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Journal articles on the topic 'Artist Tax'
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Anggadha, Fernaldi, and Haula Rosdiana. "Analysis of Efforts to Increase Income Taxes of Social Media Influencers in Endorsement Activities." Jurnal Administrasi Publik : Public Administration Journal 10, no. 2 (October 14, 2020): 111–17. http://dx.doi.org/10.31289/jap.v10i2.3094.
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Technological developments in the era of globalization have brought changes to marketing techniques, by using social media. Marketing through social media is mostly done by influencers because it is easy to do and earns a fairly large income. The purpose of this study is to analyze the efforts made by the Directorate General of Taxes to increase income tax on social media influencers in endorsement activities. This study adopts the positivism paradigm with qualitative methods. The purpose of this research is descriptive. Primary data sources were obtained through in-depth interviews with selected informants. The results showed that the income of social media influencers or arts workers had great taxation potential. The Directorate General of Taxation seeks to increase income tax receipts for influencers by updating the database, disseminating information and conducting surveillance with law enforcement. The Directorate General of Taxes needs to provide confirmation of the tax provisions for programmatic income so as to provide tax treatment similarities with conventional artist activities and close tax gaps that are widely utilized through online activities.
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Giles, Keith. "Everybody’s Artist Photographer: Collaborators and creative influences in the work of Charles Peet Dawes." Back Story Journal of New Zealand Art, Media & Design History, no. 7 (December 1, 2019): 73–93. http://dx.doi.org/10.24135/backstory.vi7.50.
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When 1670 glass plate negatives taken by Kohukohu photographer Charles Peet Dawes were gifted to Auckland Libraries in 2018, it was immediately obvious from annotations on the negative envelopes that established ideas of how and when Charlie took up photography needed to be re-examined. Charlie’s notes also revealed the names of some previously unsuspected Hokianga visitors and residents who influenced and assisted him in his artistic endeavours. In addition, buried in the collection was a unique record of the 1898 Dog Tax Rebellion together with invaluable and historically important photographs of the people and communities of the Hokianga at the end of the nineteenth century and the beginning of the twentieth.
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Manghani, Sunil. "The Art of Paolo Cirio: Exposing New Myths of Big Data Structures." Theory, Culture & Society 34, no. 7-8 (October 19, 2017): 197–214. http://dx.doi.org/10.1177/0263276417732624.
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This article examines the work of internet activist and artist Paolo Cirio, whose practice intersects with matters of copyright, privacy, transparency and corporate finance. His project Loophole for All, for example, exposes the practice of tax evasion in the Cayman Islands by counterfeiting Certificate of Incorporation documents. An important aspect of Cirio’s work is how he names himself in the process. Placed within our contemporary ‘data turn’, his work is framed critically in this article in terms of a ‘new structuralist’ account of culture and society. The article attends to the view that power increasingly comes through the algorithm, but argues that we risk reifying so-called generative rules, which may simply be algorithms out of sight. Cirio’s art practice helps focus on what it means to make a critique of contemporary and ubiquitous algorithm structures. As part of this, the article considers how ‘anonymity’ underlies subversive art practices of the 20th century and contemporary protest groups, but that this anonymity arguably undermines attempts to effect change.
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Almazán, David. "Jean Laplace: ingenuo ingenio." Neuróptica, no. 1 (March 24, 2020): 145–58. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914324.
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Resumen: El dibujante francés Jean Laplace (1934-2018) ha sido, sin pretenderlo, uno de los artistas más representativos del arte actual en el contexto de la cultura de masas. Desde sus colaboraciones en varios periódicos de varias nacionalidades, durante más de medio siglo, Laplace popularizó un pasatiempo conocido como «Los ocho errores» en el cual el lector era invitado a coger un lápiz y a concentrarse en encontrar las ocho diferencias que había entre dos escenas humorísticas casi idénticas. La discreción marcó la biografía de Jean Laplace, un artista del que apenas se han publicado estudios, pero pocos dibujantes han presentado un trabajo tan reconocible por el público, tan auténtico y tan continuado en el tiempo con una producción muy extensa, próximo a las veinte mil obras. Los personajes de Laplace son gentes sencillas con grandes ojos saltones, dibujados en un estilo lineal que tiende hacia lo geométrico, que viven humorísticas situaciones absurdas y surrealistas.
Abstract: The French cartoonist Jean Laplace (1934-2018) has been, unintentionally, one of the most representative artists of contemporary art in the context of mass culture. From his collaborations in several newspapers of various nationalities, for more than half a century, Laplace popularized a hobby known as "The Eight Mistakes" in which the reader was invited to take a pencil and concentrate on finding the eight differences between two scenes. The discretion marked the biography of Jean Laplace, an artist whose studies have barely been published, but few artists have presented a work so recognizable by the public, so authentic and so continued in time with a very extensive production, close to twenty thousand works. Laplace's characters are simple people with big bulging eyes, drawn in a linear style that tends toward the geometric, who live absurd and surreal situations.
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Freire, Luane Maciel, and Giovana Cardoso Versolatto. "O conceito "museu é o mundo" de Hélio Oiticica no projeto "Pimp my carroça" do grafiteiro Mundano." Jangada: crítica | literatura | artes, no. 10 (April 7, 2018): 33–52. http://dx.doi.org/10.35921/jangada.v0i10.80.
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RESUMO: Hélio Oiticica a partir da noção “museu é o mundo” ressalta a importância de se pensar as manifestações artísticas como pertencentes ao cotidiano e não somente a espaços específicos. Em confluência com esta perspectiva o projeto "Pimp my carroça", uma iniciativa do artista Mundano, busca valorizar o trabalho dos catadores de reciclável, ao grafitar suas carroças e através disso, transpor sua arte para a movimentação das ruas. Neste trabalho buscamos compreender como o projeto "Pimp my carroça" pode convergir com a ótica da concepção "museu é o mundo". Para tal, apresentamos o conceito de Oiticica, contextualizamos os objetivos do projeto do artista Mundano e por fim analisamos se as duas perspectivas compartilham seus intentos. Identificamos semelhanças nas duas iniciativas, Oiticica a partir de suas teorizações proporcionou, indiretamente, aporte ao projeto do grafiteiro Mundano.
PALAVRAS-CHAVE: Hélio Oiticica, Mundano, museu é o mundo, Pimp my carroça.
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ABSTRACT : Hélio Oiticica, from the notion “museum is the world” highlights the importance of thinking artistic manifestations as belonging to the everyday life and not only specific places. In confluence with this perspective the project “Pimp my carroça”, an initiative by artist Mundano, seeks to value the work of recyclable waste pickers, by graffiting their carts and throught it, transpose his art to the streets movement. In this paper we seek to undestand how the project “Pimp my carroça” can converge in the view of the concept “museum is the world”. For such, we present Oiticica’s concept, contextualize the objectives of the artist Mundano’s project and finally analize if both perspectives share their intentions. We identified similarities in both iniciatives, Oiticica from his theorization provided, indirectly, contribution to gaffiti artist Mundano.
