Relevant bibliographies by topics / Communications and the Arts

Contents

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

Academic literature on the topic 'Communications and the Arts'

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

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Journal articles on the topic "Communications and the Arts"

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Kostecka, Keith. "Nanotechnology for Arts and Communications Students." Journal of Nano Education 8, no. 2 (December 1, 2016): 133–39. http://dx.doi.org/10.1166/jne.2016.1096.

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Rajbhandari, Jitendra Man. "Graphic Communications in the Context of Nepal." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 50–57. http://dx.doi.org/10.3126/sirjana.v5i1.39743.

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Graphic communication, a powerful tool for conveying information through visual aids has undergone a radical change since its early application by cave artists of Paleolithic age. With the development of print technology, both the scope and significance of graphic technology have been expanding. In the context of Nepal, graphic communication has received an attention since the advent of printing press. Several artists, illustrators and graphic designers have made great contributions on the development of this form of Applied Arts. Since the last few years the Fine Arts institutions in Nepal have been introducing Graphic Communications into their curriculum which is sure to uplift the quality of graphic design in promotion of the products and services in the Nepali market.
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Fourmentraux, Jean-Paul. "L’œuvre en actes : arts, médias et communications numériques." Quaderni, no. 68 (January 5, 2009): 95–101. http://dx.doi.org/10.4000/quaderni.297.

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Yang, Qingyan, Virginia Sisiopiku, Jim A. Arnold, Paul Pisano, and Gary G. Nelson. "Assessment of Rural Intelligent Transportation System Wireless Communications Solutions." Transportation Research Record: Journal of the Transportation Research Board 1739, no. 1 (January 2000): 51–58. http://dx.doi.org/10.3141/1739-07.

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Rural transportation systems have different features and needs than their urban counterparts. To address safety and efficiency concerns in rural environments, advanced rural transportation systems (ARTS) test and deploy appropriate intelligent transportation systems (ITS) technologies, many of which require communication support. However, wireless communication systems that currently serve urban areas often are not available or suitable in rural environments. Thus, a need exists to identify communication solutions that are likely to address successfully the needs and features of ARTS applications. Current and emerging wireless communications systems and technologies have been systematically assessed with respect to rural ITS applications. Wireless communication functions associated with rural ITS functions are first identified. Then requirements for applicable communication technologies in the rural environment are defined. Existing and emerging wireless communication systems and technologies are reviewed and evaluated by a systematic process of assessing rural ITS wireless solutions. Finally, recommendations for future research and operational tests are offered. The analysis results are expected to benefit rural ITS planners by identifying suitable wireless solutions for different rural contexts.
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Oakes, Helen, and Steve Oakes. "Accounting and marketing communications in arts engagement: A discourse analysis." Accounting Forum 36, no. 3 (September 2012): 209–22. http://dx.doi.org/10.1016/j.accfor.2012.02.002.

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Jacka, Elizabeth, and Meredith Quinn. "Review & Booknote: Commonwealth Department of Communications and the Arts." Media International Australia 78, no. 1 (November 1995): 157. http://dx.doi.org/10.1177/1329878x9507800128.

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Inga, Danielle. "Dark Arts: Designed Communications and a New Rhetoric of Authenticity." Design and Culture 4, no. 1 (March 2012): 5–25. http://dx.doi.org/10.2752/175470812x13176523285075.

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Sprenger, Guido. "Communicated into being: Systems theory and the shifting of ontological status." Anthropological Theory 17, no. 1 (March 2017): 108–32. http://dx.doi.org/10.1177/1463499617699330.

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The inclusion of non-humans as persons into social systems raises the question: How exactly are they constituted as communicating beings? This article suggests an approach informed by Niklas Luhmann’s theory of autopoietic social systems. In particular, it addresses the question why some beings are more person-like in some contexts and more like objects or potencies in others. According to Luhmann, social systems consist not of persons but of self-reproducing, self-referential communications. Communicating beings emerge from communications that systems attribute to actors, not the other way around. The differentiated recognition of communication allows for a gradual, step-by-step ascription of personhood to non-human beings, with the possibility of shifting between ontological states. This approach is illustrated with rituals for agricultural spirits among Rmeet uplanders in Laos.
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Church, Scott Haden, and Jesse King Jones. "The Word is the Knife: Janus-Faced Communication in Sartre’s No Exit and Rose’s Twelve Angry Men." New Theatre Quarterly 36, no. 1 (February 2020): 84–95. http://dx.doi.org/10.1017/s0266464x20000123.

