To see the other types of publications on this topic, follow the link: Artisits' models.
Dissertations / Theses on the topic 'Artisits' models'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research 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.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
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.
11
Chiapello, Ève. "Les modes de contrôle des organisations artistiques." Paris 9, 1994. https://portail.bu.dauphine.fr/fileviewer/index.php?doc=1994PA090026.
Full textAbstract:
Un mode de contrôle fonctionne en réduisant les degrés de liberté laissés aux personnes afin de faire émerger un certain ordre nécessaire à l'accomplissement de tout projet. Or les artistes revendiquent la plus grande liberté dans leur travail et se montrent particulièrement réticents à toute idée de contrôle. Cette thèse décrit les origines de ce conflit apparent entre l'art et le contrôle et montre qu'il existe des modes de contrôle spécialement adaptés au travail artistique le plus innovant: l'autocontrôle, ce que nous appelons le contrôle par le don, un contexte structurel organique et certaines valeurs partagées. Nous montrons également que les modes de contrôle des organisations artistiques diffèrent selon la nature des productions réaliséesA control mode reduces degrees of freedom left to people in order to make an order, necessary to any project accomplishment, emerge; when artists want to have total freedom and are really reluctant to any idea of control. The dissertation thesis addresses the question of this apparent conflict between art and control, and tries to find its origins. Then we show that some control modes are particularly adapted to the most innovative artistic work: self-control, what we call "control by gift" which is very near coaching, an organic structure an dome specific shared values. We also show that arts organizations are not all controlled by the same means. It depends on the characteristics of their productions
12
Kammerer, David E. "A model for media-centered [i.e. medium-centered] art instruction a discipline-based, thematic approach /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only.`, 1991. http://www.kutztown.edu/library/services/remote_access.asp.
Full text
13
Purnell, Paula G. "The Collaboration of Teacher/Artist Teams: A Qualitative Analysis of Selected Interpersonal Components Influencing a Partnership-Model Artist Residency." Thesis, Open access to IUP's electronic theses and dissertations, 2008. http://hdl.handle.net/2069/84.
Full textAbstract:
Recent demands for academic accountability, as evidenced through standardized test scores, have left many school arts programs understaffed and vulnerable to budgetary constraints, particularly arts programs within poor urban and rural regions. For decades arts organizations have offered artist-in-residence programs as a way to supplement existing arts education programs. Currently, every state in the nation provides funding for outreach programs designed to bring “teaching artists” (TA) into schools. The growing demand for academic accountability, however, has resulted in increased pressure on artist residency programs to justify their use of instructional time and classroom resources. Consequently, artist residence programs are experiencing an evolutionary shift from residencies based on a demonstration model--in which the artist presents an art form to the class while the teacher is a passive observer--to a partnership model which requires teacher/artist teams to collaborate in creating and teaching co-equal cognitive arts integrated lessons. The success of partnership-model artist residencies depends on positive, productive collaboration between teachers and artists; however, the conditions and factors that promote teacher/artist instructional collaborations are not yet fully understood. The purpose of this study was to provide a deeper understanding of the interpersonal components that affect the collaborative instructional processes of teachers and artists participating in partnership-model artist residency programs, and to identify and describe the experiences and resources that promote positive, productive collaborations between teacher/artist teams. Five teaching artists and five fourth grade teachers participating in a 30-day partnership model artist residency agreed to take part in this qualitative study. Data were triangulated through semi-structured individual interviews, participant journals, and focus group interviews. Typological analysis identified patterns and relationships within and across data sets and revealed five overarching themes that influence the development of positive collaborative partnerships: pre-planning, collaborative, and instructional time; the divergent professional cultures of teachers and artists; the alignment of the arts with the curriculum; professional development training; and pedagogy and individual teaching styles. The results indicate that, despite the necessity of additional planning time and training, teachers and artists alike recognize the potential benefits of collaborative arts integration and support the current movement toward partnership model artist residencies.Dissertation Chair: Dr. Beatrice Fennimore Dissertation Committee: Dr. Mary R. Jalongo and Dr. Laurie Nicholson
14
Tuomaala, Outi. "INTERNATIONALIZATION OF CONTEMPORARY ART : Case studies of three Finnish artists who have exhibited in Sweden." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104625.
Full textAbstract:
This thesis examines the internationalization of Finnish contemporary artists. The focus is on their exhibitions at contemporary art institutions in Sweden, covering the period 2004–2013. The aim is to investigate what makes these exhibitions to materialize. The main question is: How do different actors, networks, collaborations, and the field of artistic production look like when art is exported for exhibition purposes from Finland to Sweden? Pierre Bourdieu’s field theory and the Uppsala internationalization process model are used as the theoretical framework. Information is collected via interviews with three Finnish artists and three Swedish curators. The main result is that the artists do not actively impact the internationalization process themselves. Rather, the internationalization occurs through an international network of professionals, some acting on behalf of the artists, and some acting in their own interests. The main driving factor for internationalization is that the Finnish art market is small. Consequently, young contemporary artists are oriented internationally. For internationalization to occur, the artists must be available to foreign curators through the international networks. Finland is aware of this and promotes international art contacts through the foundation Frame Visual Art Finland. Important contact surfaces, where curators can learn about the artists, are art events, like European art biennials.
15
Johnson, Jessica. "Stardom, Spectacle, Show, and Salability: United Artists and the Founding of the Hollywood Blockbuster Model." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/3.
Full textAbstract:
United Artists was an independent film distribution company that Douglas Fairbanks, Charlie Chaplin, D.W. Griffith, and Mary Pickford jointly formed in 1919 to maintain creative autonomy over their work. Without the benefit of block booking practices through studio-owned theater houses, each founding artist established specific economic and aesthetic practices within their respective oeuvres in order to maintain company solvency. The resulting films produced during the company’s formative years (1919-1931) saw increased emphasis and innovation in regard to stardom, spectacle, show, and salability, features which ultimately innovated the model for the contemporary Hollywood blockbuster. Attributing the formation of the blockbuster to United Artists not only complicates the notion of the Hollywood blockbuster as a post-World War II phenomenon, but also broadens our comprehension of blockbuster filmmaking by formulating a model in which one can refine blockbuster criteria. This reframes the blockbuster as the cornerstone of the Hollywood film industry for over a century and presents it as a more persistent phenomenon.
16
Charrieras, Damien. "Trajectoires, circulation, assemblages : des modes hétérogènes de la constitution de la pratique en arts numériques à Montréal." Thèse, Paris 3, 2010. http://hdl.handle.net/1866/4293.
Full textAbstract:
Cette thèse se penche sur les parcours et les pratiques d'artistes numériques naviguant au sein des secteurs multimédias de Montréal. L'étude des parcours de onze artistes numériques montréalais nous a permis de constater que leurs pratiques de production en arts numériques ne sont pas réductibles aux logiques de production propres à un seul lieu, que ce soit une entreprise privée, un centre d'art numérique ou encore l'université.