KEYWORDS: Helio Oiticica, Mundano, Museum is the world, pimp my carroça.
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Boyd, Candice P., and Kaya Barry. "Challenges of creative collaboration in geographical research." cultural geographies 27, no. 2 (November 7, 2019): 307–10. http://dx.doi.org/10.1177/1474474019886838.
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There is a long history of collaboration between artists and geographers, with creative forms of research and dissemination of findings taking shape as artworks. In addition, there has been significant push from academia for researchers to maximise their research in ways that cater to, and engage with, broader public audiences. Art and creative practices tap into this through formats such as exhibitions, performances and participatory workshops which draw upon arts-based research methodologies with which geographers are becoming increasingly engaged. However, with this enthusiasm to adopt art practices for research dissemination purposes, tensions can arise in determining the levels of collaboration and authorship between artists and geographers, especially when the artist is employed as a research assistant on the project. In this ‘In Practice’ article, we explore the tensions and challenges that creative collaborations produce with respect to copyright and authorship, specialist skills and the delicate balance of doing creative research as part of a research team. We argue that geographers and artists need to address these issues from the outset and revisit them throughout the research process, and we offer some suggestions for how art–geography research collaborations might best be negotiated.
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Podstawka, Marian, and Agnieszka Deresz. "Ocena skutków zmian dotyczących stosowania kosztów uzyskania przychodów przez twórców, artystów, pracowników naukowych i dziennikarzy." Zeszyty Naukowe SGGW - Ekonomika i Organizacja Gospodarki Żywnościowej, no. 115 (September 30, 2016): 5–21. http://dx.doi.org/10.22630/eiogz.2016.115.29.
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The paper contains of evaluation of the results of changes in applying tax deductible expenses by artists, academic workers and journalists as copyrights and related rights-holders resulting from the limit of 42,764 PLN introduced on 1 January 2013. The research was based on: (i) the analysis of data from the Ministry of Finance regarding personal income tax settlement in 2012–2013, as well as the analysis of the data from POLTAX system from Urząd Skarbowy w Siedlcach (eng. Tax Office in Siedlce) regarding personal income tax settlement in 2012–2015 and (ii) the commentary of artists, academic workers and journalists regarding the abovementioned changes. The analysis indicated that changes in applying tax deductible revenues by the group of taxpayers in question hinders their revenues and has an anti-motivational influence on their professional activity.
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Tenenbaum, Barbara A. "Adela Breton: A Victorian Artist Amid Mexico's Ruins (review)." Americas 63, no. 3 (2007): 448–49. http://dx.doi.org/10.1353/tam.2007.0048.
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Pitol, André Luís Castilho. "“Ask me to send these photos to you”: a producao artistica de Alair Gomes nos Estados Unidos." ARS (São Paulo) 15, no. 31 (December 19, 2017): 103. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.133314.
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Antes de ser conhecida no Brasil, a produção fotográfica de Alair Gomes circulou nos anos 1970 e 1980 nos Estados Unidos, em publicações tanto do meio das artes quanto ligadas a uma homossociabilidade estadunidense, como são os casos das revistas Performance, Gay Sunshine, The Advocate e Advocate MEN, e do Artists Almanac. Este artigo analisa tal conjunto de trabalhos, apontando seus principais elementos visuais, como a montagem de múltiplas fotografias, e sinalizando o suporte impresso como um elemento-chave para a compreensão da poética do artista, especialmente a materialidade e a sequencialidade da imagem fotográfica na página impressa. Objetiva-se nesta análise incrementar as possibilidades interpretativas entre o fotógrafo e o cenário artístico contemporâneo, que até o momento permanece restrita ao aspecto homoerótico de sua obra.
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Aubrey, Jennifer Stevens, and Ashton Gerding. "The Cognitive Tax of Self-Objectification." Journal of Media Psychology 27, no. 1 (January 1, 2015): 22–32. http://dx.doi.org/10.1027/1864-1105/a000128.
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Objectification theory ( Fredrickson & Roberts, 1997 , Psychology of Women Quarterly, 21, 173–206) posits that a consequence of living in a sexually objectifying culture is self-objectification, a cognitively taxing preoccupation with one’s appearance. The present study investigated the effects of exposure to sexual objectification of female artists in music videos, on female emerging adults’ self-objectification and their ability to cognitively process subsequent television commercials. Results indicated that exposure to music videos high in sexual objectification induced self-objectification and hindered participants’ subsequent performance in encoding visual information from commercials, but did not diminish participants’ ability to allocate resources to, or to recall factual information from, the commercials.
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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (April 2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.
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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.
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Estella Noriega, Ignacio. "Quitarse el peso de la historia: Isidoro Valcárcel Medina y su «2000 d. de J. C»." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 26 (July 2, 2016): 113. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016261419.
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Quitarse el peso de la historia: Isidoro Valcárcel Medina y su 2000 d. de J. CEste artículo propone una lectura de 2000 d. de J. C. (2001), uno de los trabajos más enigmáticos del Premio Nacional de Bellas Artes (2007) y Premio Velázquez (2015) Isidoro Valcárcel Medina. Cada una de las páginas del libro aborda un año en el devenir histórico hasta el año 2000; pero en vez de exponer los grandes eventos de la historia, se concentra en los hechos más banales y prácticamente anecdóticos que son narrados de forma tal que parecen rayar lo improbable. Los diferentes modelos historiográficos de contar la historia en los que se podría haber basado Medina y sus implicaciones, la economía del conocimiento, la actitud ante el pasado y el papel de la historia como constructora de la subjetividad nacional en la cultura española contemporánea, son analizados en el artículo para contextualizar esta obra de Medina.Palabras clave: arte contemporáneo, libros de artista, Isidoro Valcárcel Medina, 2000 d. de J. C., historiografía contemporánea, performance, políticas de la memoria y de la historia Lifting the burden of history: Isidoro Valcárcel Medina and his 2000 d. de J. C.This essay aims at contextualizing 2000 d. de J. C. (2001), one of the most intricate art-books by the awardee of both the Premio Nacional de Bellas Artes (2015) and the Velázquez (2007) art prizes, Isidoro Valcárcel Medina. Every page that composes this book contains what at first sight would appear to be a historical account on every year until 2000. A closer look shows that, in reality, the content of each page focuses on banal events, almost anecdotic acts that occurred on each year. Instead of using the prototypical historical discourse, the narrative style is always on the edge of falling into the unconceivable or even the inaccuracy. Different historiographical schools that might have influenced the artist and their implications, the economy of knowledge, the collective attitude towards the past and the history’s ideological product —building national subjectivity at least in Spain— will be the main areas of interest through which this essay will contextualize Medina’s work.Key words: contemporary art, artists’ books, Isidoro Valcárcel Medina, 2000 d. de J. C., contemporary historiography, performance, memory and history politics.Lifting the burden of history: Isidoro Valcárcel Medina and his «2.000 D. DE J.C»Abstract:This essay aims at contextualizing «2.000 d. de J.C.» (2001), one of the most intricate art-books by the awardee of both the Premio Nacional de Bellas Artes (2015) and the Velázquez (2007) art prizes, Isidoro Valcárcel Medina. Every page that composes this book contains what at first sight would appear to be a historical account on every year until 2000. A closer look shows that, in reality, the content of each page focuses on banal events, almost anecdotic acts that occurred on each year. Instead of using the prototypical historical discourse, the narrative style is always on the edge of falling into the unconceivable or even the inaccuracy. Different historiographical schools that might have influenced the artist and their implications, the economy of knowledge, the collective attitude towards the past and the history’s ideological product —building national subjectivity at least in Spain— will be the main areas of interest through which this essay will contextualize Medina’s work.Key words: contemporary art, artists’ books, Isidoro Valcárcel Medina, «2.000 d. de J.C.», contemporary historiography, performance, memory and history politics.