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In this article the authors offer an analysis of Jean-Paul Sartre’s 1946 play Huis Clos (No Exit) and Reginald Rose’s 1954 play Twelve Angry Men, with particular attention paid to exploring the insights from each theatrical text about communication. The process of communication may be ambivalent or Janus-faced, and one of the objectives of this analysis is to consider communication in terms of its duality and incisive power. In doing so, the aim is to explore its antithetical tensions by amplifying the mythological, deliberative and philosophical dimensions of communication praxis. In particular, the archetype of the knife provides a useful metaphor for understanding the potentials and pitfalls of communication in human interaction. Scott Haden Church is an Assistant Professor in the School of Communications at Brigham Young University. He has recently published in Critical Studies in Media Communication. Jesse King Jones is in the Masters Programme of the School of Communications at Brigham Young University.
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Negrotti, Massimo. "Music and Naturoids: The Third Reality." Leonardo 45, no. 3 (June 2012): 269–73. http://dx.doi.org/10.1162/leon_a_00370.

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At a high level of abstraction, it can be shown by analogy that attempts to reproduce natural phenomena occur not only in technological endeavors but also in human communication and the arts, including music. This paper presents the parallel development of artificial devices—or “naturoids”—in the fields of technology, message communication and musical composition, highlighting the transfiguration that unavoidably affects the resulting device, message or musical work. In the technological field and, to an extent, in the communications field, the transfiguration of the natural object is taken as a more or less unsatisfying outcome. By contrast, in the arts, and mainly in music, the transfiguration effect is exactly what the artist pursues through placing him- or herself at a nonordinary observation level.
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Dissertations / Theses on the topic "Communications and the Arts"

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Vantine, Karin. "Communications sourcebook /." Online version of thesis, 1992. http://hdl.handle.net/1850/11867.

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Hendricks, Robert W. "Communications technology : a taxonomy /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487267024995694.

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Girard, Claire. "The internet table: how Canadian arts and culture organisations engage with telecommunication policy." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119753.

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This project examines the engagement of Canadian arts and culture organizations with telecommunication policy at two Canadian Radio-television and Telecommunications Commission (CRTC) hearings held in 2009. The thesis argues that during the Broadcasting in New Media hearing arts organizations added a new set of issues to their historically content-centric advocacy concerns and began engaging with policy that regulates carriage. At the second hearing, the Review of the Internet Traffic Management Practices of Internet Service Providers, these groups in their comments and presentations to the regulator directly address the design, implementation and technical functioning of telecommunication technologies. The thesis proposes a typology of Canadian arts and culture organizations and gives an account of their history of communication and cultural policy advocacy. Using a Science and Technology Studies and Actor-Network Theory oriented definition of technology the project shows that the participation by these groups in formal policy-making forums on internet governance issues is supplemented by other productive modes of engagement with information and communication technologies (ICTs). This thesis gives examples of these organizations integrating ICTs in their work and argues that such practices effectively produce and re-define the internet. Canadian arts and culture organizations would gain from adopting an understanding of ICTs that reflects their mutually constitutive and co-productive relationship. The thesis concludes that to become more empowered in both their practices and in policy decision-making arts and culture organizations should define telecommunication infrastructure as a material agent and participant.
Ce projet examine l'engagement d'organismes culturels Canadiens avec les politiques de télécommunication lors de deux audiences publiques au Conseil de la Radiodiffusion et des Télécommunications Canadiennes (CRTC) en 2009. Le mémoire argumente que durant l'audience sur La Radiodiffusion Canadienne par les Nouveaux Médias ces organismes ont ajouté de nouvelles problématiques aux intérêts, historiquement centrés sur le contenu, qu'ils défendent et ont commencé à plaidoyer les politiques qui gèrent le transport des données. Lors de la seconde audience, l'Examen des Pratiques de Gestion du Trafic Internet des Fournisseurs de Services Internet, ces organismes ont adressé directement le design, l'implémentation et le fonctionnement technique des technologies de la télécommunication dans leurs commentaires et présentations au Conseil. Le mémoire propose une typologie des organismes culturels Canadiens et résume leurs antécédents en défense des politiques culturelles et des communications. En utilisant une définition de la technologie orientée par les Études des Sciences et Technologies ainsi que de la théorie de l'acteur-réseau le projet démontre que la participation de ces groupes aux forums officiels d'élaboration des politiques de gouvernance internet est complétée par d'autres modes productifs d'interaction avec les technologies d'information et de communication (TIC). À l'aide d'exemples d'intégration des TIC par ces organismes dans leur travail le mémoire fait valoir que de telles pratiques produisent et contribuent à la redéfinition de l'internet. Les organismes culturels du Canada gagneraient à adopter une définition des TIC qui reflète leur relation mutuellement constitutive et co-productive. Le mémoire conclut que les infrastructures de télécommunication doivent être comprises comme étant des acteurs matériels et des participants afin de renforcer et responsabiliser les pratiques et la défense de politiques de ces organismes.
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Frozzini, Jorge. "Comprendre l'intimité: une forme de pouvoir au sein des audiences de la commission Bouchard-Taylor." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96920.