La question du maintien de ces pratiques amène à prêter attention aux pluralités des éléments qui informent leurs (re)constitutions perpétuelles, ce qui appelle de nouveaux modes de théorisation des parcours d'artistes numériques et de leurs pratiques. Nous proposons une nouvelle manière de penser ces parcours - en tant que trajectoires - pour mettre en valeur la pluralité des modes d'articulation de ces pratiques. Elles sont ainsi considérées du point de vue de leurs médiations coconstitutives avec différents éléments. Nous avons isolé trois ensembles d'éléments pour rendre compte du maintien des pratiques en arts numériques et au travers desquels ces dernières déploient leurs multiples effectivités. Le premier ensemble recouvre les technologies intervenant dans la pratique en arts numériques. Le deuxième ensemble a trait au milieu des arts numériques et aux modes de l'organisé afférents. Enfin, le troisième ensemble traite du rapport entre les mondes de l'entreprise et la pratique en arts numériques. Ces trois ensembles d'éléments participent de diverses manières à la constitution, au maintien et à la singularisation de pratiques en arts numériques qui déploient leurs effectivités largement au-delà d'un espace social circonscrit ou spécialisé.This thesis examines the paths and practices of digital artists navigating within the multimedia sectors of Montreal. Through the study of the paths of eleven digital artists based in Montreal we found that production practices in digital arts cannot be reduced to the logic of production specific to a single place, whether a private company, a digital arts center or a university. The issue of maintaining these practices leads one to pay attention to the plurality of elements that inform their perpetual (re)constitutions. This requires new ways of theorizing digital artists' paths and practices. We propose a new way of conceptualizing these paths - as trajectories - to highlight the plurality of ways the digital art practices are articulated. They are thus considered in terms of their co-constitutive mediations with different elements. We have identified three sets of elements to account for the maintenance of the practices in digital arts and through which these unfold their multiple effectivities. The first set covers the technologies involved in digital art practices. The second set relates to the digital arts community and the organizational modes characteristic of those locales. Finally, the third set deals with the relationship between the worlds of business and practices in digital arts. These three sets of elements contribute in various ways to the establishment, maintenance and singularity of digital arts practices that deploy their effectivities far beyond a circumscribed or specialized social space.
Réalisée en cotutelle avec l'université Sorbonne Nouvelle - Paris 3
17
Donaldson, Sharon Olivia. "Models and Their Artists: The Dichotomous Representation of Women in The Unknown Masterpiece, Manette Salomon and The Masterpiece." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/33210.
Full textAbstract:
This thesis proposes to analyze the dichotomous representation of the female model as benevolent and malevolent in three 19th-century French novels. Honoré de Balzacâ s The Unknown Masterpiece (1834), Jules and Edmond de Goncourtâ s Manette Salomon (1867), and à mile Zolaâ s The Masterpiece (1886) are all novels set in artistâ s workshops and all portray the female model as playing an essential role in determining the success, then demise of the male painter. My study of these texts will therefore focus on the juxtaposed presentations of the female models in terms of their relationships to the male artists. It will reveal how as the artists succeed in transforming their modelsâ bodies into aesthetic nudes and containing these representations within the parameters of their canvases as a means of asserting their authority, the models are positively portrayed. On the contrary, when the artists fail to transform and contain their modelsâ bodies, these female characters are negatively depicted as being the source of the paintersâ ruin. By examining this dichotomous representation of the female models, I will reveal the complex means by which the patriarchal order within the texts oppresses the female characters.Master of Arts
18
Palmeira, Francisca Maria Leal Guiomar. "Dupla tributação internacional : a tributação dos rendimentos do trabalho independente : a tributação do rendimentos pessoais dos artistas." Master's thesis, Instituto Superior de Economia e Gestão, 2013. http://hdl.handle.net/10400.5/11292.
Full textAbstract:
Mestrado em Contabilidade, Fiscalidade e Finanças EmpresariaisEste estudo pretende analisar em que medida as normas portuguesas eliminam a dupla tributação internacional a que os rendimentos pessoais dos artistas, obtidos por contribuintes no exercício dessa profissão, enquanto profissionais livres e fora do seu país de residência estão sujeitos. A tributação internacional caminha no sentido de que a tributação dos rendimentos obtidos no estrangeiro seja da competência do Estado da residência, contudo relativamente aos artistas e desportistas verifica-se o contrário, uma vez que é atribuída legitimidade ao Estado da fonte para tributar os rendimentos aí obtidos por não residentes, o que origina dupla tributação, uma vez que o Estado da residência tributa em regra a universalidade dos rendimentos obtidos pelos sujeitos passivos residentes. Portugal adotou o princípio da universalidade para tributar os sujeitos passivos residentes, contudo possui normas unilaterais de eliminação da dupla tributação internacional, sendo que através do estudo de 30 casos, conclui-se que efetivamente a dupla tributação é eliminada.
This study aims to examine the extent to which Portuguese laws eliminate international double taxation that personal income of artists, obtained by individuals performing their professional activity outside their country of residence is subject to. The international taxation treads the way that the taxation of income earned abroad is the responsibility of the State of residence, however in relation to artists and sportsmen it reveals the opposite, since it is given legitimacy to the source State to tax income there obtained by non-residents, which leads to double taxation, since the State of residence taxation rule in the universality to income obtained by resident taxpayers. Portugal adopted the principle of universality to tax resident individuals, however, has unilateral standards for the elimination of double taxation, and through the study of 30 cases, it was concluded that effectively double taxation is eliminated.
19
Baloyi, Jele Joel. "Intellectual property, entrepreneurship and the music industry :a new ray of hope for enhancing African international trade capacity? A South African case study." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&.
Full textAbstract:
This thesis aimed to examine the prevailing international intellectual property regime as embodied especially in the TRIPS Agreement, for purposes of outlining some of the criticisms levelled against it especially by the less developed world. The work aimed to illustrate how, despite the imperfections of the system, certain intellectual property rights could still be used strategically by African countries to bolster the entrepreneurial spirit, in the form of musical entrepreneurship for purposes of enhancing their international trade capacity.
20
Ölme, Rasmus. "From Model to Module : A move towards generative choreography." Doctoral thesis, KTH, Medieteknik och interaktionsdesign, MID, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-145355.
Full textAbstract:
The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body. In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does.QC 20140519
21
Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
Full text
22
Sierra, Joaquín. "Comunidad y creación de contenido : modelo de negocios y desafíos para artistas musicales bajo streaming." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143913.
Full textAbstract:
Seminario para optar al titulo de Ingeniero Comercial, mención AdministraciónEn el mundo digital del siglo 21, hemos alcanzado la instantaneidad, accediendo a servicios, contenido y entretenimiento de manera expedita. Conveniencia que sólo el mundo digital y su codificación nos permite articular, en un mundo cada día más actualizado/conectado. Al punto que podemos disfrutar el último episodio de nuestra serie favorita, donde queramos y cuando queramos, gracias a servicios como Netflix. Tomar un taxi a cualquier hora del día gracias a Uber. O encontrar acomodación para un viaje de negocios, gracias a servicios como Airbnb. Así mismo. Existen tecnologías en la industria de la música que nos permite escuchar a nuestros favoritos al alcance de un dispositivo, accediendo a una biblioteca prácticamente inconmensurable, al momento que deseemos. ¡Parece ser demasiado bueno para ser cierto! Sin duda, este tipo de plataforma de negocios debe ser sustentado por varías aristas que nos gustaría analizar en este trabajo, para esclarecer el deparar de los artistas quienes proveen a estos servicios de “streaming” de su contenido y el negocio que se monta a fin de cuentas Cabe destacar que la instauración de estos servicios no sólo han traído nuevas oportunidades para los músicos contemporáneos como alcanzar una exposición prácticamente global. Sino además desafíos que la conveniencia digital conlleva consigo misma. Vale decir, los “royalties” por derechos de autor han ido constantemente hacia la baja, creando un hoyo en el reditúo de los artistas por el uso de sus obras. Actualmente se vive ese escenario en el mundo del “streaming” digital, ese trade-‐off entre exposición de marca el cual es asegurado por el servicio de “streaming”, a cambio de los “royalties” asociados a dichos trabajos. De primera impresión, esto parece ser altamente desfavorable para los artistas (creadores de contenido), no obstante este trabajo pretende encontrar puntos de inflexión donde esta condición pueda ser explotada de manera redituable por parte de los artistas.
23
Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
Full textAbstract:
Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architectureThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
24
Feng, Sha. "L’Art Ailleurs : la Recherche Anthropologique sur les Artistes Contemporains Chinois des Beaux-arts Vivant en France." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30043/document.