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Cholodenko, Alan. "El animador como artista, el artista como animador. Una recapitulación." Con A de animación, no. 10 (March 23, 2020): 10. http://dx.doi.org/10.4995/caa.2020.13271.
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<p>Alan Cholodenko (Nueva Jersey, 1940) no solo es uno de los teóricos más importantes de la animación, sino que ha hecho de la animación una forma de entender la vida. No hay arte sin ánima, sin deseo de insuflar vida; ni hay animación que no sea, en el fondo, ‘lifedeath’, vida/muerte, (re)animación. Con un pensamiento de corte postestructuralista, seguidor de sus mentores Jean Baudrillard y Jacques Derrida, Alan Cholodenko ha construido una sólida filosofía de la animación cuyo centro es el ‘aparato animático’ (‘the animatic apparatus’), un término esencial para comprender la revolución que implica las tecnologías de la imagen que vertebran la ciencia, la cultura y la sociedad actuales. En “El animador como artista, el artista como animador”, un artículo tan personal como penetrante, se expone el eje fundamental de su pensamiento en torno al dibujo como gesto seductor y deconstructivo.</p>
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Crampton, Anne, and Cynthia Lewis. "Artists as catalysts: the ethical and political possibilities of teaching artists in literacy classrooms." English Teaching: Practice & Critique 19, no. 4 (July 16, 2020): 447–62. http://dx.doi.org/10.1108/etpc-11-2019-0154.
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Purpose This study aims to discuss the ethical and political possibilities offered by the presence of teaching artists (TAs) and visual artwork in racially and culturally diverse high school literacy (English Language Arts) classrooms. Design/methodology/approach This study explores episodes from two separate ethnographic studies that were conducted in one teacher’s critical literacy classroom across a span of several years. This study uses a transliteracies approach (Stornaiulo et al., 2017) to think about “meaning-making at the intersection of human subjects and materials” (Kontovourki et al., 2019); the study also draws on critical scholarship on art and making (Ngo et al., 2017; Vossoughi et al., 2016). The TA, along with the materials and processes of artmaking, decentered the teacher and literacy itself, inviting in new social realities. Findings TAs’ collective interpretation of existing artwork and construction of new works made visible how both human and nonhuman bodies co-produced “new ways of feeling and being with others” (Zembylas, 2017, p. 402). This study views these artists as catalysts capable of provoking, or productively disrupting, the everyday practices of classrooms. Social implications Both studies demonstrated new ways of feeling, being and thinking about difference, bringing to the forefront momentary possibilities and impossibilities of complex human and nonhuman intra-actions. The provocations flowing from the visual artwork and the dialogue swirling around the work presented opportunities for emergent and unexpected experiences of literacy learning. Originality/value This work is valuable in exploring the boundaries of literacy learning with the serious inclusion of visual art in an English classroom. When the TAs guided both interpretation and production of artwork, they affected and were affected by the becoming happening in the classroom. This study suggests how teaching bodies, students and artwork pushed the transformative potential of everyday school settings.
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Maroto, David. "La novela de artista." Revista SOBRE 3 (June 29, 2017): 167–70. http://dx.doi.org/10.30827/6230.
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Aunque ha habido artistas que han escrito novelas desde al menos los tiempos de William Morris, muy poco se sabe sobre ellas. Carl Andre, AA Bronson, Giorgio de Chirico, Salvador Dalí, Yayoi Kusama, Francis Picabia, Richard Prince y Andy Warhol son algunos ejemplos de artistas conocidos cuyas novelas han sido olvidadas o simplemente ignoradas. Hasta la fecha no existe ningún estudio, teoría o historia de tal práctica que nos dé una idea aproximada de cuántas novelas de este tipo existen, cuándo y dónde fueron publicadas y, ante todo, cuál es la razón por la cual un artista visual decide escribir una novela.
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Zakharova, Anna, and Sofia Sverdlova. "Original wall paintings at the church of the Saviour in Chvabiani (Upper Svaneti, Georgia) and Byzantine art at the turn of the tenth to eleventh centuries." Zograf, no. 39 (2015): 11–23. http://dx.doi.org/10.2298/zog1539011z.
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The article deals with a little known ensemble of wall paintings at the Church of the Saviour in Chvabiani, Upper Svaneti, Georgia. The initial decoration of the church dated to 978- 1001 has survived mainly in the apse. The badly preserved Theophany in the conch attracted the attention of scholars who analyzed its iconography. The Apostles in the lower zone, however, were considered to be repainted at a later date. Our examination of these wall paintings revealed no traces of later additions. Through the analysis of technique and style we aim to prove that the both compositions belong to the turn of the tenth to eleventh century. These wall paintings show unusually high quality and close affinities with Byzantine art of this period. In our view, they could be a work of a visiting artist, probably a Georgian trained at some major Byzantine artistic center. He may well have been among the artists working on wall paintings at the cathedrals built and decorated by order of kings and church hierarchs during the late tenth to early eleventh centuries, in Tao-Klarjeti or other lands of the Georgian kingdom still under formation.
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Ladeira, Marcillene. "O Múltiplo como Argumento Poético em Processos Criativos." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 10 (May 27, 2021): 80. http://dx.doi.org/10.18542/arteriais.v6i10.10578.
