Journal articles: 'Commercical art'

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Farrer, Claire R., and Nancy J. Parezo. "Navajo Sandpainting: From Religious Act to Commercial Art." Journal of American Folklore 98, no. 388 (April 1985): 218. http://dx.doi.org/10.2307/540448.

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Cocq, Jonathan. "COMMERCIAL ART MUSIC." Economic Affairs 22, no. 2 (June 2002): 8–13. http://dx.doi.org/10.1111/1468-0270.00351.

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LAMPHERE, LOUISE. "Navajo Sandpainting: From Religious Act to Commercial Art. NANCY J. PAREZO." American Ethnologist 12, no. 4 (November 1985): 811–12. http://dx.doi.org/10.1525/ae.1985.12.4.02a00350.

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Young, Alan S. "Commercial Art to Graphic Design: The Rise and Decline of Commercial Art in Australia." Journal of Design History 28, no. 3 (July 20, 2015): 219–34. http://dx.doi.org/10.1093/jdh/epv021.

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Nixon, Joseph, and Olinda Timms. "Il dibattito legale ed etico sul divieto di commercio della maternità surrogata in India / The legal and moral debate leading to the ban of commercial surrogacy in India." Medicina e Morale 66, no. 4 (October 11, 2017): 513–31. http://dx.doi.org/10.4081/mem.2017.504.

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Le tecniche di riproduzione assistita (ART) offrono la possibilità di una maternità surrogata alle coppie sterili o senza figli. Alla fine degli anni ‘80, specialisti qualificati in India hanno approfittato della disponibilità di madri surrogate e dell’assenza di regole per creare un mercato di maternità surrogata per i clienti sia indiani sia esteri. Il Ministero della Salute è intervenuto con le linee guida solo dopo forti proteste di gruppi di donne e cittadini, facendo seguito alle storie su ostelli surrogati, bambini abbandonati e sfruttamento. Nel frattempo, le cliniche dell’infertilità si sono moltiplicate, offrendo gameti di donatori, fecondazione in vitro e maternità surrogata ad un costo molto inferiore rispetto ai paesi occidentali. Dai primi anni del 2000, l’India è divenuta la destinazione più popolare per la pratica della maternità surrogata. In risposta alle proteste e consapevole del divieto di accordi di maternità surrogata negli altri paesi, il Governo indiano ha emanato le linee guida ART che erano via via restrittive; ma tali disposizioni non sono state in grado di arginare il business ormai florido. Infine, nel 2016, il governo ha proposto un disegno di legge per porre fine alla maternità surrogata commerciale. Il regolamento Bill 2016 considera esclusivamente gli accordi di maternità surrogata, non considerando tutti gli altri aspetti della riproduzione assistita e delle cliniche coinvolte. La legislazione è stata rivolta principalmente alle questioni sociali e agli elementi di sfruttamento della maternità surrogata commerciale, più che al processo tecnico. Se approvata, tale legge vieterà efficacemente maternità surrogata commerciale in India. ---------- Assisted Reproductive Technologies (ART) offer the possibility of unrelated surrogacy arrangements to infertile couples and childless human relationships. In the late 80s, qualified specialists in India took advantage of the availability of willing surrogates and the absence of regulations, to create a market in commercial surrogacy for clients from within the country and abroad. The Ministry of Health stepped in with guidelines only after strong protests from women’s groups and citizens, following media stories of surrogate hostels, abandoned children and exploitation. Meanwhile, ‘infertility’ clinics mushroomed, offering donor gametes, in-vitro fertilization and surrogacy services at a fraction of the cost in western countries. By early 2000s, India had emerged as the most popular destination for commercial surrogacy arrangements. In response to protests from doctors, citizens and human rights groups, and mindful of the ban on commercial surrogacy arrangements in most developed countries, the Government issued ART guidelines that were progressively restrictive; but these did not have the teeth to rein in the lucrative business that commercial surrogacy had transformed into. Finally, in 2016, the Government proposed a Bill that would bring an end to commercial surrogacy. The Surrogacy (Regulation) Bill 2016 addressed surrogacy arrangements exclusively, taking it out of proposed ART Bill that was aimed at comprehensively regulating all other aspects of assisted reproduction and the clinics involved. The legislation was directed mainly at the social issues and exploitative elements specific to commercial surrogacy arrangements, rather than the technical process. If passed, the Surrogacy Bill will effectively ban commercial surrogacy in India.