Full textAbstract:
Depuis le début du vingtième siècle, les artistes chinois ont commencé à poursuivre leurs rêves artistiques en France. Cent ans plus tard, bien que l’art français ne soit plus le centre absolu du monde artistique, son histoire glorieuse en fait un symbole au statut inébranlable. La France d’autrefois, avec son orientation politique culturelle a attiré des artistes du monde entier, qui sont devenus une partie importante du patrimoine artistique et culturel des Français; en même temps, la « culture française », dans son ensemble, perpétue le mythe de capitale culturelle.Compte tenu de la structure du discours prévalent sur « la Chine et l’Occident », la place des artistes chinois en France est un peu spéciale. Pour les artistes chinois, la France est, dans une large mesure, « le monde occidental ». Ces artistes chinois intègrent leur expérience à l’étranger dans un contexte transculturel tout en restant conscients de leurs propres expériences et sentiments, ce qui mène à une innovation permanente dans leurs propres techniques de création. De même qu’il est difficile de trouver une raison collective pour la venue en France des artistes chinois, leur création ne se présente pas sous une forme de système ou d'aspiration unifiée. Comme c’est le cas pour l’imaginaire chinois de la France, nous imaginons que les artistes chinois en France suivent un parcours « uniforme ».Cette thèse commence par l’exposition biennale de Lyon en 2009, à laquelle j’ai participé et grâce à laquelle j'ai pu progresser dans ma connaissance du fond culturel, historique et social local. À partir de ce groupe particulier d’«artistes d’outre-mer» et selon les textes existants et les déclarations des artistes rencontrés, je discute tout d’abord de l’imaginaire et de la réalité de l'« étranger » en France, puis j’analyse la structure narrative des textes de l’histoire de l’art et des médias de masse sur les « artistes étrangers ». J’interprète alors certaines œuvres et pratiques des artistes, en évoquant leur compréhension de la structure narrative. Ensuite, je discute du marché de l’art et de l’expérience des artistes en son sein. Enfin, j’essaye de comparer l’expérience de l’artiste et les idées sociales et culturelles, et de réfléchir à mes propres recherches et réflexionsSince the twentieth century, Chinese artists have voyaged to France in pursuit of their dream of art. Even though France is no longer the only art capital in the world today, it glorious history has made its status unshakeable as a symbol which attracted artists eager for opportunities for free creation and diverse forms of inspiration. These artists’ works became an important part of French culture and art, while “French culture and art” as a whole perpetuates the myth of cultural capital.Given the structure of the prevalent discourse concerning « China and the West », the place of Chinese artists in France is somewhat special. These Chinese artists integrate their experience abroad in a transcultural context while remaining conscious of their own experience and feelings; in terms of their own creative techniques they innovate permanently. It is difficult to find a collective reason for Chinese artists’ coming to France; similarly, their work does not constitute a unitary system or ambition. As is the case of the Chinese imaginary concerning France, it is imagined that Chinese artists in France follow a uniform trajectory.This thesis starts with the Lyon biennale exhibition of 2009 which I attended and thanks to which I was able to expand my acquaintance with local social, cultural and historical contexts. Based on this particular group of “overseas artists” and referring to the existing texts and statements of the artists encountered, the imagined experience and the lived experience of the “foreigner” in France are discussed, and then narrative structure of history of art and mass media texts about “foreign artists” are analyzed. Evoking their understanding of this narrative structure, certain artists’ works and practices are then interpreted. There follows a discussion of the art market and the experience of artists within it. Finally there is an attempt to compare the artist’s experience with socio-cultural ideas, and a reflection on the findings of this thesis
25
Camino, Minacha. "An investigation into the writings of established art and design practitioners as a useful model for the Critical Research module of the Art and Design B.A. (Hons) Course." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/an-investigation-into-the-writings-of-established-art-and-design-practitioners-as-a-useful-model-for-the-critical-research-module-of-the-art-and-design-ba-hons-course(7852f0ed-826f-46bb-98fc-6e5d2e216615).html.
Full textAbstract:
The requirement for a written element in the B.A (Hons) Arts degree has been in place since the Coldstream Report of 1960. Since that time, there have been discussions, scholarly articles and further government committees addressing the way that this component is delivered by universities and colleges. These discussions centre on the content, the assessment of the content and its relationship to students' own practice. There are many divergent views about how the subject, variously called contextual, critical or complementary studies, should be presented by the students in a way that has academic rigour and enhances studio practice. However, I have identified a gap in that literature: there also is a rich history of artists and, more recently, designers writing about their own and others' practice. I sought to establish whether or not the writing of established practitioners could be useful in improving students' own efforts and encouraging a synthesis between the written work in their final year journals, (an alternative to the traditional dissertation) and their studio practice. The methodology that seemed most appropriate was an instrumental case study, with data from interviews (transcriptions), text analysis and analytic induction of the writings by established practitioners and the students' writings about their own work and the work of others. Experience and by now conventional practice suggests that all students refer to the work of established practitioners, not always from their own chosen discipline. Although the students are not necessarily asked to research and write about other established practitioners, inevitably they will do so to engage with, identify and contextualise theory and history. There was a general lack of understanding about the complexities of the intended learning outcomes and, importantly, the sub-assessment criteria that was realised to be more difficult to explain and understand than the more traditional, essay method of the dissertation. This difficulty was mainly owing to the students' lack of experience in critical thinking and poor research skills when writing about their own work. The task for third year students was burdensome for some, but easier for those students who had critical studies embedded in their studio practice. In only one discipline were the tutors optimistic about the abilities of their students to understand the criteria and therefore likely to be successful in the assessment of the journal. This finding was mirrored in their students' responses. The lack of interest and wide knowledge of some tutors in comparison with other colleagues lead to a tension between what is currently learnt in the studio and what is learnt from non-studio teaching. I explored the relevant writings using the three themes of production, content and consumption. A comparison between students' and established practitioners' writing, using the criteria for the intended learning outcomes for the critical studies module, found that there were both some similarities and some important differences. On the basis of the evidence, the journal could provide the students with a more insightful understanding of their studio practice if there is: • A revision of the assessment criteria, using the saturation points of established practitioners writing in my analysis tables; • Much greater fostering of interest into the reading of established practitioners' writing; and• A team of tutors who are able and willing to teach critical studies/research alongside the studio work. These findings have implications for the training of the staff as well as the structure of the degree courses in art and design.
26
Angulo, Alemán Tanya. "La utopia pervinguda. El model d'autoria de Marcel Broodthaers." Doctoral thesis, Universitat Politècnica de València, 2012. http://hdl.handle.net/10251/15573.
Full textAbstract:
En el contexto del arte contemporáneo, una investigación centrada en la autoría de Marcel Broodthaers nunca es inocente. El examen de su trayectoria artística con un enfoque teórico y crítico permite valorar su trabajo como una obra heterogénea y coherente más que como una serie de experimentos que abastan la poesía, la fotografía, el cine o la escultura en el sentido estricto de los géneros.
Globalmente, sus propuestas giran en torno a la cuestión del papel del arte en la sociedad y del papel del artista. Broodthaers comienza a realizar sus primeros assemblages a finales de 1963 preguntándose si no podría vender algo. Después, en 1968, construye en Bruselas la ficción del Musée d'Art Moderne, Département des Aigles en medio del ambiente de revuelta social con la intención de escenificar el enfrentamiento entre la violencia institucional y la violencia poética. La huella de esta experiencia justifica posteriormente la concepción de exposiciones retrospectivas o antológicas como otras formas de ficción y la idea de Décor deviene la síntesis de sus interrogantes sobre la función social de la obra de arte. Lógicamente, la repercusión del trabajo de Broodthaers y su relación con las instituciones artísticas - galerías, museos, ferias de arte, macroexposiciones, bienales, etc. - es de lo más interesante.
La autoría de Broodthaers constituye un modelo de utopía, pero no se trata de una utopía romántica pura sino de una utopía bastarda y mestiza que actualiza los legados artísticos de Mallarmé, de Baudelaire, de Duchamp, de Schwitters y de Manzoni. Este modelo de autoría consigue ser una forma de ejercer la libertad artística y de preservar la memoria: una estrategia de resistencia y de supervivencia espiritual, lo cual resulta hoy día muy estimulante.Angulo Alemán, T. (2004). La utopia pervinguda. El model d'autoria de Marcel Broodthaers [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/15573
Palancia
27
Farmer, Sonia. "Poinciana Paper Press: a publishing model for the Caribbean." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6731.
