Relevant bibliographies by topics / Authenticité (art)

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

Academic literature on the topic 'Authenticité (art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Authenticité (art)"

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Scott, David A. "Art and Authenticity." Studies in Conservation 59, no. 5 (August 23, 2014): 350–54. http://dx.doi.org/10.1179/0039363014z.000000000173.

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Cahill, James, and Jerome Silbergeld. "Chinese Art and Authenticity." Bulletin of the American Academy of Arts and Sciences 55, no. 1 (2001): 17. http://dx.doi.org/10.2307/3824253.

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Fawcett, Trevor. "Art reproductions and authenticity." Art Libraries Journal 22, no. 2 (1997): 20–25. http://dx.doi.org/10.1017/s0307472200010385.

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Whatever their format, reproductions provide illusory experiences of art, but may count as ‘authentic’ if adequate to their purpose and the technical possibilities and expectations of their time. A reproduction seizes the original at one moment in its history, a fact that should be made clear in its captioning. Engraved and other graphic reproductions, being hand-made, were always subjective and idealising. The camera brought greater objectivity, but even modern colour photographs interpret and mislead. The digital image offers still greater potential for exact realisation of, and access to, works of art, but its ease of manipulation increases the risk of falsification. Reproductions also have a psychological existence as mental constructs. Art and its institutions depend on them, and allow them to create their own authenticity.
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Adkins, Jessica. "Authenticity in Anatomy Art." Journal of Medical Humanities 40, no. 1 (January 12, 2017): 117–38. http://dx.doi.org/10.1007/s10912-016-9431-3.

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Young, James O. "Art, authenticity and appropriation." Frontiers of Philosophy in China 1, no. 3 (September 2006): 455–76. http://dx.doi.org/10.1007/s11466-006-0019-2.

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Tarien Powell, Kersti. "John Banville: art and authenticity." Irish Studies Review 24, no. 2 (February 22, 2016): 253–54. http://dx.doi.org/10.1080/09670882.2016.1149143.

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Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (November 16, 2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.

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<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap. </p>
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Garbol, Tomasz. "Karol Wojtyła a nowoczesność." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 357–70. http://dx.doi.org/10.18290/rh.2068s-24.

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This article shows the relationship between the works of Karol Wojtyła / John Paul II and the heritage of modernist thought and art. The signs of such a relationship are the privileging of the language of art, the possibility of the counter-morality of art, and the ethics of authenticity. These relationships have been selected so as to refute the statement that the works of Karol Wojtyła were independent of the influences of modern aesthetics. Not only have the literary works of Karol Wojtyła / John Paul II been taken into consideration in this article, but also his philosophical and theological works, especially Person and Act and Letter to Artists. The conception of the counter-morality of art, as derived from Kant’s works, and Charles Taylor’s concept of the ethics of authenticity are the framework for this deliberation.
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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (January 26, 2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.
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Malik, Muhammad Imran, Marcus Liwicki, Andreas Dengel, and Bryan Found. "Man vs. Machine." Journal of Forensic Document Examination 24 (December 31, 2014): 21–35. http://dx.doi.org/10.31974/jfde24-21-35.

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Signatures have been used as a means to authenticate documents for centuries. From the outset, the focus of forensic examinations was to both objectively and subjectively establish whether they were genuine (written by the specimen author) or simulated (written by an imposter/forger). With the emergence of new computing technologies, additional objective examination techniques designed to determine the authenticity of questioned signatures became available. Although the opinions of Forensic Handwriting Examiners (FHEs) remain the most popular method of signature authenticity determinations, computer based techniques are attracting increasing interest within the forensic community. The question here is; which is better: man or machine? To address this question we focus on empirically comparing the performance of the two, on the same or similar material. The novelty of this work is that we have applied various state-of-the-art signature verification systems to questioned signature problems which had already been worked by FHEs and then performed a comparative analysis of the two. Purchase article for $10.
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Dissertations / Theses on the topic "Authenticité (art)"

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Bonzon, Catherine. "Enjeux sociaux, culturels et éducatifs de la pratique autonome des musiques amplifiées chez les adolescents." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20069.