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Gurdek, Magdalena. "THE EFFECTS OF TAKING OVER THE CONTENT OF ART. 24F PAR. 2 OF THE ACT ON COMMUNAL SELF-GOVERNMENT." Roczniki Administracji i Prawa 1, no. XIX (June 30, 2019): 109–30. http://dx.doi.org/10.5604/01.3001.0013.3586.

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The mayor, in the field of broadly understood business activities, has been subject to restrictions for years established by the Act of August 21, 1997 on limiting the conduct of business activity by persons performing public functions. According to art. 4 point 1 and 2 of this Act, he can not be a member of management, control or audit authorities in any commercial law companies and be employed or perform other activities in companies of this type that could raise suspicion of his bias or interest. Analogous restrictions of councilors were regulated by the act on communal self-government. These, in accordance with art. 24f par. 2 of this Act can not be members of the management or control and audit authorities, or plenipotentiaries of commercial companies, but only those with the participation of municipal legal persons or entrepreneurs in which such persons participate. Unfortunately, despite the existing limitations, the legislator of 11 January 2018 amending certain acts in order to increase the participation of citizens in the process of selecting, operating and controlling certain public bodies, amended Art. 24f par. 2 of the Act on municipal self-government and it also included commune heads. This resulted in the moment when the new term of the local self-government bodies (2018-2023) started 24f par. 2 has also been applied to the commune head. Against this background, a fundamental question arises about the relation of this provision to art. 4 point 1 and 2 of the Anti-Corruption Act, to which the Author in this report - after making a detailed, thorough analysis of the problem - tries to answer.

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Masuji, Hamada, and Magdalena Kolodziej. "Conclusion to Introduction to Commercial Art (1930)." Review of Japanese Culture and Society 28, no. 1 (2016): 74–79. http://dx.doi.org/10.1353/roj.2016.0025.

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Shelyagin, V. D., V. Ya Saenko, A. A. Polishko, V. A. Ryabinin, A. V. Bernatsky, S. N. Stepanyuk, and I. N. Klochkov. "Laser welding of commercial arc slag remelted titanium VT1-0 hardened by nitrogen." Paton Welding Journal 2015, no. 4 (April 28, 2015): 42–48. http://dx.doi.org/10.15407/tpwj2015.04.05.

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Detmers, William R., and Charlotte C. Bailey. "Developing Commercial Support for State Art Education Conferences." Art Education 38, no. 4 (July 1985): 24. http://dx.doi.org/10.2307/3192821.

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Choi, Youjin. "The Characteristics of Painter Lim Gunhong’s Commercial Art." Korean Bulletin of Art History ll, no. 53 (December 2019): 201–22. http://dx.doi.org/10.15819/rah.2019..53.201.

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Preneel, Bart. "State-of-the-art ciphers for commercial applications." Computers & Security 18, no. 1 (January 1999): 67–74. http://dx.doi.org/10.1016/s0167-4048(99)80009-1.

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Bunting, Lynda, Virginia Allison, and Ben Lee Ritchie Handler. "Art Gallery Archives: Professionalization of a Commercial Sector." Art Documentation: Journal of the Art Libraries Society of North America 33, no. 1 (March 2014): 81–94. http://dx.doi.org/10.1086/675708.

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Blinn, Richard P. "State of the art commercial music recording practice." Journal of the Acoustical Society of America 78, S1 (November 1985): S15. http://dx.doi.org/10.1121/1.2022663.

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Borghini, Stefania, Luca Massimiliano Visconti, Laurel Anderson, and John F. Sherry, Jr. "Symbiotic Postures of Commercial Advertising and Street Art." Journal of Advertising 39, no. 3 (September 2010): 113–26. http://dx.doi.org/10.2753/joa0091-3367390308.