Full text
28
Costa, Márcio Leonardo Monteiro. "Modelos de circulação do mp3-demo através da internet: um estudo de caso sobre música independente no Maranhão." Universidade Federal de Pernambuco, 2008. https://repositorio.ufpe.br/handle/123456789/2971.
Full textAbstract:
Made available in DSpace on 2014-06-12T16:25:38Z (GMT). No. of bitstreams: 2
arquivo1874_1.pdf: 2422278 bytes, checksum: 4de72500f0cad2d6e7e3b52c96de4328 (MD5)
license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5)
Previous issue date: 2008Este trabalho analisa o fenômeno da circulação de música independente através da internet a partir da popularização do formato mp3 como padrão de compartilhamento. A dissertação está dividida em duas partes, sendo a primeira, marcada por uma problematização a respeito do novo ambiente comunicacional e suas implicações sobre a livre troca de conteúdos, complementada por uma descrição da situação dos artistas autônomos face às reconfigurações pelas quais passa a indústria da música. Na segunda parte, tomando como opção metodológica o estudo de caso, descreve-se o funcionamento dos espaços mais representativos da internet onde se observa a difusão do mp3-demo. Adotam-se como corpora da pesquisa artistas maranhenses que fazem uso destes espaços visando maior divulgação de seu trabalho. Como resultado, avaliamos as mudanças na cadeia produtiva da música e seus reflexos sobre os modelos autônomos de produção, circulação e consumo
29
Zhao, Yelin. "Ambitious model, ambiguous artist : three case studies of Victorine Meurent, Suzanne Valadon and Alice Prin." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/21231/.
Full textAbstract:
This thesis is about a singular figure who appeared on the artistic scene in the middle of the nineteenth century. I call this figure the Model-Artist. This term conjugates two facets of the production of art, which links issues of labour, creativity, class and gender. In this thesis, I look specifically into three case studies of the Model-Artist working in Paris from the second half of the nineteenth century to the second decade of the twentieth: Victorine Meurent (1844-1927), Suzanne Valadon (1865-1938) and Alice Prin (1901-1953). By scrutinising the archives of these three individuals and reading critical writings on their work at the time and in subsequent biographies and art historical studies, I advance an argument about the significance of the model’s labour/the labour of modelling, in order to shift the canonical histories of modern art from 1860 to 1930 which privilege the artist. I also challenge, by expanding some of the feminist studies that examine the work of women as artists and as models in this period. I do so by examining three instances of women who worked as both models and artists in artistically and culturally different moments of the histories of modernism. This highlights the specific relations between the shape of each of these three women’s careers. It underscores both the new conditions of artistic production associated with the emerging formation of the avant-garde community and the new modes of art that were generated in terms of both the treatment of old and new subjects and in terms of artistic representation. Through the case studies, I avoid creating exceptional histories, and acknowledge invisibility (other stories yet to be found) as much as re-read known stories. Methodologically, I challenge and expand existing feminist art histories by criticising their continuation of the hierarchy between model and artist and the privileging of the artist. Through close reading of images, I pinpoint the changing aesthetic of art and analyse its impact on the artist’s practice of modelling as well as the modelling labour. The study of Victorine Meurent rests on a fragile and fragmented archive. I draw on Derrida’s theory of the archive and Foucault’s theory of the fold in the discourse to tackle the question of how to study a subject about which the documentary evidence is scarce. With a much more documented and substantial œuvre, Suzanne Valadon’s case enables an investigation into her artistic manoeuvres and avant-garde gambits in relation to her contemporaries. I examine her paintings as traces of an articulation of embodied experience that at the same time solicit different forms of spectatorship. The chapter on Alice Prin is an analysis of the cultural and social dynamics within the Montparnasse circle in Paris in the second and third decades of the twentieth century. From this close-knit community of international artists, the mythological figure of Kiki de Montparnasse emerged. Each case study situates the strategies and practices of three women negotiating a relation to artistic practice determined by the social, cultural, organisational and aesthetic specificities of three different moments in the emergence of modernist artistic practice and its communities. Labour, community and gender are key concepts throughout this study.
30
Summers, Fleur Elizabeth, and fleur summers@hotmail com. "Missing Links - Evolutionary theory as a model and scientific intervention as a strategy for artistic process and production." RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080619.121144.
Full textAbstract:
Missing Links explores relationships between objects. It is an empirical exercise in equivalence and divergence, an experiment in the visual nomenclature of enumeration and classification and a dissertation on the materiality of the construction of systems of thought. It is concerned with the manufacture and production of particular histories through the formal analysis of fifty specimens. The specimens, or objects, under investigation are constructed from recycled corrugated cardboard, water-activated brown tape and hot glue. These materials are transformed and renewed through a series of repetitive processes and activities including cutting, slicing, rolling, joining, gluing
The material is receptive and provisional in nature. The specimens exist as a series of models, one made after the other, each made in response to the one before, and as thus present an unfolding of thoughts and material experiences. They represent a genealogy of the imagination ; creating relationships and dialogues within and between external physical manifestations. The study of natural history informs this collection with particular reference to the nineteenth century work of Charles Darwin. In his attempts to understand the temporal arrangement of the natural world in The Origin of the Species, Darwin posited the notion of infinite change. This project is inspired by Darwin's emphasis of the sheer multiplicity of living objects, their complexity and the possibility of a transformational and material history. The objects in Missing Links were produced in response to the prolific nature of the natural world, its endless variations and ability to produce exquisite material adaptations. As a collection, they contain, support and enact a layered history, an archive of process and a document of action. Missing Links also references the procedures of the laboratory - the facilitation of controlled conditions under which experiments, documentary exercises and data collection and collation can take place. It is the merging of these two realms and activities that lies at the heart of the project. The synergy of the artistic world and the scientific activities the project employs highlight similarities and discontinuities between seemingly disparate practices. This is a productive coupling; facilitating interesting juxtapositions between objects and ideas and signalling the potential for the collection to coalesce in a multiplicity of orders in response to the systems of thought that contain and constrain it.
31
Hanstein, Penelope. "On the nature of art making in dance : an artistic process skills model for the teaching of choreography /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314593.
Full text
32
Weston, Lynda Hobson. "The evolution of a literature study in a fourth grade across four modes : oral, written, artistic, and dramatic /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu148767626101072.
Full text
33
Kaiser, Marcel. "The suitability of Environment Management Accounting (EMA) models applied by the German Mittelstand." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/5594/.
Full textAbstract:
The implementation of environmental management accounting (EMA) in Mittelstand companies is an uncharted area. Therefore, the aim of this study was to identify the ways, benefits, and disadvantages of implementing EMA in such companies. The choice of the approach and method depended on the following reasons: As the observed phenomena took place inside a company and depended on the attitudes of its members, an interpretivist and qualitative research approach was used that regarded a company as a socially constructed entity. The research was executed with a top-down deductive method starting with a literary review (on Mittelstand-like companies using EMA), and leading to hypotheses concerning the research aim. These assumptions were tested in a qualitative case study using a German Mittelstand company from the printing industry. To this end, the study used the company’s files, personal notes from management meetings, and interviews with experts from the focal company offering the deepest insight in the focal company. The analysis found two different results. Mittelstand companies will have trouble with implementing EMA. However, after having done this, they will only experience benefits and no disadvantages. During the EMA implementation there will probably be delays due to lacking expertise, conservative attitudes, and disturbed channels of information among the staff. However, these obstacles can be overcome with external experts guiding the EMA implementation, and with financial resources to pay them. EMA will then enable a Mittelstand company to track the flows of hazardous and harmless physical entities alike and its associated environmental and conventional costs. With this information the strategic management accounting (SMA) will be able to reduce these costs, to develop eco-friendly products, and to increase its resource efficiency, profits and competitiveness. In a Mittelstand company EMA should therefore be placed at the interface of proper accounting and SMA. FCA, ABC, flow cost accounting, input/output analysis, and EBSC seem to be the optimal methods to track and analyse a company’s physical flows and its related conventional and environmental costs. The former cost type depends on the quantities of the resources, with the latter one depending on the production of waste, the excessive use of water, wood, fuel, electric energy, hazardous chemicals and the process they are used in. To capture these costs it is best to use a set of primary metrics (reflecting the quantities of the resources) and secondary metrics (focussing on the flows and dangers of these resources). Measuring environmental costs of hazardous substances is difficult, since the production processes they are used in depend on chancy circumstances like accidents. Instead, it is also possible to use an EMA that only calculates the amounts of wood, water, waste, fuel, and electric energy needed for the use of hazardous substances. After multiplying these costs with a numerical and empirically obtained factor, the related environmental costs can now be measured both accurately and easily. Such a simplified EMA seems to be a promising method for Mittelstand companies with low technical skills.