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De nombreux jeunes « héritiers » aux pratiques culturelles diversifiées empruntent les nouveaux cursus d’apprentissage institutionnalisés des « musiques actuelles », d’autres en revanche, persistent à rester en marge, persuadés que l’esprit de contre-culture des années cinquante à soixante-quinze (du rock au punk) ou plus récemment de subculture spécifique au rap et aux musiques électroniques (house, techno…) ne sauraient suivre les chemins d’un enseignement formel et sous contrôle de l’adulte éducateur sans risquer de perdre leur âme et leur essence. C’est à ces adolescents que cette étude s’intéresse. Nous nous proposerons d’analyser les enjeux culturels, sociaux et éducatifs liés à leur pratique à travers leurs trajectoires, leurs intérêts et leurs stratégies par une approche articulant la théorie et le processus biographique. Nous appréhenderons les interactions qui se jouent en situation de pratique de la musique en groupe autonome et nous nous demanderons si cette dernière induit un « autre » mode de socialisation ou si elle participe encore à travers le refus des jeunes musiciens à entrer dans un système de scolarisation, à la désocialisation annoncée. Nous verrons que si les pratiques musicales issues du rock et de l’underground furent historiquement un moyen pour la jeunesse de s’opposer au monde adulte à travers la remise en question du modèle de la société de masse, elles participent aujourd’hui d’une esthétisation de la vie, d’une quête d’authenticité et d’identité à travers le groupe, autant que d’une appropriation du monde que l’on infiltrera plus qu’on ne le combattra en utilisant en particulier les nouveaux outils de communication. Cette étude décrit comment la pratique de groupe des musiques amplifiées pour peu qu’elle se déroule dans un cadre de jeu libre, peut influer sur le processus de formation identitaire de l’adolescent et permettre son inscription dans le monde social dans sa double dimension de verticalité (rapport à la tradition et à la socialisation primaire) et d’horizontalité (rapport à la culture générationnelle). Nous nous demanderons d’une part quelles sortes de compétences techniques et musicales, le fait de « jouer de la musique ensemble » permet d’élaborer et d’autre part quels sont les enjeux de l’expérience de cette émancipation intellectuelle et musicale. Cette recherche articule ainsi la dimension de singularité et d’universalité dans la construction de l’individu au regard de son expérience pragmatique de l’art
“Modern musics”, aesthetics with moving out lines excluded until today from the national musical training centers are for a short time put in the middle of a process of institutionalization with their becoming in the music schools and beyond that, in the “schoolish form” through their assimilation of customs, rites and codes although adapted to this new styles still pledge allegiance to a normative légitimation system, source of stipulated or prohibited behaviors. More and more young “heirs” with diversified cultural practices choose these degree courses for amateur or professional musicians, others on the other hand still stay cut off from the system. In this study, we will take an interest in those who develop their practices of “modern musics” out off formal schoolish educational surroundings and we suggest to analyze the cultural, social and educative stakes of the type(s) through their trajectories, interests and strategies out from the institutionalized and didactical form. We try to find through an ethno methodological approach which will allow us to understand as the interactions between the characters as the musical practices staid until today cut off the cultural legitimity, if these practices introduce “another socialization form”
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Bekkar, Anissa. "L'authenticité des oeuvres d'art." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAA022.

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C’est à partir du XIXème siècle, qui signe l’avènement de la conception romantique de l'artiste, que l'authenticité devient la qualité première de l’oeuvre d’art. Conditionnant la valeur de l’oeuvre sur les plans économique et artistique, l’authenticité apparaît toutefois comme difficile à définir dans la mesure où elle repose sur une réalité complexe. Elle est en outre mal aisée à prouver, l’incertitude étant le propre de l’histoire de l’art. Amené à composer avec ces contraintes, c’est principalement via l'erreur sur les qualités essentielles et le droit de la responsabilité civile que le droit des obligations appréhende la question de l’authenticité. Les solutions qu’il apporte, satisfaisantes en terme de protection des contractants, manquent toutefois de pertinence face aux nouvelles formes de création et à la réalité du travail de l’expert
As a consequence of the romantic conception of artists, the intense interest in authenticity of works of art is relatively recent. Being the key to the determination of both their economic and artistic values, authenticity is hard to define as it is based on a complex reality. It is also uneasy to prove, as art history remains uncertain in many aspects. As it is currently defined in french contract and tort law, authenticity is meant to ensure parties’ consent. However, this conception might not be relevant in the light of contemporary forms of art and art authentication
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Saint-Cricq, Frédéric. "L'architecture en mode mineur." Thesis, Montpellier 3, 2020. http://www.theses.fr/2020MON30007.