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Fortin, Maurice G., and Lois Swan Jones. "COMMERCIAL NON-ART ONLINE DATABASES: THE UNDER-UTILIZED RESOURCES IN THE ART LIBRARY." Art Documentation: Journal of the Art Libraries Society of North America 7, no. 4 (December 1988): 141–44. http://dx.doi.org/10.1086/adx.7.4.27947953.

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van Niekerk, Angelique, and Marthinus Conradie. "Branding through art: the commercial value of visual and linguistic signs of art." Critical Arts 30, no. 2 (March 3, 2016): 233–51. http://dx.doi.org/10.1080/02560046.2016.1187795.

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HAWKINS, JAMES W. "Antisense Technology: Commercial Implications." Antisense Research and Development 1, no. 3 (January 1991): 283–84. http://dx.doi.org/10.1089/ard.1991.1.283.

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Donnelly, Dusty-Lee, and Seshni Govindasamy. "Notes: To stay or not to stay? Admiralty proceedings after the International Arbitration Act 15 of 2017: Atakas Ticaret Ve Nakliyat AS v Glencore International AG." South African Law Journal 138, no. 1 (2021): 40–57. http://dx.doi.org/10.47348/salj/v138/i1a3.

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The decision in Atakas Ticaret Ve Nakliyat AS v Glencore International AG 2019 (5) SA 379 (SCA) made important remarks to the effect that the discretion to effect a joinder to admiralty proceedings under s 5(1) of the Admiralty Jurisdiction Regulation Act 105 of 1983, and the discretion to refuse a stay of proceedings under s 7(1)(b) of the Act, are ‘untouched’ by art 8 of the UNCITRAL Model Law on International Arbitration that is incorporated under the International Arbitration Act 15 of 2017. The court reached this decision on the basis that, in terms of art 1(5), the Model Law does not affect other laws of the Republic under which matters may not be referred to arbitration, or may only be so referred subject to conditions. This case note analyses the nature and extent of the court’s discretion under art 8(1) of the Model Law, the argument for an implied repeal of s 7(1)(b) of the Admiralty Jurisdiction Regulation Act, the interpretation of art 1(5) of the Model Law, and the questions left unanswered by the judgment. It argues that although the Model Law does not automatically oust the jurisdiction of the high court exercising admiralty jurisdiction to hear a maritime claim, the court only retains a narrow discretion to refuse a stay of those proceedings when an international commercial arbitration agreement exists in respect of the dispute.

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Dewi, Alit Kumala, and Artayasa I Nyoman. "Television Advertising As An Artwork In Representing National Identity." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 2 (November 19, 2019): 80–87. http://dx.doi.org/10.31091/lekesan.v2i2.887.

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Advertising has a dual role, one side of the advertising is a medium of information to convey messages, both commercial and non-commercial to the audience, and the other side as artwork (applied art) with all its appeal. The priority for advertising is marketing and selling products or services. In its representation, advertising always uses any aesthetic elements, which in principle can potentially be a great attraction for the products or services offered. Concepts that are often represented in ad impressions include, social status, ideal image, lifestyle, identity, etc., which are displayed implicitly or explicitly. This study focuses on the representation of Indonesia’s national identity in the SGM formula milk television commercials. The purpose of the study is to provide a description and description so as to open up insights and knowledge in understanding how Indonesia’s national identity is represented in advertisements for SGM children’s formula milk. The method used is interpretive qualitative The results of the research, that the advertising of SGM formula milk as a work of applied art represents Indonesian national identity, which can be classified into three parts 1) Culture, Religion, Ethnicity of Indonesia; 2) Nusantara Territory (Enchantment of Indonesian and Urban Nature); 3) Characteristics of Indonesian Communities (Habits / Lifestyle) The characteristics of Indonesian society can be interpreted as a socialist and minimalist society. Based on the three classifications of the representation of Indonesia’s national identity, the most dominant part displayed in the SGM formula milk television commercials is the element of religion

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Dabrowski, Patrice M. "Hutsul Art or “Hutsul Art”?" Canadian-American Slavic Studies 50, no. 3 (2016): 313–31. http://dx.doi.org/10.1163/22102396-05003003.