34
Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
Full textAbstract:
This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
35
Murgia, Camilla. "The works of Pierre-Marie Gault de Saint-Germain (1752-1842) : artistic models and criticism during the early nineteenth century in France." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496594.
Full text
36
Campana, Alina M. "A Portrait of Possibility: Examining the Artist/Educator/Activist as an Alternative Model for Art Educators." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/193462.
Full textAbstract:
Some art educators working in communities exemplify an alternative to the more common and stereotypical notion of the artist as autonomous, self-focused, and neutral. They view art-making and education as vehicles for social justice, and in some cases for social and political activism. In these broader social functions, the boundaries between art, education and activism fade. Drawing on perspectives from community art education, sociology, art criticism, critical pedagogy, and social justice education, and based on in-depth interviews with participants, this study examines the motivations, perspectives, development, and experiences of five artist/educator/activists who work in community-based settings in Tucson, Arizona. Common characteristics, as well as questions and implications for further research, are presented and discussed.
37
Barros, Fábio Carrilho Santos. "Pedagogias abertas e o modelo artístico no ensino do violão para iniciantes." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-26022018-105314/.
Full textAbstract:
Esta dissertação visa apontar possíveis caminhos e reflexões para uma pedagogia criativa para o violão em sintonia com propostas contemporâneas de educação musical que tem como base as pedagogias abertas e o modelo artístico de ensino de música. Ambos conceitos formam o alicerce do pensamento pedagógico-musical do Foro Latinoamericano de Educación Musical (FLADEM). As pedagogias abertas propõem a superação de estruturas curriculares rígidas e de procedimentos de ensino planejados de maneira a não considerar os interesses dos alunos. O modelo artístico de ensino de música integra o conceito das pedagogias abertas e significa trabalhar a música a partir da música, com os conhecimentos sendo construídos a partir das experiências vivenciadas pelos alunos, as quais incluem práticas criativas, como a composição e a improvisação. São tomados como referenciais teóricos a obra pedagógica da educadora musical argentina Violeta de Gainza (n.1929) e de autores associados ao FLADEM, assim como o legado pedagógico do músico e educador alemão Hans-Joachim Koellreutter (1915-2005), pela grande proximidade de seu pensamento com os conceitos das pedagogias abertas e do modelo artístico. Será também analisado o que chamei de \"abordagem geográfica\" do violão enquanto ferramenta pedagógica para o desenvolvimento de práticas criativas. Tal recurso musical consiste na exploração do instrumento a partir de seus aspectos físicos, algo notadamente presente na literatura violonística em obras de Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (n.1939), entre outros. Questões específicas sobre estratégias de aulas envolvendo assuntos como composição, improvisação, experimentação instrumental, desenvolvimento técnico, sonoridade, fraseado, teoria musical, notação e o tocar de ouvido também são objetivos deste trabalho. A parte prática analisada envolve duas categorias: as experiências pedagógicas realizadas com estudantes de violão da FIAM-FAAM e da Teca Oficina de Música, instituições de ensino localizadas em São Paulo, e as minhas experiências composicionais próprias correspondentes à série de estudos violonísticos \"Desenhos\". Entre os aspectos observados, a criatividade, o perfil artístico e a formação pedagógica do professor de instrumento foram tidos como essenciais para o desenvolvimento deste modelo de ensino com o público iniciante.This dissertation aims to point out possible paths and reflections for a creative guitar pedagogy in harmony with contemporary proposals of musical education that are based on open pedagogies and the artistic model of music teaching. Both concepts form the foundation of the pedagogical-musical thinking of the Latin American Musical Education Forum (FLADEM). The open pedagogies propose the overcoming of rigid curricular structures and planned teaching procedures that do not take the students\' interests into consideration. The artistic model of music teaching integrates the concept of open pedagogies and implies to work with music from the music itself, with the knowledge being constructed from the experiences lived by the students, which include creative practices, such as composition and improvisation. The pedagogical work of Violeta de Gainza (b. 1929) and authors associated with FLADEM as well the pedagogical legacy of German musician and educator Hans- Joachim Koelleutter (1915-2005) were used as theoretical references due to the close proximity of their thinking with the concepts of open pedagogies and the artistic model. I will also analyze what I call the \"geographical approach\" of the guitar as a pedagogical tool for the development of creative practices. This musical resource consists of the exploration of the instrument from its physical aspects, something notably present in the guitar literature on the works of Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (b.1939) among others. Specific questions about classroom strategies involving subjects such as composition, improvisation, instrumental experimentation, technical development, sonority, phrasing, music theory, notation and playing by ear are also objectives of this dissertation. The practical part analyzed encompasses two categories: the pedagogical experiences with guitar students of FIAM-FAAM and of the Teca Oficina de Música, which are educational institutions located in São Paulo, and my own compositional experiences corresponding to the \"Desenhos\" series of guitar studies. Among the aspects observed, the creativity, the artistic profile and the pedagogical formation of the instrumental teacher were considered to be essential for the development of this model of teaching with beginners.
38
Butterworth, Joanne. "Dance artist practitioners : an integrated model for the learning and teaching of choreography in the tertiary sector." Thesis, University of Kent, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274311.
Full text
39
Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.
Full text
40
Perotto, Émilie. "La sculpture contemporaine envisagée comme une situation : modes de production, usages et objets." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3052.
Full textAbstract:
Ce travail de recherche doctorale tend à définir précisément ce que j’appelle une situation sculpturale, en envisageant le médium de la sculpture, historiquement immobile et pérenne, comme le médium de la rencontre tributaire de temporalités diverses. Pour ce faire, ma pratique plastique a été mon terrain premier d’investigation, au sein duquel j’ai pu tester un certain nombre d’hypothèses, dont certaines se sont concrétisées dans mes sculptures les plus récentes, citées dans ce texte. Aussi, une attention particulière à la sculpture contemporaine m’a permis d’ouvrir plus largement mes prospections, qui se sont aussi nourries de pratiques d’artistes et de pensées théoriques historiques. Mes recherches se sont appuyées sur l’étude du rapport que la sculpture peut entretenir avec la vie quotidienne, et les rapports particuliers au temps que cela peut engendrer, aussi bien dans la conception des œuvres, que dans leur perception. Cette réflexion m’a permise d’aborder la sculpture dans son rapport aux objets du quotidien, que ce soit dans leur introduction directe dans les sculptures, dans leur reproduction, mais aussi dans l’usage. En effet, ce dernier point m’a amenée à établir une typologie de ce que je nomme la sculpture d’usage, dont la fonctionnalité n’est pas la finalité, mais une appréhension possible de l’œuvreThis doctorate research tries to define precisely what I term a sculptural situation considering sculpture – ie historically still & perennial – as the meeting point of multiple temporalities. To elaborate this research I took my artistic pratice as a ground to inquire into. I did test several assumptions which have informed my latest works thereafter described. Furthermore, a greater attention was given to contemporary sculpture so as to open wider perspectives drawn from historical artistic practives & theories. I studied the relationship between sculpture & daily life and most specifically their being time-based experiences, as much during the making of the works as when perceived by a spectator. I was then able to study sculpture in relation to everyday objects : either through the introduction of the later in sculptures themselves or their possible reproduction or even the use that can be made of them. I thus established a typology of what I name usable sculpture, whose functionality is not an end in itself but is nevertheless a possible way of experiencing the work of art
41
Buttigieg, Lawrence. "Addressing the self through the subjectivity of the other : a practice-led investigation of a particular artist-model relationship." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/16148.