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La problématique de notre recherche trouve sa source dans les qualités sensibles des édifices que nous percevons mais ces qualités ne peuvent être attribuées à des concepts et des causes factuelles. Les mots ne peuvent circonscrire le sensible sous le régime de la signification et les concepts sont trop larges pour déterminer l’unicité d’un édifice ou d’un énoncé. Dans le mode majeur de la représentation, la pensée réfléchit des objets et des sujets déjà formés depuis lesquels les attributs sensibles sont signifiés. Mais ce mode majeur de la pensée ne peut saisir l’unicité d’un édifice ou de son énoncé. Cette unicité se réalise dans une occurrence génétique, des dynamiques sensibles et sémiotiques déterminant progressivement les qualités et les énoncés. Notre recherche s’attache à construire une théorie explicitant ces individuations dynamiques Pendant l’individuation d’un édifice, ce sont les variations de puissance sensibles et sémiotiques qui agencent progressivement les énoncés et les contenus sensibles. Toute individuation sollicite un autre mode de la pensée, le mode mineur des affects, qui permet grâce à son opérateur mental, l’intensité, de sentir la variation des puissances sensibles et sémiotiques, le devenir. Une théorie des affects ne peut se construire sans interroger les corps qui s’affectent mutuellement, leurs puissances, et nous obligent à redistribuer les différentes facultés de pensée et de leurs rapports aux passions et aux émotions que la rationalité n’a jamais complètement jugulées. L’affect en tant qu’idée adéquate des devenirs permet de sentir des singularités qui rythment le procès d’une œuvre sensible ou théorique
Our research is based on the discernible qualities of the constructions we perceive, but these qualities cannot be attributed to concepts or factual causes. Words, and the whole signifying process, cannot frame the sensorial tangibleness; and the concepts are way too vast to determine the unicity of a building or of its statement. Using a musical metaphor, we say that in a major mode of mental representation we perceive already-formed objects and subjects from which sensorial attributes gain meaning. But this major mode cannot seize how and why a building or its own statement are unique. This unicity of the Perceived is birthed in a genetic occurrence, as sensible and semiotical dynamics progressively determine qualities and statements. The aim of this research is to build a theory of these individuation dynamics. When a building is being “individualized”, it is through the variations of sensible and semiotical powers that progressively arrange the object and the statements. This process demands that we use another way of thinking, that we call the minor mode of affects. This mode has a mental operator - the Intensity - that allows the perception of how sensible and semiotical powers vary - which is the Destiny. We cannot theorize affects without being aware of how material objects are inter-affected, how powerful they are, and how they make us redistribute our thoughts and their relationships to those passions and emotions that rationality will never halt. Affect, as the adequate idea of what will be Destiny, allows the sense of singularities and of how they put rhythm in the process of an oeuvre, whether it is sensible or theoretical
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De, Araujo Aguiar Luciana. "Les stratégies d’authenticité et les politiques de patrimoine culturel immatériel : une étude à partir de deux cas." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30058/document.