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ResumoO texto circunstancia o recorte de uma fundamentação teórico-prática na qual a palavra-imagem múltiplo é instaurada como um dos argumentos poéticos empregado nas obras autorais da artista-pesquisadora Marcillene Ladeira. Como metodologia, utiliza-se o mergulho histórico, tendo, neste transcurso, a gravura como ponto de partida – pois a esta linguagem, conforme consenso à falta de pesquisadores, originalmente reserva tal conceituação –, bem como a investidura sobre estratégias contemporâneas de criação, enfatizando, especialmente, a imagem figurativa, artistas e obras. Sustenta-se que o múltiplo – entendido enquanto possibilidade de reprodução “numa espécie de linha de montagem” – permitiu estabelecer diálogos profícuos de pensamento. Em uma leitura de aproximação com a Pop, mas em envergadura diferenciada, as obras em discurso transitam do imaginário do consumo para o pós-consumo, cuja poética se sustenta por três conceitos operacionais: “liquidez”, “respeito a natureza” e “transitoriedade” enquanto seres viventes. As relações dialógicas estabelecidas no lugar da exposição também são evidenciadas como estratégia pessoal de produção e singularidade deste fazer, sobre a égide da interfase: múltiplo-lugar-poética.AbstractThe text provides a clip of a theoretical-practical foundation in which the multiple word-image has established as one of the poetic arguments used in the authorial works of the artist-researcher Marcillene Ladeira. By methodology, the historical diving is used, to take this course, the engrave as a starting point – because this language, according to a consensus with abundance of researchers, originally reserves this concept –, as well as the investiture on contemporary strategies of creation, emphasizing especially the figurative image, artists and works. It has maintained the multiple - understood as the possibility of reproduction "in an assembly line type" - allowed establishing a fruitful dialogue of thinking. In a reading of rapprochement with Pop, but in a different wingspan, the discourse works move from the imaginary of consumption to post-consumption, whose poetics is supported by three key operational concepts: “liquidity”, “respect for nature” and “transience” as living beings. The dialogical relations established in the place of the exhibition are also evidenced like a personal production strategy and singularity of this doing, under the aegis of the interphase: multiple-place-poetics.
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Montealegre, Samuel. "Autonomía crítica del artista." Illapa Mana Tukukuq, no. 5 (October 27, 2017): 63–68. http://dx.doi.org/10.31381/illapa.v0i5.1090.
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Dando por sentado que autonomía crítica del artista no quiere decir utilización social del objeto de arte y posible colaboración de los artistas en la creación y administración de instituciones organizadas con tal fin, voy a afrontar un tema en el cual se halla implícita una posición polémica hacia la crítica, una separación entre artista y crítica que se podría considerar saludable por diferentes motivos. Comienzo entonces con observaciones sobre la relación artista-crítico que nos llevarán a considerarla en otros términos, ya que algunos de nosotros permanecimos ajenos a dicho conflicto, y a volver, al mismo tiempo, la atención hacia cosas más fundamentales. Me parece que esa ruptura es una astucia de ciertos artistas que han vivido como saprofitas en simbiosis con la crítica y que hubieran querido, sin embargo, seguir siendo objeto de los conocimientos de una sociedad alienada que ahora analizaré.
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Manthorne, Katherine E. "Esther Pasztory. Jean-Frédéric Waldeck: Artist of Exotic Mexico - Jean-Prédéric Waldeck: Artist of Exotic Mexico. By Esther Pasztory. Albuquerque: University of New Mexico Press, 2011. Pp. xvii, 95. Preface. Notes. Bibliography. Index. $55.00 cloth." Americas 69, no. 2 (October 2012): 271–72. http://dx.doi.org/10.1353/tam.2012.0085.
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Peterson, Jeanette Favrot. "Creating the Virgin of Guadalupe: The Cloth, the Artist, and Sources in Sixteenth-Century New Spain." Americas 61, no. 4 (April 2005): 571–610. http://dx.doi.org/10.1353/tam.2005.0091.
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It was in 1531 that, according to the apparition legend first recorded over a hundred years later in 1648, Juan Diego’s visionary experience of the Virgin of Guadalupe was miraculously mapped onto his tilma (tilmatli in Nahuatl) or woven cloak. This painted cloth, hereafter referred to as the tilma image, is said to be the same relic venerated today in the basilica of the Virgin of Guadalupe in Mexico City (fig. 1). However, no sacred image is invented from whole cloth, to use a highly appropriate metaphor here, and the Mexican Virgin of Guadalupe is no exception. Moreover, its very materiality makes it vulnerable to the passage of time, the laws of physics and human intervention. As an object of human craft produced post-Conquest, it has a traceable genealogy within the combustible mix of art modes, mixed media and theological tracts found circulating in early colonial New Spain.
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Richards, Pamela Spence. "The Red Pencil: Artists, Scholars and Censors in the Ussr. Marianna Tax Choldin , Maurice Friedberg." Library Quarterly 61, no. 1 (January 1991): 114–15. http://dx.doi.org/10.1086/602316.
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Timms, Edward. "Combustion or Incineration? Notes on English Translations of Holocaust-related Writings by W. G. Sebald." Translation and Literature 23, no. 2 (July 2014): 210–21. http://dx.doi.org/10.3366/tal.2014.0151.
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This paper examines certain discrepancies between the German originals and the English translations of three Holocaust-related works by W. G. Sebald: The Emigrants, The Rings of Saturn, and Vertigo. The process of Anglicization is shown to involve tonal transformations. Attention is also drawn to variations in the use of the textually embedded illustrations that form such a distinctive feature of Sebald's narrative strategy, for example the omission from The Emigrants of a chalk drawing by the refugee artist Frank Auerbach that was featured in the German original, Die Ausgewanderten. This raises further questions about an aesthetic of hybridity that not only combines words with images, but transforms real-life originals into quasi-fictional characters.
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Andrade, Thainan Noronha de. "A CONCEPÇÃO MÍSTICA DE IMAGEM EM FRANCISCO DE HOLANDA * THE MYSTICAL CONCEPTION OF IMAGE IN FRANCISCO DE HOLANDA." História e Cultura 8, no. 2 (December 7, 2019): 247. http://dx.doi.org/10.18223/hiscult.v8i2.2667.