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This article is concerned with the fate of the Hutsul kilim and, by extension, Polish-Ukrainian relations in the interwar period. This was a period when the Hutsul highlanders of the Eastern Carpathians (today citizens of modern Ukraine), the traditional weavers of these geometrically-patterned woolen rugs, found themselves within the newly established Second Polish Republic. Most commercial weaving was in Jewish hands at this time, and this production was far inferior to that done by Hutsuls themselves, primarily for their own domestic use. The decline of the Hutsul kilim was arrested by a Ukrainian émigré from Soviet Russia, whose “Hutsul Art” collective reinvigorated the form. This development brought the Hutsul kilim to the attention of those who would wish to appropriate it, or at a minimum consider it part and parcel of interwar Poland’s artistic production. The article demonstrates that, while Ukrainians were keen on integrating the Hutsul kilim into the Ukrainian kilim tradition, Poles preferred to keep the Hutsul kilim distinct, thus allowing it to be seen as part of the heritage of the multiethnic interwar Polish state.

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Jaafar, Fazlina, Azian Mohd Zain, and Mohd Syuhaidi Abu Bakar. "Attitude and Perception of Young Audience towards Patriotism in Independence Day TV Commercials." Environment-Behaviour Proceedings Journal 1, no. 1 (June 26, 2016): 23. http://dx.doi.org/10.21834/e-bpj.v1i1.189.

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Quantitatively, this study intends to identify the attitude and perception of young audiences in Malaysia towards Independence day TV commercials from Petronas, and Maxis Berhad in celebrating the Independence Day. Firstly, respondents were exposed to three TV commercials with the same theme and purpose – to represent the spirit of patriotism. Later, these respondents were given a set of questionnaire to be filled. Data were collected using Purposive Sampling and analyzed with statistical analysis (SPSS) using Descriptive analysis represented by using the value of percentages, X, and SD. Findings of this study revealed that respondents have negative attitudes towards independence day, but positive attitudes towards the patriotism showed in all TV commercials. They also showed positive perception on independence day television commercials, as high number of respondents have agreed that the concept, theme and art direction of television commercial about love and live in unity without racism will be the style of benchmark for the future style of direction towards producing television commercial for Independence Day and are considered vital to instill patriotism towards the nation.© 2016. The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies, Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.Keywords: Attitude; Perception; Patriotism; TV Commercials

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Hiner, Susan. "Feminized Commodities, Female Communities." French Historical Studies 43, no. 2 (April 1, 2020): 223–52. http://dx.doi.org/10.1215/00161071-8018483.

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Abstract This article uncovers the backstory of two of the most important fashion-plate illustrators of nineteenth-century France, Héloïse and Anaïs Colin, in relation to their artistic and commercial production. By exploring how the sisters' commercial art is linked to their early “self-portrait,” produced in the studio of their artist father, in which female community is foregrounded, the article argues that their fashion plates express at once a personal response to their exclusion from the male-dominated world of fine arts and a pragmatic trajectory toward professionalization for women in the fashion sector. While largely conventional, some of their plates elicit readings reaching beyond an explicit commercial aim and suggest disruptions of the seamless norms of bourgeois femininity. Likewise, critical analysis of these plates expands to a consideration of the layered work practices of other women in the growing fashion industry of the period. Cet article offre un portrait de deux des plus importants illustrateurs de mode français du dix-neuvième siècle, Héloïse et Anaïs Colin, replacé dans le contexte plus large de leur production artistique et commerciale. Comme point de départ, il prend l'autoportrait de jeunesse des deux sœurs, peint dans l'atelier de leur père, un tableau qui met en valeur leur idée de communauté féminine tout en préfigurant aussi leur art commercial. Leurs gravures de mode expriment à la fois leur réponse personnelle à leur exclusion du monde masculin des beaux-arts, tout en reflétant aussi leur parcours, alors représentatif de la professionnalisation des femmes dans le domaine de la mode. Bien que conventionnelles pour la plupart, certaines des gravures suscitent une interprétation qui dépasse le cadre de la question commerciale et aborde celle de la transgression de la norme de la féminité bourgeoise. Plus loin, l'analyse critique de ces gravures touche plus largement aux pratiques complexes du travail réalisé par d'autres femmes dans l'industrie croissante de la mode.