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Cette thèse a pour but de comprendre les stratégies de construction d’authenticité et les politiques de patrimoine culturel immatériel à partir de l’étude de deux pratiques culturelles reconnues actuellement comme patrimoine culturel immatériel : le fest-noz, présente dans les villes et campagnes de la région Bretagne, en France ; et le jongo, présente au sein des villes installées dans la vallée du fleuve Paraíba do Sul, dans la région Sudeste du Brésil. La démarche comparative présentée dans cette thèse résulte d’une double étude de cas, d’une part les rapports entre le fest-noz et l’authenticité en Bretagne, et d’autre part le jongo et l’authenticité afro-brésilienne. La thèse est structurée en trois parties. La première partie s’attache à comprendre le fest-noz et les questions de l’authenticité en Bretagne ; la deuxième partie met en lumière le jongo et la quête de l’authenticité afro-brésilienne ; la troisième partie est une analyse comparative des deux pratiques mais elle est également conclusive. Dans l’écriture ethnographique, les données de terrain ont été traitées dans une perspective bourdieusiennne. Par ailleurs, l’analyse des documents institutionnels - tels que les dossiers de patrimonialisation du fest-noz et du jongo, et les documents relatifs à la législation de l’UNESCO et du PCI en France et au Brésil – fût d’une importance cruciale. En outre, les entretiens avec les responsables des politiques de sauvegarde du fest-noz et du jongo et des politiques culturelles dans le domaine du PCI au Brésil et en France, m’ont permis d’affiner et de complexifier l’analyse des documents institutionnels. Cette thèse repose encore sur des données historiques contextuelles qui ont contribué à une meilleure compréhension des pratiques culturelles en question
This thesis aims to understand the strategies (used in the representation of authenticity and the policies of intangible cultural heritage, based on the study of two cultural practices currently recognized as instances of intangible cultural heritage: fest-noz, present in the cities and countryside of Brittany, France; and jongo, present in the cities of the Paraíba do Sul river valley, located in the southeast region of Brazil. The comparative approach results from a double case study; on the one hand, the relations between fest-noz and authenticity in Brittany, and on the other hand, jongo and Afro-Brazilian authenticity. The thesis addresses three principle questions. First of all, an effort to understand fest-noz and how it shapes authenticity in Brittany; secondly, how jongo impacts the quest for Afro-Brazilian authenticity; and finally, a comparative analysis into both practices and the conclusions drawn from this approach. The field data collected from ethnographic writing archives were treated from a Bourdieu perspective. In addition, the analysis of institutional documents, including the heritage files of both fest-noz and jongo, and the documents relating to UNESCO and ICP legislation in France and Brazil, was of crucial importance. Furthermore, interviews with policy makers for the safeguarding of fest-noz and jongo and for cultural policies in the field of ICH in Brazil and France enabled a more nuanced elaboration of institutional documents. This thesis relies on contextual historical data that has contributed to a better understanding of the cultural practices in question
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Vignon, Charlotte. "Londres – New York – Paris : le commerce d’objets d’art de Duveen Frères entre 1880 et 1940." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040235.

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Pourquoi tant d’objets d’art décoratifs de collections européennes se trouvent-ils aujourd’hui dispersés aux quatre coins des Etats-Unis ? A partir de documents d’archives inédits et d’une lecture critique des sources, cette thèse appréhende l’exode du patrimoine européen vers les Etats-Unis du début du vingtième siècle à travers le parcours d’acteurs importants de ce phénomène : les marchands Joel, Henry et Joseph Duveen à la tête de la prestigieuse galerie d’objets d’art et de tableaux, Duveen Frères, établie à Londres et New York dès la fin du dix-neuvième siècle et en 1908 à Paris. Sont d’abord étudiés les stratégies commerciales qui projetèrent les Duveen à la première place du commerce d’objets d’art de l’époque (I). Vient ensuite une analyse précise du commerce d’objets d’art de la firme : celui des porcelaines de Chine, puis des meubles et objets d’art du dix-huitième siècle français et enfin des objets médiévaux et de la Renaissance (II). Finalement, est abordé, l’activité de décorateur de la firme (III)
Why are so many European objets d’art found in collections across the United States today ? This PhD dissertation explores the exodus of decorative arts objects originating from the private collections of Europe’s cultural elite at the beginning of the twentieth century by providing a new interpretation of unpublished archival materials and an in-depth study of the three key figures who contributed to this phenomenon : Joel, Henry, and Joseph Duveen of Duveen Brothers, the prestigious international art firm established in London and New York at the close of the nineteenth century, and in Paris in 1908. Beginning with an examination of the strategies employed by Duveen Brothers to monopolize the American art market and become the preeminent dealers of their time (I), this thesis is followed by a meticulously researched exploration of their dealings in Chinese porcelains, eighteenth-century French decorative arts, and medieval and Renaissance art (II), and concludes with a thorough analysis of the firm’s activities in the area of interior decoration (III)
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Miyoshi, Akihiko. "Art and authenticity /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1106.