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Francisco de Holanda (1517-1584), artista e teórico de arte português, se destaca como uma figura de grande relevância na cultura do século XVI, tendo sido o primeiro tratadista europeu a elaborar uma sistematização da operação artística de fundamentação neoplatônica, influência que se estende por sua produção plástica. O seguinte artigo tem o propósito de discutir, dentre os diversos aspectos da obra holandiana, a concepção de imagem expressa em seus escritos e sua produção pictórica, identificando algumas de suas fontes conceituais. Tal iniciativa visa contribuir, em sentido amplo, para o estudo das relações entre a filosofia, religião e a arte; e em sentido estrito, para a compreensão da obra de Francisco de Holanda e da cultura artística do século XVI.*Francisco de Holanda (1517-1584), Portuguese artist and art theoretician, stands out as an important figure in the 16th century culture, being the first European writer to elaborate a Neoplatonic based systematization of the artistic operation, influence that spreads to his plastic production. The following paper aims to discuss, among several aspects of the holandian work, the conception of image expressed in his writings and his pictorial production, identifying some of his theoretical sources. Such initiative aims to contribute, in a broad sense, to the study of the relations among philosophy, religion and art; and, in a strict sense, to the comprehension of Francisco de Holanda’s work and the artistic culture of the 16th century.
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Sepp, Hans Rainer. "El Greco: Laocoonte." Investigaciones Fenomenológicas, no. 11 (January 29, 2021): 17. http://dx.doi.org/10.5944/rif.11.2014.29549.
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En este artículo, Hans Rainer Sepp estudia el cuadro de El Greco, Laocoonte, pasando desde la descripción puramente formal del cuadro (análisis de capas, juegos entre naturaleza, ciudad, cielo y Laocoonte y sus hijos) y el análisis simbólico del mismo (anticipación de la caída de Troya) hasta el análisis fenomenológico del conjunto pictórico. Análisis que reflejará no sólo la realidad de un mundo cambiante que se mueve entre el todo y la nada sino también la presencia del autor dentro del cuadro, creando un mundo aparente, una Troya toledana, que refleja el drama del artista, hostigado por el compromiso ético y la alternativa de la huída. Por ello, tal vez Laocoonte pueda ser visto como la respuesta de El Greco ante el dilema de la obra de arte. In this paper, Hans Rainer Sepp studies El Greco's Laocoon, from the purely formal description (layer analysis, games between nature, city, sky and Laocoon and his sons) and symbolic analysis (anticipation of the fall of Troy) to the phenomenological analysis of the pictorial whole. Analysis that highlights not only the reality of a changing world that moves between all and nothing, but the author's presence in the picture, creating a seeming world, a Troy-Toledo, and reflecting the drama of the artist, harassed by the ethical commitment and the alternative of the escape. Perhaps Laocoon can be seen as El Greco's answer to the dilemma of art.
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Diniz, Clauder. "Da Mesopotâmia ao Brasil." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (June 26, 2017): 339–53. http://dx.doi.org/10.26512/vis.v16i1.20507.
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Fayard, Anne-Laure, and Aileen Wilson. "building_space_with_words: An Interactive Multimedia Installation Exploring the Relationship between Physical and Virtual Space." Leonardo 43, no. 3 (June 2010): 257–62. http://dx.doi.org/10.1162/leon.2010.43.3.257.
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The authors, a social scientist and a visual artist, collaborated to produce building_space_with_words, an interactive multimedia installation. The project investigated the relationship between physical and virtual space and more specifically what happens when the physical properties of space become intangible and discourse becomes the main material. Drawing on studies of organizational space and of on-line communities, the authors created an environment that materialized virtual and physical interactions. This paper describes the elements—the maze, the sound, the tag wall, the tag journey and the blog—that created the installation and the concepts that inspired the work.
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Da Silva Dezidério, Gabriela. "Legitimação em arte afro-brasileira." Revista Ensaios 8 (December 25, 2015): 73. http://dx.doi.org/10.22409/re.v8i0.1756.
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Tornar-se artista e cativar o reconhecimento enquanto tal são processos que envolvem muito mais do que vontade e dedicação pessoal. Sendo a arte de natureza social e por isso sempre atrelada a aspectos contextuais e paradigmas que mudam de tempos em tempos, este trabalho pretende analisar através de fontes bibliográficas o que determina o status de artista no contexto específico da arte afro-brasileira, dialogando com pensamentos de Norbert Elias, Howard Becker e Pierre Bourdieu.
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Cid Hidalgo, Juan D. "Larco: museo, memoria, déjà vu." Literatura: teoría, historia, crítica 21, no. 1 (January 1, 2019): 225–52. http://dx.doi.org/10.15446/lthc.v21n1.74817.
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El presente trabajo intenta reparar sobre la imagen del museo en una novela breve del laureado escritor chileno José Donoso. Naturaleza muerta con cachimba (1990) nos permite estudiar y reconocer de qué manera el carácter memorial del ejercicio museal resignifica no solo los objetos que se incorporan dentro de sus límites, sino también los enunciados, los discursos e, inclusive, las prácticas artísticas, las cuales van desplegándose de tal modo que se constituyen en sistema. Los déjà vu que sufre Marcos Ruíz en el Museo Larco tienen una especial importancia en el relato puesto que desencadenan la notable transformación del personaje, quien pasa de ser un ignorante y tradicional gestor cultural a un gallardo y progresista crítico de arte, cuya cara de “gato empachado con ese bigotito ridículo” es ahora la de un célebre curador y protector del legado de un artista tan singular como desconocido.
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Prudente, Aline Barbosa da Cruz. "Elsa Schiaparelli e o Mundo da Arte." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 11, no. 24 (December 5, 2018): 131–45. http://dx.doi.org/10.26563/dobras.v11i24.777.
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Este artigo pretende discorrer sobre a atuação da estilista Elsa Schiaparelli dentro do mundo da arte, mais especificamente no movimento surrealista, argumentando que sua atuação em tal contexto é maior do que grandes obras da história da arte e da moda demonstram. Para isso, fazemos uma revisão bibliográfica para descrever dois contextos nos quais a estilista trabalha em conjunto com o artista Salvador Dalí, em que ela cria imagens surrealistas que inspiram não só o artista, mas também o grupo surrealista.
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Grube, Katherine. "Labouring bodies: Big Tail Elephants in 1990s Guangzhou." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 201–19. http://dx.doi.org/10.1386/jcca_00026_1.
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Big Tail Elephant Working Group (daweixiang gongzuo zu, hereafter BTE) is synonymous with the city of Guangzhou and the surrounding Pearl River Delta. Formed in 1991, the group is most closely associated with the artists Chen Shaoxiong (1962–2016), Liang Juhui (1959–2006), Lin Yilin (1964–) and Xu Tan (1957–). This article re-examines BTE artists’ practice from 1991 to 1994 and argues that the artist’s performing body provides the critical lens through which to understand BTE artists’ work during this time. Acknowledging that the experience of BTE’s work was primarily physical, embodied and performative allows for an important reconsideration of not only their works but also the predominant ways in which the global capitalist ‘turn’ in the 1990’s China has been discussed in art historical writing. This article argues that BTE artists were primarily interested in urban forms for what they signified about commercialization as a form of a new political rationality after 1989 and suggests that BTE artists were ultimately concerned with commodification’s transformation of society and of ideas of cultural value.