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Maximova, Marina. "Commercial art galleries as canon-makers: the Moscow art scene in the early 1990s." Journal of Visual Art Practice 19, no. 3 (July 2, 2020): 269–83. http://dx.doi.org/10.1080/14702029.2020.1806506.

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Samarkandi, Abdulhafiz. "Commercial Land Use in Jeddah City: Patterns and Factors Affecting It." Journal of King Abdulaziz University-Arts and Humanities 18, no. 1 (2010): 85–143. http://dx.doi.org/10.4197/art.18-1.3.

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Кобахидзе, Давид, and David Kobahidze. "INTERIM MEASURES IN INTERNATIONAL COMMERCIAL ARBITRATION: CORRELATION OF APPROACHES OF INTERNATIONAL ARBITRATION INSTITUTIONS AND NATIONAL REGULATION." Journal of Foreign Legislation and Comparative Law 4, no. 4 (November 18, 2018): 1. http://dx.doi.org/10.12737/art.2018.4.14.

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Stern, Erica B., Steven R. Ytterberg, Hollis E. Krug, Lea M. Larson, Caroline Parke Portoghese, William N. R. Kratz, and Maren L. Mahowald. "Commercial wrist extensor orthoses: A descriptive study of use and preference in patients with rheumatoid arthritis." Arthritis Care & Research 10, no. 1 (February 1997): 27–35. http://dx.doi.org/10.1002/art.1790100105.

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Fortier, L. Yves. "International ‘e-commercial’ dispute resolution." Alternatives to the High Cost of Litigation 19, no. 1 (January 2001): 23–25. http://dx.doi.org/10.1002/alt.3810190109.

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Moshtev, R., and B. Johnson. "State of the art of commercial Li ion batteries." Journal of Power Sources 91, no. 2 (December 2000): 86–91. http://dx.doi.org/10.1016/s0378-7753(00)00458-4.

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, Rutherford. "Improving Student Engagement in Commercial Art and Design Programmes." International Journal of Art & Design Education 34, no. 1 (February 2015): 89–101. http://dx.doi.org/10.1111/jade.12016.

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Owen, Evelyn. "Art for Sale: Covering the Contemporary, Courting the Commercial." African Arts 51, no. 4 (November 2018): 1–4. http://dx.doi.org/10.1162/afar_a_00426.

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GÜNCAN, Gökhan. "PAST AND PRESENT OF THE ULTRA-VIRES PRINCIPLE IN TURKISH COMPANIES LAW." IEDSR Association 6, no. 15 (September 20, 2021): 520–40. http://dx.doi.org/10.46872/pj.401.

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Abolished Commercial Code No. 6762 art. 137 limited the entitlement of commercial companies to the “subject of activity” included in the company's articles of association. Transactions exceeding the scope of operation written in the company's articles of association were deemed to be ultra vires transactions and were deemed null and void. Since the transactions that were deemed null and void were not available in the legal world, it was not possible to make them valid again. Because, a legal transaction that does not exist is invalid from the very beginning; even if the interests of all parties require it, it is not possible to validate the transaction with approval or authorization. Therefore, since transactions outside the scope of business of commercial companies were also considered null and void, there was no approval or ratification procedure that could make them valid. The only way to carry out the aforementioned transaction in a valid manner was to change the articles of association, regulate the company's field of activity to include the aforementioned transaction, and re-do the transaction from the beginning. In the Turkish Commercial Code no. 6102 art. 125 provision emphasized that commercial companies have legal personality, as in article 137 of the abolished Commercial Code no. 6762. However, unlike the abolished one, by eliminating the ultra vires principle, which is a limit to the competence of commercial companies. It has been widely accepted in the meaning of Turkish Civil Code art. 48. This issue was also included in the Turkish Commercial Code no:6102 art. 125 justification, and it was stated that the ultravires principle was abolished. Therefore, it is understood that the ultravires principle was abandoned as a result of the conscious choice of the Lawgiver. The subject of business is no longer a limiting element of the legal capacity of commercial companies. Despite this, the subject of business still maintains its importance for trading companies. Turkish Commercial Code no:6102 art. 213, which regulates the mandatory elements of the articles of association of commercial companies, in the provisions of 339 and 5 76, the subject of activity continues to maintain its place as a mandatory element that should be included in the articles of association. In the aforementioned provisions, among the mandatory elements to be included in the articles of association, as a common expression in the aforementioned company types, the phrase "business subject in a specified and defined manner" is used. The subject of operation is also in the Turkish Commercial Code no. 6102 art. 233 and in the provisions of art. 371, it remains as a factor limiting the representation authority of those authorized to represent the company. When these provisions are evaluated, it is understood that although the ultra vires principle has been abandoned in terms of the competence of commercial companies, the principle continues to be preserved in terms of representation. In the study, the provisions of abolished Commercial Code no:6762 art. 137, which limits the license of commercial companies to the subject of activity and art. 128, which defines the license in the broadest sense, were determined as the starting point, and the provisions regulating the authority of representation of commercial companies were examined. Thus, the effects of the ultra vires principle on the competence and representation of commercial companies have been comparatively examined within the framework of the abolished Commercial Code No. 6762 and the current Turkish Commercial Code No. 6102.