Full textAbstract:
As an artist working with the female model, this practice-led research examines concepts of alterity and subjectivity while challenging the dominant role of male subjectivity in the western world. It revolves around the relationship between myself and the female subject, a specific woman who within the context of my work epitomises but at the same time transcends womanhood. This undertaking suggests that my representations of her body grow out of a dialectical tension between the feeling that the female other has almost become a metonymic extension of myself, and the awareness that such a feeling is at the same time illusory. The practical component of my investigations takes the form of body-themed box assemblages which are reminiscent of polyptychs, tabernacles and reliquaries. However, the sacred images which form part of these ecclesiastical items are replaced with others showing close-ups of the fragmented bodies of the model and myself. While this kind of profane artefact acts as a receptacle for our bodies which are broken down and enshrined together with other objects, it constitutes part of an ongoing process whereby the relationship between myself and the female figure is metamorphosed, re-shaped, and re-visioned. The significance of these creations is meant to extend beyond their artefactual existence and become mediums through which I re-visit female sexuality and eroticism and assess them within a spiritual context, albeit in the circumscribed framework of a particular woman. The artefact s ultimate objective is to appease my innate desire to access the other via a self-reflexive process which involves both mirroring and distancing at one and the same time. This process also includes an exploration into the spiritual with the aim of exploiting that which is other in the western theological tradition, namely God and the Divine. The gaze is also deeply involved in this exploration of the other. In fact, while our bodies are subjected to a re-visitation and trans-valuation in parts through multiplication and fragmentation, the gaze is in the process broken down into a series of glances which originate from myself, the viewer or the female subject. This process questions and disrupts the dominance of the male gaze, and its associated precepts, in Western visual culture. Finally, by correlating the model s body with the divine, my artefacts seek to give this woman, as an embodiment of the true other, a trans-corporeal identity. Rather than seeking to exert control over the other, they provide a pious space wherein the self and the other are able to encounter each other in a manner that initiates an equitable relationship, unhindered by presumptive knowledge. This is aided by the aesthetics and dynamics underlying the box assemblage which, while expressing gender fluidity and encouraging disengagement from preconceived dogmas a sort of reverse cognition also enhances the experience of its deific symbolism.
42
Loire, Cédric. "L’art de (ne pas) fabriquer : Évolution des modes de conception et de production de la sculpture, a l’ère de l’objet produit en masse, entre le milieu des années 1950 et le début des annees 1970, aux États-Unis." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2035/document.
Full textAbstract:
L’analyse de la réception critique des nouvelles formes d’art apparaissant dès la fin des années 1950 et se développant au cours des années 1960, en particulier dans le champ de la sculpture et des œuvres en trois dimensions, constitue le socle de notre réflexion. Celle-ci vise à mettre en lumière les profondes évolutions que connaissent les processus de conception et de production des œuvres en trois dimensions, chez des artistes que la réception critique « à chaud » puis l’histoire de l’art ont séparés en fonction de critères stylistiques : néo-dada, pop, minimal… L’observation de ces déplacements de la pratique, intégrant des matériaux et des modes de production industriels (ou résistant à ces derniers) offre une autre approche des enjeux de l’art de cette période, qui voit s’éloigner la figure archétypale et héroïque du sculpteur moderniste incarnée par David Smith, et s’élaborer la figure nouvelle de l’artiste « post-studio ». Parallèlement, apparaissent de nouveaux soutiens, institutionnels, financiers et surtout techniques, pour les artistes produisant des œuvres en trois dimensions et délégant tout ou partie de la fabrication à des sociétés industrielles. Un nouveau type d’entreprise voit le jour, spécialisé dans la fabrication d’œuvres en trois dimensions et de sculptures monumentales. Au début des années 1970, les nouveaux modes de fabrication expérimentés durant la décennie précédente sont parfaitement intégrés à l’économie générale de l’art. En proposer une forme d’archéologie afin d’en comprendre les motivations initiales vise à mieux penser les enjeux actuels des pratiques artistiques ayant recours à la fabrication déléguéeThe analysis of the critical reception of the new forms of art appearing from the end of the 1950s and developing during the 1960s, especially in the field of sculpture and tridimensional works, constitutes the foundation of our thought. It aims at bringing to light the profound shifts in the conception and production processes of the works in three dimensions, made by artists separated by the critical reception then the art history according to stylistic criteria : Neo-Dada, Pop, Minimal, and so on. To observe these displacements of the art practice, integrating industrials materials and means of production (or resisting them) offers another approach of the art stakes in this period, which sees the archetypal and heroic figure of the modernist sculptor (embodied by David Smith) fading, and elaborating the new figure of the post-studio artist. At the same time, new supports (institutional, financial and especially technical) appear for the artists producing works in three dimensions and delegating all or any of the manufacturing to industrial companies. A new type of company, specialized in the manufacturing of works in three dimensions and monumental sculptures, is born. In the early 1970s, the new means of manufacturing experienced during the previous decade are perfectly integrated into the general economy of art. To propose a kind of archeology of these means in order to understand the initial motivations aims at a better thinking of the current stakes in the artistic practices turning to delegated manufacturing processes
43
Levickienė, Miglė. "Architektūros pažinimas – XI-XII klasių mokinių meninio intereso efektyvinimo priemonė." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050525_170118-64633.
Full textAbstract:
M. Levickienė, postgraduate of the Artistic Training Department of Vilnius Pedagogical University, has prepared a master paper on the following topic: “Knowledge of architecture as the means in the process of effectiveness of the artistic interest of the XI – XII grade pupils”. The below indicated problems have been raised in the present paper: what should be a precise description of the universal knowledge of architecture and what influence is made by such knowledge and cognition on the artistic interest of the XI-XII grade pupils? For the foregoing purpose, a pedagogical experiment was carried out in Vilnius Baltupiai secondary school in the course of which, in compliance with the teenagers’ cognitive, identity, psychological art-research literature analysis, a pattern of architecture knowledge and cognition in the lessons of art was drafted. Psychological and art-research literature facilitates to reveal the below-listed main cognition and recognition aspects of architecture: architecture is double recognized – as the world-semanticising, symbolizing and sense-giving side, or as a properly mastered craft. Recognition of tune, harmony, order, symmetry, moral norms and practically useful peculiarities of the object is of great significance with respect to esthetical understanding of architecture. Human physiology, i.e. eyesight, sensation, movement, memory, experience and imagination make great influence on the psychological understanding.
In the course of pedagogical... [to full text]
44
Métaux, Sandra. "La désinvolture : Esthétique et éthique de l'art (de vivre) postmoderne. L'art contemporain italien au regard de la "Sprezzata desinvoltura" de Baldassar Castiglione." Thesis, Pau, 2012. http://www.theses.fr/2012PAUU1001/document.