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Lee, Jui-Hsiang, and Chang-Franw Lee. "Extension of TAM by Perceived Interactivity to Understand Usage Behaviors on ACG Social Media Sites." Sustainability 11, no. 20 (October 16, 2019): 5723. http://dx.doi.org/10.3390/su11205723.
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Social media sites, as participatory artistic online platforms, have become popular spaces for amateur artists to exchange the creative artefacts of animation, comics and games (ACG) with others. Online social media platforms for ACG amateur artists offer interactive features for communication, information exchange and distance learning to facilitate connections among amateur artists worldwide. However, not too much of the available research has regarded investigating the determinative factors of ACG users’ behavior on social media. By integrating aspects of perceived interactivity and users’ willingness to exchange information, this study formulated a concept model to investigate the prerequisite factors of users’ “continuance use intention” on ACG social media sites. The snowballing method was used to recruit 367 participants who had experience in creating ACG works and using more than two ACG social media sites from the Japanese sub-cultural communities at a university in Northern Taiwan. The results of this study provided empirical evidence supporting perceived interactivity as a prerequisite factor for extending the technology acceptance model (TAM), perceiving interactivity, and supporting indicators such as continuance use intentions and the willingness to exchange information on ACG social media sites.
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Matheron, Aurelie. "Writing on the wall: Mathieu Tremblin’s ‘Tag Clouds’ and the politics of cultural assimilation." French Cultural Studies 30, no. 4 (October 12, 2019): 317–34. http://dx.doi.org/10.1177/0957155819861035.
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This article explores how French street artist Mathieu Tremblin’s Tag Clouds satirises mainstream French media’s and right-wing politicians’ representations of the French banlieue. As Tag Clouds erases tags and writes over them in a more legible font, I argue that it performs visual sanitisation to satirise the politics and aesthetics of French visual culture affecting urban settings and banlieues. Politicians’ and media’s amalgamation of banlieue with immigration, violence and poverty extends to banlieue visual culture. Tag Clouds’ erasure of tags, I argue, challenges how French visual culture relies on an ‘economy of sameness’ (Brown, 2006) and the formatting of different cultural, racial and political identities into a unique, transparent model of citizenship. Tag Clouds reveals how sameness affects banlieue environments and visual culture. Ultimately, I demonstrate how Tag Clouds ironically calls for recognising the taggers’ ‘right to opacity’ (Glissant, 1990) and their right to refuse to conform to mainstream French visual culture norms.
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Benavente Morales, Carolina. "La máquina lepidóptera." Index, revista de arte contemporáneo, no. 09 (July 1, 2020): 42–48. http://dx.doi.org/10.26807/cav.v0i09.310.
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En este artículo se aborda la obra reciente de la artista visual chilena Gabriela Carmona Slier en tanto máquina estética. Por su particularidad, esta obra es abordada desde la perspectiva esquizoanalítica de Félix Guattari y Gilles Deleuze. Se discute cómo la artista contribuye a deconstruir y, al mismo tiempo, a reproductivizar el arquetipo de la mujer-mariposa, al desplazar su atención hacia el proceso metamórfico del lepidóptero. En la conexión de la máquina artística, la máquina feminista y la máquina decolonial, la artista produce un devenir insecto a la vez alterno y menor que permite agenciar una transformación de la mujer. Por medio de una máquina estética plástica y performativa, el cuerpo de la artista se hace cuerpo con otros cuerpos femeninos. Así, genera una poética de repliegue y despliegue que sugiere que la mutación del insecto-mujer en la interioridad de su crisálida es tan crucial como el aleteo de imago o mariposa que la suele opacar.
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Macazaga Lanas, Leire. "La incursión de Bonifacio Alfonso en el grabado y su vinculación con la denominada Escuela de Cuenca." Ars Bilduma, no. 9 (September 19, 2019): 155–67. http://dx.doi.org/10.1387/ars-bilduma.17200.
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El presente artículo analiza la incursión de Bonifacio Alfonso en el grabado gracias a su relación con Fernando Zóbel y su vinculación al Museo de Arte Abstracto Español de Cuenca. En la ciudad conquense el artista vizcaíno tiene la oportunidad de adentrarse en esta disciplina imposible de practicar en el País Vasco debido a inexistencia de talleres para tal fin. Daremos cuenta de cómo se adentra en el grabado calcográfico así como de los diferentes talleres a los que acude para perfeccionar dichas técnicas llegando a convertirse en un auténtico artista-grabador.
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Cansi, Lislaine Sirsi. "Arte e História: uma aproximação que perpassa a categoria “território” e a obra de Tarsila." Revista Sítio Novo 4, no. 4 (October 1, 2020): 46. http://dx.doi.org/10.47236/2594-7036.2020.v4.i4.46-56p.
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<p class="CorpoA">O presente texto busca aproximar o campo da Arte e o campo da História, apontando para a análise iconográfica como possibilidade de pesquisa. Tal aproximação é proposta a partir da obra de uma artista consagrada na História da Arte, a artista Tarsila do Amaral, especificamente naquilo que concerne às questões de seu “território”. Objetiva-se pensar sobre o espaço da mulher na História da Arte, propriamente como uma mulher torna-se artista e o que ela tem a dizer com a sua obra. As obras escolhidas para esse artigo são <em>A Negra</em> (1923), <em>Morro da favela</em> (1924) e <em>A Lua</em> (1928), as quais representam três fases da produção pictórica da artista. Como fundamentação teórico-metodológica será realizada uma revisão bibliográfica acerca do conceito de “território”, questões do campo da História, leitura de imagem e sobre a biografia e obra de Tarsila. Ao fim, verificou-se que o acesso à educação e reproduções feitas por Tarsila despertaram o desejo de ser artista e que as três pinturas analisadas são permeadas pelo conceito de “território”.</p>
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Chakraborty, Sudipta. "Impact and Challenges of GST in India with Reference to Media & Entertainment Sector – An Insight." Journal of University of Shanghai for Science and Technology 23, no. 08 (August 12, 2021): 366–82. http://dx.doi.org/10.51201/jusst/21/08404.