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Valeonti, Foteini, Melissa Terras, and Andrew Hudson-Smith. "How open is OpenGLAM? Identifying barriers to commercial and non-commercial reuse of digitised art images." Journal of Documentation 76, no. 1 (October 28, 2019): 1–26. http://dx.doi.org/10.1108/jd-06-2019-0109.

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Purpose In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images. Design/methodology/approach Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums. Findings Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright. Research limitations/implications This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper. Practical implications The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions. Originality/value The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.

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Bogart, Michele H. "Artistic Ideals and Commercial Practices: The Problem of Status for American Illustrators." Prospects 15 (October 1990): 225–81. http://dx.doi.org/10.1017/s0361233300005913.

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American illustration occupies an anomalous position in art history. Its proponents celebrate its brief but glorious history, a “Golden Age”, lasting roughly from 1880 to 1930. It is a history with a definite, limited chronology, determined by issues of quality and stylistic development and focused on the achievements of a few individuals. Others, however, regard American illustration as a minor episode in the history of art; many consider it to be beneath consideration as serious art. Yet there has been little analysis of why American illustration is considered so marginal or of why to this day the question of whether illustration is a fine art has not been resolved.

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Wołowiec, Tomasz. "PARABANK FINANCING OF MUNICIPAL INVESTMENTS." International Journal of Legal Studies ( IJOLS ) 4, no. 2 (December 30, 2018): 129–40. http://dx.doi.org/10.5604/01.3001.0013.0008.

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A condition for the effective acquisition of external financial resources coming from the funds of the European Union is the long-term planning and analysis of investment projects in the scope of proper selection of financing sources. According to art. 236 para. 4 of the Public Finance Act (hereinafter: ufp), in the property expenditure plan, the planned amounts of capital expenditure are distinguished in the system of departments and chapters.They include: investment expenditures and investment purchases, as well as programs financed with funds of referred to in art. 5 para. 1 point 2 and 3 ufp. In part related to the implementation of tasks of the local government unit; purchase and acquisition of shares and contributions to commercial law companies.

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Sköldberg, Emma, Louise Holmer, Elena Volodina, and Ildikó Pilán. "State-of-the-art on monolingual lexicography for Sweden." Slovenščina 2.0: empirical, applied and interdisciplinary research 7, no. 1 (April 18, 2019): 13–24. http://dx.doi.org/10.4312/slo2.0.2019.1.13-24.

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The minireview describes the state-of-the-art of Swedish monolingual lexicography. The main actors in the field, both commercial and non-commercial, are mentioned alongside with the description of lexicographic products that have been offered by them to the lexicon users. The minireview makes it clear that there is an obvious tendency among the Swedish dictionary users to abandon paper-based dictionaries and switch over to online portals and apps, which influences the practices adopted by commercial publishing houses, such as Norstedts, Bonniers, Natur & Kultur. Among the leading non-commercial players, the Swedish Academy, the Swedish Language Bank, Institute for Language and Folklore are named. Swedish monolingual lexicography offers, however, dictionaries produced not only by experts but also by non-experts (i.e. using the efforts of the crowd).