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Nakhli, Alia. "Le discours identitaire dans l’art contemporain en Tunisie : de la tunisianité à l’arabité (1956-1987)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100032.

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Cette thèse porte sur la fabrique visuelle identitaire dans l’art contemporain, en Tunisie postcoloniale, de 1956 à 1987. Période coïncidant avec la construction d’un État-nation moderne, sur le modèle occidental. Dans une première partie, la recherche focalise sur la mise en place d’une iconographie académique figurative célébrant les us et coutumes ainsi que les scènes populaires. Ce qui a généré une esthétique officielle, véhiculant une image de la nouvelle nation tunisienne, conforme au discours politique exaltant le sentiment national de la tunisianité. Avec le constat d’échec de l’expérience socialiste, en 1969, le changement d’orientation idéologique imposait une recomposition identitaire qui visait la réhabilitation de la dimension arabe de l’identité nationale, et ce, afin de ressusciter l’enthousiasme populaire né avec l’Indépendance. La deuxième partie met en évidence la corrélation entre la crise politique et l’apparition d’une nouvelle esthétique de « l’authenticité » qui célèbre un nouveau principe fédérateur : celui de l’arabité. La thèse retrace la chronologie des manifestations artistiques panarabes, organisées sous la tutelle de l’Union nationale des artistes plasticiens arabes et auxquelles la Tunisie a pris part de façon active. La volonté d’« arabiser » l’art, s’est alors incarnée, outre dans les recherches picturales sur les signes et symboles populaires, dans un courant artistique panarabe baptisé hurûfiyya (lettrisme)
This thesis focuses on identity visual factory of contemporary art, in post-colonial Tunisia, from 1956 to 1987. This period coincides with the building of modern nation-State, in compliance with western pattern. In the first part, the research focuses on the setting of a representational academic iconography, celebrating the traditions as well as the popular scenes. This has generated an official aesthetic, conveying a new image of the Tunisian nation, in accordance with the political discourse exalting the national feeling of tunisianity. With the admission of failure of the socialist experience in 1969, the ideological shift imposed a rethinking of identity the aim of which was to rehabilitate the Arabic dimension of the national identity, in order to resuscitate the popular enthusiasm of the early years of the independence. The second part shows the correlation between the political crisis and the appearance of a new aesthetic of “authenticity”, celebrating a new federative principle: the arabity. The thesis traces the chronology of the pan-arab artistic manifestations, organized under the supervision of the national union of plastic arab artists and to which Tunisia took an active part. The willingness to “arabize” the art was then embodied in a pan-arab artistic current, baptized hurûfiyya (lettrism) in addition to researchs on pictorial popular signs and symbols
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Grady, C. Jill. "Huichol authenticity /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6445.

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Brower, Matthew Francis. "Signature style, art, authenticity and authorship." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0021/MQ48566.pdf.

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Gordon, Rebecca Alison. "Rethinking material significance and authenticity in contemporary art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3041/.

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The traditional notion of material authenticity as being the physical and aesthetic evidence of the artist’s hand in the ‘original’ materials is outmoded. With the changed nature of art must come a rethinking of the concept of authenticity. Authenticity was and is often discussed in relation to attribution, and is traditionally linked with the artwork’s material presence. This thesis questions that assumption, drawing on the literature of philosophy that describes authenticity as someone’s ‘true essence’ in order to propose the significance of the interrelation of the artwork’s multiple attributes to the work’s identity. The artist’s voice has been a crucial source in this re-evaluation, with the voices of Scottish artists, or artists represented by a Scottish gallery or collection, building a picture of the way practitioners think about the significance of materials to their work. These contemporary primary sources have been contextualised with artists’ voices from published compendiums and international case studies. They have revealed the general pragmatism of artists’ approaches, particularly in relation to their creative processes. Therefore, this thesis has based its discussion around seemingly incongruous approaches: a conceptual framework and artists’ practices. However, these poles are reconciled by rooting the investigation at the point of the artwork’s creation. This has meant placing weight on the artist’s intentions for the work and his or her decision-making process, rather than the subsequent interpretations of curators and conservators that inevitably inform the artwork’s institutional afterlife. Doing so has led to a greater understanding of artists’ conceptions of material significance and their thoughts on the identity of their works. This inevitably bears implications for the preservation and display of contemporary art.
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Books on the topic "Authenticité (art)"

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Authenticité du faux: Lectures psychanalytiques. Paris: Presses universitaires de France, 2004.