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The biggest tax reform since independence i.e., Goods and Services Tax (GST) has now become a part of Indian economy from 1st July, 2017. It is a comprehensive indirect tax on manufactures, sales and consumption of goods and services; thereby subsuming almost all other indirect taxes that were in existence throughout India before its implementation and also eliminating the cascading effects thereby. GST was introduced just after demonetisation in November, 2016 and has changed the whole scenario of indirect tax system in India. It aims at boosting overall growth of Indian economy by integrating all indirect taxes into one. The media and entertainment (M&E) industry in India is one of the fastest growing sectors and has outperformed expectations in recent years. With the expansion of the economy, the sector has accelerated its growth. The sector spreads into big and small screens, media, events, exhibitions, amusement facilities and gaming zones, with various combinations of offline and online delivery systems. With the advent of GST, things have become relatively simpler for the entertainment industry as it is subjected to only one tax and permissible local body taxes. One of the major changes has been the subsuming of Entertainment Tax under GST. Earlier, prior to implementation of GST, the rate of Entertainment Tax for the film industry varied from state to state, ranging from 15% to 110%. Introduction of GST has stabilised the rate variance and provided a uniform market across the nation. In this study, we have also made an attempt to study the pre and post GST effects on different activities of the media and entertainment industry like exhibition of movies, food and beverages sold at movie halls, services rendered by artists and other technician, sponsorship and brand promotion and advertisement. Thus, this paper is an endeavour to understand the impact of GST on media and entertainment sector and aims at pointing out the challenges of the same under the present structure and provide some way outs to it.
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Rodríguez, Sagrario Martín. "DIY: Arte, Diseño y Tecnología. Estrategia crítica de colaboración comunitaria offline y online." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, no. 1 (January 1, 2014): 181–211. http://dx.doi.org/10.7195/ri14.v12i1.653.
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El objetivo del artículo es analizar las diferentes prácticas colaborativas offline y online que de forma emergente han surgido bajo la cultura denominada DIY (do it yourself) o “hazlo tú mismo”, vinculadas al arte y al diseño.Para ello se exploran los distintos factores sociales, culturales y estéticos que propiciaron el cambio de tendencia, orientada a dar voz a un público cada vez más amplio. De tal manera que diseñador/artista y usuario establecen una relación de colaboración y participación creativa.Después, la atención recae sobre las distintas prácticas que se vehiculan a través y en la Red, estableciendo una serie de tipologías según el uso de las TICs. Y también, de cuáles han sido sus estrategias para abogar por una postura crítica, activa y comunitaria. Finalmente, se ha concluido puntualizando la potencialidad de la aplicación de la ética DIY a diferentes ámbitos y subrayando algunos aciertos e inconvenientes de los proyectos analizados. ABSTRACTThe aim of this paper is to analyze the different collaborative practices, offline and online, that have pop up under the DIY (do it yourself) culture linked to art and design. To that end, we explore the diverse social, cultural and aesthetic factors that favoured the trend change, oriented towards giving voice to a wider public. Designer/artist and user establish a creative cooperation and participation. After that, the attention is focused on the diverse practices that are transported through and in the Network, establishing typologies according to the ICT. And also what have been their strategies to enhance for a critical, active, and community attitude.To conclude, we detail the potential application of the DIY aesthetic to other fields, emphasizing possible pros and cons of the analyzed projects.
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Schreiber, H. L. "B. Tag , Der K�rperverletzungstatbestand im Spannungsfeld zwischen Patientenautonomie und Lex artis." MedR Medizinrecht 21, no. 3 (March 1, 2003): 1. http://dx.doi.org/10.1007/s003500200793.
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Ruíz Solórzano, Jaime. "La Obra del artista Jaime López Correa." Paideia Surcolombiana 2, no. 19 (December 1, 2014): 15. http://dx.doi.org/10.25054/01240307.1162.
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El presente artículo constituye un avance del proyecto de investigación titulado "Jaime López Correa. Seis miradas para el abordaje de su obra en el cual se ha aplicado la metodología de la investigación histórica, basada en el análisis de fuentes primarias como catálogos, periódicos, correspondencia e información oral; igualmente, en fuentes secundarias que se encuentran en libros, revistas y páginas electrónicas.El proyecto se encamina a difundir la vida y obra del maestro Jaime López Correa y a dar a conocer la colección perteneciente al pintor Guillermo Garzón Romero, conformada por 50 obras y la Colección de la familia Arboleda Muñoz y sus descendientes compuestas por 100 trabajos originales. La mayoría de ellas desconocidas por los diversos públicos regionales y nacionales.La investigación también tiene la intencionalidad de compilar, tanto los textos críticos producidos a lo largo de la trayectoria artística del artista como las entrevistas concedidas por el maestro Jaime López Correa. Este propósito es relevante en la medida que se establece un acervo documental para realizar futuras investigaciones sobre tan connotado creador.El artículo abarca la introducción; el análisis del desarrollo de obra del artista, comparando las temáticas, contenidos, formas y técnicas de las obras creadas entre 1948 y 2006; además de una breve mención de la obra pública más importantes de Jaime López Correa, que se encuentra en la ciudad de Neiva.
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McCracken, Ellen. "Fray Angélico Chávez and the Colonial Southwest: Historiography and Rematerialization." Americas 72, no. 4 (October 2015): 529–47. http://dx.doi.org/10.1017/tam.2015.66.
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In the summer of 1924, townspeople recount, 14-year-old Manuel Chávez built models of colonial New Mexico mission churches in the dirt outside Our Lady of Guadalupe Church in the village of Peña Blanca. He was staying with the Franciscan friars after expressing his desire to enter the seminary, where he would become the first native New Mexico Hispano to be ordained a Franciscan priest in the centuries since the Spanish colonization. Still a boy, but one who was about to embark on a life-changing path, the small missions he playfully constructed in the dirt and staunchly protected foretold the strategy of rematerialization that would characterize his future: he would become a pioneering Franciscan historian who organized and interpreted the vast collection of Catholic Church documents from the colonial period in New Mexico through the twentieth century. The author of two dozen books and over 600 shorter works, Fray Angélico Chávez (1910–1996) was a visual artist, literary figure, historian, genealogist, translator, and church restorer—one of New Mexico's foremost twentieth-century intellectuals.
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Borucki, Alex. "From Colonial Performers to Actors of ‘American Liberty’: Black Artists in Bourbon and Revolutionary Río de la Plata." Americas 75, no. 2 (March 26, 2018): 261–89. http://dx.doi.org/10.1017/tam.2017.183.
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From the late eighteenth century through most of the nineteenth, Buenos Aires and Montevideo were hosts to a joint theatrical circuit characterized by the regular comings and goings of impresarios, artisans, musicians, and actors between the two cities. The military conflicts that shaped this period actually encouraged these connections, as they stimulated both exile and repatriation between one locale and the other. Africans, and particularly their Rioplatense descendants, were an integral part of popular entertainment circuits in Buenos Aires and Montevideo. Some of the first Argentinean historians of theater and music, among them Vicente Gesualdo and Teodoro Klein, were aware of this connection and included in their initial scholarship links that connect the history of free and enslaved Afro-descendants to the early theater of Río de la Plata.
