cambridge, MA: National Bureau of Economic Research, December 1997. http://dx.doi.org/10.3386/w6331.
Full text
4
Galenson, David. Masterpieces and Markets: Why the Most Famous Modern Paintings Are Not by American Artists. Cambridge, MA: National Bureau of Economic Research, October 2001. http://dx.doi.org/10.3386/w8549.
Full text
5
Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
Full textAbstract:
As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
6
Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
Full textAbstract:
We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
7
Galenson, David. The Lives of the Painters of Modern Life: The Careers of Artists in France from Impressionism to Cubism. Cambridge, MA: National Bureau of Economic Research, January 1999. http://dx.doi.org/10.3386/w6888.
Full text
8
Galenson, David. One Hit Wonders: Why Some of the Most Important Works of Modern Art are Not by Important Artists. Cambridge, MA: National Bureau of Economic Research, November 2004. http://dx.doi.org/10.3386/w10885.
Full text
9
Galenson, David. A Portrait of the Artist as a Young or Old Innovator: Measuring the Careers of Modern Novelists. Cambridge, MA: National Bureau of Economic Research, January 2004. http://dx.doi.org/10.3386/w10213.
Full text
10
Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
Full textAbstract:
Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.