Full textAbstract:
L’Italie, berceau de la sprezzata desinvoltura de Castiglione, est assurément le pays où l’ambiguïté des relations entre art, politique et images médiatiques est la plus forte. Le pavillon Italien des biennales de Venise de 2009 et 2011 illustre ce jeu complexe des apparences, qui « fait des mondes » ou « illumine des nations ». En relisant l’histoire de l’art à travers le prisme du concept de Castiglione, la thèse nous donne à voir que le monde (de l’art) est lui-même l’effet de l’ambivalence de cette désinvolture. Loin d’avoir assujetti l’art à leurs concepts, les grands hommes, qu’ils soient rois, philosophes ou hommes d’affaires seraient des effets de cette désinvolture de l’art. Comme Monsieur Jourdain, ils feraient de l’art sans le savoir. Exit Machiavel ! Il est aujourd’hui urgent de penser cette « ruse de l’art » qui mène le monde. Tel est l’enjeu fondamental de cette thèse qui, s’appuyant sur le schème nietzschéen de l’éternel retour, distingue plusieurs figures de la désinvolture, historiques, philosophiques et esthétiquesItaly, the cradle of Castiglione’s sprezzata desinvoltura, is undoubtedly the country where the ambiguous relationship between art, politics and media is the strongest. The Italian pavilion of the Venice Biennale in 2009 and 2011 illustrates the complex game of appearances, which are “making worlds" or "lighting up nations." Reading again the history of art through the prism of Castiglione’s concept, the thesis shows us that the world (of art) is itself the effect of this “disinvoltura” ambivalence. Far from having subjugate art to their concepts, the great men, whether kings, philosophers or businessmen are the effects of this casualness (“desinvoltura”) of art. Like Monsieur Jourdain, they would make art without knowing it. Exit Machiavelli! It is now urgent to think this "ruse of art" that leads the world. These are the fundamental stakes of this thesis, that basing itself on the Nietzschean eternal return schema, distinguishes several casualness figures, historical, philosophical and aesthetic
45
Tan, Michael T. Koonboon. "The caring artist : exploring the role of an arts-health practitioner in a nursing home and a model of arts-health practice." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/12125/.
Full textAbstract:
The priorities many nursing homes give to physical care often supersede consideration for leisure arrangements and resources with the effect that the range of activities and engagement opportunities for residents are limited. An inactive lifestyle in nursing homes can compromise the residents’ quality of life and their psychosocial wellness through boredom, diminished morale and reinforced dependency. A low level of engagement also exposes residents to a greater risk of developing cognitive impairment and accentuates feelings of loneliness and isolation. Given the demographic trend of an ageing population together with a growing demand for nursing homes in Singapore, this research addresses the current lack of research on lifestyles of nursing home residents and arrangements to promote their personal well-being. In this thesis, I investigate the effect of a participatory visual arts programme on the personal well-being of residents in a Singapore nursing home. The study explores the ways in which well-being is afforded through participatory arts activities and the role an artist can take in relation to human caring. To facilitate evaluation and reflection on my arts-health practice, I brought my arts-health practice into a novel dialogue methodologically with the action-research case study approach of social science. I refer to this hybrid approach as ‘critical arts-health practice’. The empirical data of the study prompted exploration of the link between vitality and participatory arts activities. Participatory arts activities are found to revitalise the sensory, physical, cognitive, emotional, social capacities of older adults and promote self-actualisation. Drawing on Gilles Deleuze’s assemblage theory, I conceptualised the Arts-Health assemblage as a way of understanding the processes through which participatory arts activities contribute to the participants’ well-being, as both dynamic and as involving multiple interrelated elements. I argue that the broad concerns of arts-health practice can be defined as combining individualised attention to the participant, well-being outcome, and ensuring the quality of the environment and activities for participatory arts. I argue that attentiveness to these dimensions will promote a more effective and caring arts-health practice. Lastly, the central importance of these dimensions within an arts-health practice emphasises that the arts-health practitioner is first and foremost a caring artist.
46
Falk, Ingrid. "Estetiken angår alla! : Portfolio som verktyg för självvärdering och modell för att motverka social snedrekrytering." Thesis, Stockholms universitet, Institutionen för utbildningsvetenskap med inriktning mot tekniska, estetiska och praktiska kunskapstraditioner, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-126509.
Full textAbstract:
De konstnärliga högre utbildningarna med bild- och forminriktning har till övervägande del en studentsammansättning med kulturellt kapital1 hemifrån. För att hårdra betyder det att elever med litet ekonomisk, socialt eller kulturellt kapital inte söker estetiskt gymnasieprogram eller blir studenter på förberedande konstnärlig utbildning.Här ges en bild av hur villkoren ser ut på fältet och hur rekrytering till högre konstnärlig utbildning går till. Utbildningsanordnarna som intervjuas i undersökningen konstaterar den rådande sociala snedrekryteringen i Stockholm.En utbyggd användning av portfolio inom gymnasieskolan skulle kunna fungera som modell för att bryta den sociala snedrekryteringen. Portfoliomodellen ger elever och studenter utrymme att träna sig i självvärdering genom samlande och reflektion av egna alster. Att kunna värdera sig själv ger perspektiv och utvecklingsmöjligheter i förståelsen av sig själv som en del av ett större sammanhang, en helhet, en kultur. Genom de kriterier som innefattas av konstruktionen av portfolion, ges utmaning i att se nya möjligheter i sina framtida yrkes- och utbildningsval.The education at an advanced level of Fine Arts is dominated by students with a cultural capital from their heritage2 In strong words this will mean that students with small economic, social or cultural capital won´t apply for aesthetic high schools or even become students in art schools.This degree thesis gives a picture of how the conditions look like in reality and how the recruitment to higher artistic education is conducted. The education organisers that were interviewed in the survey established that there is a prevailing social imbalance in Stockholm.A larger use of the portfolio in high-schools could stand as a model in order to break the prevailing social imbalance. The portfolio model gives each person the space, through collecting and reflection of their own material, to find and train in self evaluation. To be able to evaluate your own person it will give perspectives on his or hers development opportunities in the understanding of itself as a part of a bigger contexts, a whole, a culture. Through the criteria that are included of the structure of the portfolio, is given a challenge in seeing new possibilities in his or her future trade's - and educational choices.
47
Haddad, Laura Inês Sada. "Cooperativa Paulista de Teatro: modelo de gestão cultural como processo intrínseco de formação artística e política do cooperado." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-03122018-152924/.
Full textAbstract:
Esta pesquisa procura identificar e analisar como um modelo de gestão cultural auxilia e potencializa a formação artística, pedagógica e política de um artista ou grupo cooperado, a partir do modelo usado pela Cooperativa Paulista de Teatro, importante organização cultural formada em 1979. A entidade, atualmente, reúne cerca de 800 núcleos e mais de 4.000 associados, respondendo pela maior parte da produção artística teatral do Estado de São Paulo. Pretende-se demonstrar que diferentes aspectos da gestão desta organização impactam diretamente sobre a qualificação, a experimentação e a reflexão do artista, criando condições para o pleno exercício das atividades de seus cooperados, constituindo-se como uma precursora de um modelo macro de gestão cultural no Brasil.This research aims to identify and analyze how a model of cultural management helps and enhances the artistic, pedagogical and political formation of a cooperative artist or group, based on the model used by Cooperativa Paulista de Teatro, an important cultural organization formed in 1979. The entity, currently, gathers around 800 groups and more than 4.000 associates, accounting for most of the theatrical artistic production of the State of São Paulo. It is intended to demonstrate that different aspects of the management of this organization have a direct impact on the qualification, experimentation and reflection of the artist, creating conditions for the full exercise of the activities of its members, constituting as a precursor of a macro model of cultural management in Brazil.
48
Matute, Marín Julia. "EL TALLER DE ARTE GRÁFICO MODELOS DE ESPACIOS DE PRODUCCIÓN DE ARTE GRÁFICO EN ESPAÑA 2014." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/61767.
Full textAbstract:
[EN] ABSTRACT
This thesis provides an analysis of the different graphic art production areas in Spain, in 2014. Firstly, we review the concept of graphic work, multiplicity, and editing, as well as the role of responsible individuals involved in the production of graphic art: editor, technical printer and artist, through the study of remarkable personalities. Secondly, we explore the different graphic works workshop production classifications, as well as their design and structure, according to their specialization process.
This thesis follows with a panoramic and historical view of graphic art creation and production establishments, analyzing international draft reference spaces, finishing with the study of different models of workshop in Spain, today.
These workshops are sorted into the following categories: training, new technologies research workshop, development projects in residence workshop, creation and artistic experimentation workshop, desktop publishing workshop, prints by custom production workshop, edition of artists workshop and workshop as a multipurpose space.