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Bastos, Fernando Loureiro. "LEGALIMPLICATIONS OF STREET ART AS A ‘DEMOCRATIZED’/’OPEN’ FORM OF ART." Revista Opinião Jurídica (Fortaleza) 18, no. 28 (May 13, 2020): 210. http://dx.doi.org/10.12662/2447-6641oj.v18i28.p210-230.2020.

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The prestige of street art as an artistic expression has increased year after year. The analysis of its legal implications must take into account the difficulties in reaching a general operative concept of street art and the need to legally frame the creation, preservation and transaction of street art productions. Since the legal concept is not equivalent to the theoretical concept or the history of art, each State and even each municipality can create their own legal concepts, acting in accordance with these specific concepts in order to control production, to punish execution as vandalism or, in contrast, to protect works produced as part of their cultural heritage. Although street art is created in and for open spaces, usually as an ephemeral art, the commercial interest in street art productions raises questions of due diligence during its transaction, such as those related to ownership, authenticity and even provenance. As an expression of an artistic movement started about half a century ago, can street art works be equated with “traditional” works of art (such as “goods” or “merchandises”), being subject to ownership, commercial sale and copyright, or must they be appreciated as artifacts that can be preserved as part of the cultural heritage or, alternatively, starting from the specific artistic and creative intent of the artist, be understood as a type of works of art that require the creation of new legal categories and forms of understanding its meaning?

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Geronemus, David. "The changing face of commercial mediation." Alternatives to the High Cost of Litigation 19, no. 1 (January 2001): 38–39. http://dx.doi.org/10.1002/alt.3810190114.

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Bermann, George A. "International Commercial Arbitration: Past, Present, Future." Alternatives to the High Cost of Litigation 33, no. 5 (May 2015): 65–76. http://dx.doi.org/10.1002/alt.21580.

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Ooi, Can-Seng. "Cacophony of Voices and Emotions: Dialogic of Buying and Selling art." Culture Unbound 2, no. 3 (September 16, 2010): 347–64. http://dx.doi.org/10.3384/cu.2000.1525.10220347.

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The importance of galleries as go-betweens for artists and art buyers is acknowledged in art world research. Using a Bakhtinian dialogic approach, this article examines social encounters of three artists, two art buyers and one gallery sales executive in Singapore. Specifically, it looks into the social interactional dynamics of artists and art buyers when they trade directly. Situational ambiguities and emotional ambivalence arise during such meetings from the different expectations and demands that are imposed, which have the effect of placing the parties involved in conflicting social contexts. For instance, when art connoisseurs and artists discuss aesthetics, monetary value is not of primary concern, nonetheless when they want to trade, commercial concerns become central; this can lead to discomfort between the parties. Similarly, art buyers may want to go behind the scenes to know more about the artist and the art practice; getting away from the glitter of the commercial gallery and into the modest art studio for an authentic experience may reveal too much for visitors; such experiences may break their illusion of the glamorous artist. This article looks at the microscopic interaction between artists and art buyers and shows how the ambiguities and ambivalence that can be generated by their encounters become constraining factors in encouraging artists and art buyers to trade directly, by-passing commercial art galleries and dealers.

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Keinonen, Heidi. "Arts and Advertising: Aesthetics of Early Commercial Television in Finland." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 165–77. http://dx.doi.org/10.2478/ausfm-2014-0010.

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Abstract Finnish television was launched by a commercial company in 1956. TES-TV, the first television station, was later followed by a programming company called Tesvisio and joined by the television channel of YLE, the Finnish Broadcasting Company. The TES-TV/Tesvisio years are a unique period in television history, since they witnessed the creation of a connection between commercial television and the arts. In this article I aim to study early Finnish television aesthetics by analyzing television as art and also the relations between television and other art forms. My focus is on the representations of high and low culture and the search for a television style. TES-TV aired both popular programmes and high culture, like ballet, while on Tesvisio, these cultural extremities were gradually replaced by a middle-brow culture. The early programming included both filmed and live material, which had a contribution to the evolution of Finnish television aesthetics. The television style was further developed by Tesvisio’s first professional set designer and his experimental work. Therefore I claim that in these commercial companies television was seen as an art form in its own right, not only as a mediator of art

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Apalla, Ceska Marie R., Keeshia Joy S. San Juan, and Rowanne Marie R. Maxilom. "PRE-SEQUENCES AND SPEECH ACTS IN CEBUANO RADIO HEALTH COMMERCIALS IN CEBU CITY." Kajian Linguistik dan Sastra 2, no. 2 (August 31, 2018): 87. http://dx.doi.org/10.23917/kls.v2i2.6731.