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Khamidova, Shaxlo Shermatovna. "IN WESTERN CLASSICAL WORKS ACTIONAL INTERPRETATIONS (ON THE EXAMPLE OF THE ROLE OF HAMLET IN THE PLAY «HAMLET» BY HONORED ARTIST OF UZBEKISTAN TOKHIR SAIDOV)." Theoretical & Applied Science 97, no. 05 (May 30, 2021): 190–92. http://dx.doi.org/10.15863/tas.2021.05.97.39.
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Wolf, Holger C. "Anti-Tax Revolutions." Kyklos 49, no. 2 (May 1996): 119–26. http://dx.doi.org/10.1111/j.1467-6435.1996.tb01388.x.
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Rios de Carvalho Viana, Maria Isabel. "Da coleção à alegoria: a fragmentação e outras tendências da literatura brasileira contemporânea em Esquilos de Pavlov, de Laura Erber." Caligrama: Revista de Estudos Românicos 23, no. 2 (August 31, 2018): 217. http://dx.doi.org/10.17851/2238-3824.23.2.217-230.
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O objetivo deste artigo é analisar o romance Esquilos de Pavlov, da escritora e artista visual Laura Erber, com vistas a identificar algumas tendências da literatura brasileira contemporânea e mostrar de que forma a autora reúne fragmentos de sua coleção e cria, em um procedimento alegórico, uma metaficção influenciada pelo surrealismo para questionar o conceito de arte, a identidade do artista e as fronteiras da literatura. Para tal, a leitura da obra se fez a partir de teorias sobre a condição contemporânea da literatura brasileira bem como de textos de Benjamin (2006) que discutem o trabalho do colecionador e do alegorista.
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Xavier, Luana Lopes, and Nádia Maria Weber Santos. "LYGIA CLARK E JUNG: A RELAÇÃO OBRA-ESPECTADOR E O PROCESSO CRIATIVO." Revista Mosaico - Revista de História 13 (August 19, 2020): 13. http://dx.doi.org/10.18224/mos.v13i0.7537.
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O presente ensaio apresenta a relação obra-espectador na obra de Lygia Clark, artista brasileira contemporânea, à luz da Psicologia Analítica de Carl Gustav Jung, psiquiatra suíço. Nos interessa aqui, desenvolver conceitos fundamentais da perspectiva junguiana relacionando-os à problemática fundamental, a saber, o processo criativo como encontro do inconsciente da artista com o inconsciente do espectador. Para tal, nos detemos à noção de arquétipo de Jung a fim de tratar do simbólico na arte pelo viés das Performances culturais, ressaltando o sonho, a criação e a perpetuação de imagens construídas pelo homem em toda a sua existência. Nesse sentido, Lygia Clark e Jung aproximam-se no texto mediante a ideia de processo criativo como ato terapêutico, correlacionando o inconsciente coletivo às imagens criadas pela artista, entre o inconsciente dela e daquele que vivencia a obra.
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Inasius, Fany, Giri Darijanto, Engelwati Gani, and Gatot Soepriyanto. "Tax Compliance After the Implementation of Tax Amnesty in Indonesia." SAGE Open 10, no. 4 (October 2020): 215824402096879. http://dx.doi.org/10.1177/2158244020968793.
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The Slippery Slope Framework argues that taxpayers’ trust in government and their perceptions of government’s power explain the extent of their tax compliance. This study empirically examines such influences on taxpayers’ perceptions of tax compliance (either voluntary or enforced) in Indonesia after the implementation of a tax amnesty. In 2018, data were collected through a face-to-face questionnaire survey of 410 small business taxpayers and analyzed using a stepwise linear regression model. Trust in government was positively related to agreement with/support of voluntary tax compliance; however, perceptions of government’s power were only marginally significant. Neither trust in government nor perceptions of government’s power influenced taxpayers’ perceptions of enforced tax compliance. These findings partly support the Slippery Slope Framework. This study contributes to the literature on the influence of trust and power on voluntary or enforced tax compliance in developing countries, particularly Asia, after the implementation of a tax amnesty.
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Caldas, Yurgel Pantoja. "OCIDENTE/ORIENTE: A POÉTICA DE MAX MARTINS E O I CHING." Em Tese 6 (August 31, 2003): 173. http://dx.doi.org/10.17851/1982-0739.6.0.173-179.
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O presente trabalho busca um exame da obra poética do artista paraense Max Martins, especificamente acerca do livro Parater onde ir, a partir de sua relação com aspectos da cultura oriental. Tal exame focaliza as relações existentes entre o referido livro e o I Ching.
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Melo, Sandra. "Un análisis estético-homológico de un artista surrealista contemporâneo." Revista Geometria Gráfica 1, no. 1 (December 20, 2017): 61. http://dx.doi.org/10.51359/2595-0797.2017.236122.
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Este trabajo tiene como objetivo un análisis de la pintura de un artista contemporáneo. Marcos Carvalho encuentra en el surrealismo el lenguaje del arte para expresar su creatividad e ideas que según los principios de esta escuela explota el inconsciente, dando riendas sueltas a una efusión de imágenes presentes insólitamente en un mismo escenario. Podemos hablar del análisis de Almeida, Pinho y Melo (1984); França, Barboza y Melo (2003); Cruz y Cavalcanti (2009); Neves y Melo (2013), donde se busca un análisis de la presencia de la homología en obras de arte. Para realizar tal análisis haremos un pequeño histórico de Dalí y su obra; hablaremos del artista Marcos Carvalho, su formación y producción; dedicaremos algunos párrafos a la homología; enseñaremos el análisis estético-homológico de dos obras surrealistas del artista. Finalmente, presentaremos nuestras conclusiones donde subrayamos la presencia de la homología para equilibrio en la composición de la obra
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Acerbi, Patricia. "Brazil through French Eyes: A Nineteenth-Century Artist in the Tropics. By Ana Lucia Araujo. Albuquerque: University of New Mexico Press, 2015. Pp. 264. $55.00 cloth." Americas 75, no. 2 (April 2018): 428–29. http://dx.doi.org/10.1017/tam.2017.166.
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Arbex, Márcia. "Anémic Cinéma." Aletria: Revista de Estudos de Literatura 8 (December 31, 2001): 89. http://dx.doi.org/10.17851/2317-2096.8.0.89-98.
Full textAbstract:
Este trabalho apresenta uma experiência cinematográfica de vanguarda, Anémic cinema, realizada por Marcel Duchamp, e tem por objetivo demonstrar que tal experiência resulta de uma reflexão, aprofundada e subversiva ao mesmo tempo, sobre a linguagem, tendo o artista absorvido a poética de Mallarmé, Roussel e Brisset.