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Humphries, Lund, and Sotheby's (Firm). Institute of Art, eds. Art and authenticity. Farnham, UK: Lund Humphries, 2012.

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Exhibiting authenticity. Manchester: Manchester University Press, 1997.

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Debating authenticity: From art to wilderness. New York: Berghahn Books, 2012.

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Vē, Jeyarāj, Chemical Conservation and Research Laboratory (Government Museum (Madras, India)), and Indian Association for the Study of Conservation of Cultural Property., eds. Authenticity in art: With special reference to conservation of art objects. Chennai: Government Museum, 2006.

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Art, conservation and authenticities: Material, concept, context. London: Archetype Publications, 2009.

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The painted king: Art, activism, and authenticity in Hawaiʻi. Honolulu: University of Hawaiʻi Press, 2011.

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Original intentions: Essays on production, reproduction, and interpretation in the arts of China. Gainesville [Fla.]: University Press of Florida, 2012.

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Everyday genius: Self-taught art and the culture of authenticity. Chicago: University of Chicago Press, 2004.

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Securing the past: Conservation in art, architecture, and literature. Cambridge: Cambridge University Press, 2008.

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Book chapters on the topic "Authenticité (art)"

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Soutter, Lucy. "Authenticity." In Why Art Photography?, 83–107. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-5.

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Currie, Gregory. "Authenticity." In An Ontology of Art, 85–129. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20038-2_4.

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Coughter, Peter. "Authenticity." In The Art of the Pitch, 111–29. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1007/978-1-137-51233-8_7.

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Beck, Birgit. "The ART of Authenticity." In Theories of the Self and Autonomy in Medical Ethics, 85–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56703-3_6.

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O’Neill, Desmond. "Health, Ageing, Authenticity and Art." In Healthy Ageing and Longevity, 137–48. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52663-4_9.

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Woodson, Stephani Etheridge. "Authenticity in Children’s Theatre and Art." In Playing with Theory in Theatre Practice, 75–85. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-36410-3_6.

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Hye-ri, Oh. "Modernity and Authenticity in Korean Pictorialism." In Interpreting Modernism in Korean Art, 71–78. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429351112-11.

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Tauchert, Ashley. "‘Facts are Such Horrible Things!’: The Question of Authentic Femininity in Jane Austen." In Romanticism, Sincerity and Authenticity, 238–59. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281738_12.

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McCormack, Jon, Toby Gifford, and Patrick Hutchings. "Autonomy, Authenticity, Authorship and Intention in Computer Generated Art." In Computational Intelligence in Music, Sound, Art and Design, 35–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16667-0_3.

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Hagberg, Garry L. "Jazz Improvisation, Authenticity, and Self-Expression." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 214–27. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-18.

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Conference papers on the topic "Authenticité (art)"

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Innocenti, Perla. "The pursuit of authenticity in preserving digital art." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7419540.

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Hwang, Seonhee, Eunhee Kim, and Kyujung Kim. "The authenticity of art: Analysis of the optical characteristics of paintings." In 2015 11th Conference on Lasers and Electro-Optics Pacific Rim (CLEO-PR). IEEE, 2015. http://dx.doi.org/10.1109/cleopr.2015.7376475.

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"Re-criticism of Tourism Authenticity Based on Popper's Falsificationism." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.065.

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Freeman, David, Sakshi Jain, Markus Duermuth, Battista Biggio, and Giorgio Giacinto. "Who Are You? A Statistical Approach to Measuring User Authenticity." In Network and Distributed System Security Symposium. Reston, VA: Internet Society, 2016. http://dx.doi.org/10.14722/ndss.2016.23240.

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Jamil, Bushra, and Umer Ismail. "THE KASHMIRI SHAWL: RETHINKING PERSPECTIVES OF AUTHENTICITY AND APPROPRIATION IN POST-COLONIAL ERA." In International Conference on Arts and Humanities. The International Institute of Knowledge Management - TIIKM, 2019. http://dx.doi.org/10.17501/23572744.2018.5108.