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This research attempted to identify and analyze the Cebuano-Bisaya radio health commercials using Schegloff’s (2007) framework on pre-sequences with the support of Yule’s (1996) speech act theory. Thirty (30) Cebuano-Bisaya radio health commercials were gathered from two selected radio stations. The results revealed that representatives were the most dominant function in speech acts that reflected in pre-sequences specifically with pre-offers and pre-announcements through drama and testimonial categories which are often used in medicinal product commercials. In advertising strategies, Cebuano-Bisaya commercials use Representatives and Expressive as persuasive devices in addressing the advertisers’ intended message to the target audience. Also, Cebuano-Bisaya commercials used Representatives and Expressive as an appeal to suggest an intention for the listener to buy advertised products.Keywords: Cebuano, commercial, health, pre-sequences, radio, speech acts

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Helmreich, Anne. "Victorian Exhibition Culture: The Market Then and the Museum Today1." Articles, no. 55 (April 20, 2010): 0. http://dx.doi.org/10.7202/039556ar.

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Abstract This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.

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Sharma, Andrew. "Recall of Television Commercials as a Function of Viewing Context: The Impact of Program-Commercial Congruity on Commercial Messages." Journal of General Psychology 127, no. 4 (October 2000): 383–96. http://dx.doi.org/10.1080/00221300009598592.

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Łuc, Izabela. "Commercial image of art as a tool of advertising games." Białostockie Archiwum Językowe, no. 12 (2012): 115–31. http://dx.doi.org/10.15290/baj.2012.12.07.

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Crystal-Kirk, David. "Forgery Reforged: Art-Faking and Commercial Passing-Off Since 1981." Modern Law Review 49, no. 5 (September 1986): 608–16. http://dx.doi.org/10.1111/j.1468-2230.1986.tb01706.x.

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Demshina, A. Yu. "Dialogic building art space as a form of cultural development." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 44–48. http://dx.doi.org/10.30725/2619-0303-2017-2-44-48.

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Art space have become quite common. They play an important role in shaping the cultural landscape and the development of the modern city. On the example of the creative spaces of St. Petersburg and the author’s personal experience can be traced to the capacity and features of these locations. You can highlight a typology of self-organized commercial and non-commercial art spaces by type of activity, identify diff erences in communication and contemporary art spaces with informal organizations of the Soviet period. The difference of the art space of the events of contemporary art seems less pressure on the part of the organizers and the absence of persuasive verbal comments frequently

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Stern, Erica B., Steven R. Ytterberg, Hollis E. Krug, Gerald T. Mullin, and Maren L. Mahowald. "Immediate and short-term effects of three commercial wrist extensor orthoses on grip strength and function in patients with rheumatoid arthritis." Arthritis Care & Research 9, no. 1 (February 1996): 42–50. http://dx.doi.org/10.1002/art.1790090109.

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AL-ENAD, ABDULRAHMAN. "Adult's Evaluation of the Effects of TV Commercials on Children's Consumptive Behavior." Journal of King Abdulaziz University-Arts and Humanities 5, no. 1 (1992): 3–25. http://dx.doi.org/10.4197/art.5-1.2.

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Houghton, Beth. "Art book publishing in Britain." Art Libraries Journal 17, no. 3 (1992): 38–40. http://dx.doi.org/10.1017/s0307472200007951.

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Art publishing in Britain flourished in the earlier part of the 20th century, thanks in no small part to the enterprise of European émigrés. However, a majority of art books published now are of a commercial and popular nature, neglecting many aspects of art and British art of this century in particular. Do the conservatism of British taste, or the ready availability of books in libraries, contribute to this situation?

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Khandekar, Nisha. "GLOBALIZATION AND WARLI TRIBAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 116–21. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3718.

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The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer- related.

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Journal articles on the topic 'Commercical art'

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