This work is complemented by a updatable directory of graphic art's creation, education, production and editing spaces in Spain, a practical guide for artists, printers, publishers, students, teachers, and anyone interested in graphic art.[ES] RESUMEN La presente tesis ofrece un análisis de los diferentes modelos de espacios de producción de arte gráfico en España, en 2014. En primer lugar, se revisa el concepto de obra gráfica, multiplicidad y edición, así como el papel de las figuras responsables que intervienen en la producción de arte gráfico: editor, técnico impresor y artista, a través del estudio de personalidades destacadas. En segundo lugar, se exploran las diferentes clasificaciones del taller de producción de obra gráfica, así como el diseño y estructura del mismo, de acuerdo a su especialización procesual. A continuación, se presenta una visión panorámica e histórica de los establecimientos de creación y producción de arte gráfico, analizando espacios de referencia de calado internacional, concluyendo con el estudio de los diferentes modelos de taller presentes en España, en la actualidad. Éstos se ordenan en torno a las siguientes categorías: el taller de formación, el taller de investigación de nuevas tecnologías, el taller de desarrollo de proyectos en residencia, el taller de creación y experimentación artística, el taller de autoedición, el taller de producción de obra gráfica por encargo, el taller de edición de artistas y el taller como espacio polivalente. Este trabajo se complementa con un directorio de los espacios dedicados a la creación, enseñanza, producción y edición de arte gráfico en nuestro país, una guía práctica para artistas, impresores, editores, estudiantes, docentes, y todo aquel interesado en arte gráfico, abierta a futuras actualizaciones.
[CAT] RESUM Aquesta tesi ofereix una anàlisi de les diferents zones de producció d'art gràfic a Espanya, el 2014. En primer lloc, podem revisar el concepte d'obra gràfica i multiplicitat, edició, així com el paper d'encarregat figures que intervenen en la producció de arts gràfiques: editor, impressora tècnic i artista, mitjançant l'estudi de la personalitat. En segon lloc, podem explorar les diferents classificacions de dramatitzada d'obres gràfiques, així com el disseny i estructura, segons el seu procés d'especialització. A continuació, és una visió panoràmica i històric de creació i producció d'establiments d'arts gràfiques, analitzar espais de referència de calat internacional, concloent amb l'estudi de diferents models de taller d'Espanya, avui. Aquests es classifiquen en les categories següents: formació, investigació de noves tecnologies taller, taller de projectes de desenvolupament en residència, taller de creació i experimentació artística, autoedició taller, taller de producció de gravats de costum, edició del taller d'artistes i taller com a espai polivalent. Aquest treball es complementa amb una guia dels espais dedicats a la creació, formació, producció i edició d'art gràfic en el nostre país, una guia pràctica per a artistes, impressores, editors, estudiants, professors, i qualsevol persona interessada en l'obra gràfica, obert a futures actualitzacions.
Matute Marín, J. (2016). EL TALLER DE ARTE GRÁFICO MODELOS DE ESPACIOS DE PRODUCCIÓN DE ARTE GRÁFICO EN ESPAÑA 2014 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61767
TESIS
49
Palmblad, Johannes. "Bridging the gap between artist and audience : An exploratory comparative study on the cognitive impact of proficiency and applied mental models on the unmediated understanding of design and affordance." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12333.
Full textAbstract:
The purpose of this study was to examine the relationship between culture, affordance and proficiency. Further, to study the possibility of a cognitive gap between artists and the audience they design for, akin to the Designer-User gap in interaction design and user experience research. In order to contextualize the issue studied, relevant theories in ecological psychology, visual literacy, image interpretation and cognitive models are presented and discussed alongside contemporary industry issues that may have arisen from this type of cognitive gap. As artist and audience might have these vastly different interpretations of identical visual material, conveying or communicating specific design ideas or aesthetics may be compromised or lost in translation, negatively influencing visual communication. The study compared a set of individuals matching either the label of concept artist or target game audience on their unmediated reactions and mental heuristics when encountering a novel design from a familiar genre, using a method of concurrent verbalization. Results were discussed and compared to prevailing theories in cognition, user experience design and the presented research question. Said results indicate that there are distinct variations between how artists and audience apply their heuristics for unmediated design interpretation, although it also provides a few tentative suggestions as to a few methods in which said issue could be circumvented or surmounted.
50
Galeotti, Anamaria Amaral Rezende. "A espuma, um modelo possível para os elementos de linguagem do design audiovisual e suas relações." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-24062015-092831/.
Full textAbstract:
Esta pesquisa trata dos elementos de linguagem do Design Audiovisual, pensados como um sistema de signos auditivos, visuais e verbais, simultaneamente transmitidos, enfatizando suas relações e composição transversal no tempo e espaço. Como disciplina nova do Design, o Design Audiovisual nasce do cinema, se desenvolve com a televisão, incorpora os elementos do Design Gráfico e se aperfeiçoa com a informática, tendo seu processo agilizado pela da tecnologia digital emergente pós anos 1990. A evolução da tecnologia de pré-produção, produção e pós-produção nos meios audiovisuais, mais especificamente no cinema, e a crescente possibilidade da criação de um design audiovisual digital complexo, levou-nos a discutir e constatar a necessidade de um modelo para demonstrar esta pluralidade de elementos, frágeis e imprevisíveis, como bolhas de uma espuma. Para tanto, foi proposto o Modelo da Espuma Audiovisual. A tese fundamenta-se, principalmente, na teoria de Lucia Santaella, em Matrizes da linguagem e pensamento, que forneceu ferramentas para a análise destas relações; e do filósofo alemão Peter Sloterdijk, que suportou a proposta do Modelo da Espuma pelo seu caráter metafórico, sistêmico e complexo. Como procedimento empírico, foram realizados estudos de caso de Design Audiovisual de Créditos de Abertura de filmes e, ao final do processo, desenvolveu-se o projeto experimental do Modelo da Espuma Audiovisual, que se transformou em uma Instalação 3D Imersiva, denominada \"Paixão e Violência\". Visa contribuir para a formação ou atualização de designers inseridos no início de século XXI, em meio ao cenário contemporâneo, por isso seu caráter abrangente. Os resultados esclarecem sobre as características dos elementos de linguagem do Design Audiovisual, não apenas como elementos \"emprestados\" de outras linguagens, mas portadores de identidade própria, híbrida, complexa, frágil e única.This research deals with Audiovisual Design language elements, elaborated as an audio/visual/verbal system that simultaneously transmits all its elements, emphasizing their relationship and their transversal composition in time and space. Originally from Cinema, Audiovisual Design originate a new discipline in Design, develops along with Television, feeds from Graphic Design elements and improves with Informatics; it has its own process expedited by emergent digital technology post-1990. The evolution of pre-production, production and post-production in audiovisual mediums, more precisely in Cinema, plus an expanding perspective of creating more complex digital Audiovisual Design, leads us to a discussion yp identify the need of a model that would be able to demonstrate the plurality of these frail, unpredictable, \"bubbles in the foam\"-like elements. That was the beginning of the Audiovisual Foam Model thesis. The thesis fundaments come mainly from Lucia Santaella\'s theories of Language and Thinking Matrix, which are tools for understanding the mentioned relationships; and from the Dutch philosopher Peter Sloterdijk\'s work, that supported the Foam Model because of its metaphoric, systemic and complex character. As an empiric procedure, some study cases were made based on Audiovisual Design of Open Titles, and by the end of this process an experimental Project of the Audiovisual Foam Model was developed, leading to a 3D Immersive Installation named \"Passion and Violence\". This research aims to contribute to the academic formation and updating of designers in beginning of the XXI century, in the middle of its contemporary scenario, and to presents a comprehensive approach. The results brings about a clearer vision of the language elements of the Audiovisual Design, not only as \"borrowed\" elements from other disciplines but also as unique, hybrid, complexes elements on their own identity.