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Serrano Santos, Jose Manuel. "Design, implementation and evaluation of an authentic assessment experience in a pharmacy course: are students getting it?" In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5294.

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Authentic assessment has been a focal strategy in higher education as a way to provide students with engaging and meaningful learning experiences in preparation for the real world work environments. Possibly due to the lack of consensus in the elements that outline that authenticity, limited amount of authentic learning experiences are reported and evaluated in the literature. This study aims to describe and evaluate the design and implementation of an authentic assessment in a pharmacy undergraduate course. A five-dimensional model for authentic instruction was utilized in the design of the learning experience. This was complemented with an eight-element framework that contributed to create an authentic assessment. Two surveys explored subjective authenticity as perceived by students and stakeholders. The results revealed that students find it hard to value their performance at the higher level that stakeholders do. While the use of models and frameworks in the design of authentic assessment is valuable, academics’ efforts need to be concentrated on further developing student’s metacognitive skills in order to provide relevancy and value to the knowledge, skills and attitudes developed in undergraduate tertiary education.
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Colthorpe, Kay, Harrison Gray, Hardy Ernst, and Louise Ainscough. "How authentic is it? Evaluating the products of an authentic assessment task." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9067.

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Authentic assessment tasks resemble activities that are practiced in the workforce. These tasks are valued because they represent what students wish to accomplish as professionals, positively influencing their aspirations and motivations by explicitly demonstrating relevance of assessment tasks. However, given the choice available to students in completing authentic tasks and novelty of outcomes, the products of such assessment may vary in authenticity. This study aimed to develop a method of evaluating authenticity in student assessment products. Second year occupational therapy students (n=59) completed a written factsheet assignment about a disease or condition. The students’ products were evaluated for authenticity using a novel rubric developed during the study. The results demonstrate that authenticity in the product of an authentic assessment task is measurable, but varies widely across a cohort, with most products demonstrating moderate to high authenticity. However, there was no correlation between authenticity and course grade. Neither was there a correlation between the grade for this authentic task and a verbal authentic task in another course. These findings suggest that students, at this stage of their education, may not yet have progressed from writing like a professional to acting like one.
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Alisha, Rekha Nur, and Thera Widyastuti. "The Authenticity of Death: A Study of Tillich Existentialism in Lyudmila Ulitskaya’s The Funeral Party." In International University Symposium on Humanities and Arts (INUSHARTS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200729.033.

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Chircalan, Ionut. "THE DIVINE LAW OF LOVE � A HISTORICAL FACT OF GOD�S MESSAGE AUTHENTICITY IN PRESENT TIMES." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s08.008.

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Haring, Maximilian, Delphine Reinhardt, and Yvonne Omlor. "Pick Me Up and I Will Tell You Who You Are: Analyzing Pick-Up Motions to Authenticate Users." In 2018 IEEE International Conference on Pervasive Computing and Communications Workshops (PerCom Workshops). IEEE, 2018. http://dx.doi.org/10.1109/percomw.2018.8480381.

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Reports on the topic "Authenticité (art)"

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Hoinkes, Ulrich. Indexicality and Enregisterment as Theoretical Approaches to the Sociolinguistic Analysis of Romance Languages. Universitatsbibliothek Kiel, November 2019. http://dx.doi.org/10.21941/hoinkesindexenregromlang.

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Social indexicality and enregisterment are basic notions of a theoretical model elaborated in the United States, the aim of which is to describe the relationship between the use of language variation and patterns of social behavior at the level of formal classification. This analytical approach is characterized by focusing on the interrelation of social performance and language awareness. In my contribution, I want to show how this modern methodology can give new impetus to the study of today’s problem areas in Europe, such as migration and language or urban life and language use. In particular, I am interested in the case of Catalan, which has been studied for some time by proponents of the North American enregisterment theory. This leads me to indicate that explicit forms of social conduct, such as language shift or the emblematic use of linguistic forms, can be interpreted with regard to the social indexicality of Catalan. I thus analyze them in a way which shows that authenticity and integration in Catalan society can be achieved to a considerable extent by practicing forms of linguistic enregisterment.
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