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This thesis investigates the status of intimacy in late modernity. It adresses two questions: how should we consider intimacy today? And how can intimacy help us understand social phenomena such as the Bouchard-Taylor Commission?To answer these questions, intimacy is conceptualized as a form of power that regulates the space of social differentiation that exists between individuals in modern societies. The analysis is inspired by philosophical hermeneutics, but also a series of transdisciplinary approaches enabling us to account for the various dimensions of the issue. The thesis provides a close reading of 64 interventions made during the Quebec Citizen's Forum of the Consultation Commission on Accommodation Practices Related to Cultural Differences, better known as the Bouchard-Taylor Commission. These interventions are analyzed using a methodology inspired by the "Depth Hermeneutics" developed by John B. Thompson, which comprise three levels of analysis: social-historical analysis, discursive analysis and interpretation. I have enriched this method with the feminist insights of Sara Ahmed.The analysis is framed by a general context that includes the main elements of modernity and late modernity in the West, the more particular context of Quebec, and the effects of the September 11, 2001 attack on the United States and its aftermath. Additionally, the thesis situates this analysis in the more specific context surrounding the creation and the work of the Bouchard-Taylor Commission. This contextualization combined with a discourse analysis of the interventions themselves helped to unveil dimensions of intimacy that play a significant role in distancing and approaching bodies in public space and therefore have an influence on the differentiation of individuals in the community. In addition, this thesis argues that people are driven to manipulate their most intimate dimensions in order to gain the recognition of others. This is characterized as a by-product of the clash between our capacity for action and regulatory processes that reduce our margin of independence in late modernity.
Cette thèse a comme tâche principale de répondre aux interrogations concernant le statut de l'intimité dans la modernité avancée. En effet, nous y avons répondu à deux interrogations : comment devrions-nous considérer l'intimité aujourd'hui? Et comment peut-elle nous aider à comprendre des phénomènes sociaux comme la Commission Bouchard-Taylor?Pour répondre à ces questions, nous avons conceptualisé l'intimité à l'aide des dimensions y étant associées comme une forme de pouvoir aidant à la normalisation et au contrôle de l'espace à travers la différenciation sociale qu'elle effectue entre les individus. L'analyse présentée est basée sur un cadre théorique inspiré de la philosophie herméneutique, mais aussi d'une série de courants transdisciplinaires nous permettant de rendre compte des diverses dimensions de la question. Comme terrain d'étude, nous avons choisi 64 allocutions effectuées lors des Forums de citoyens de la Commission de Consultation sur les Pratiques d'Accommodement, mieux connue sous le nom de Commisison Bouchard-Taylor. Pour étudier ces allocutions, nous avons fait appel à la méthodologie inspirée du « depth hermeneutics » de John B. Thompson avec les trois niveaux d'analyse suivants : une analyse sociohistorique, une analyse discursive et l'interprétation. Cette méthode, nous a été enrichie à l'aide des travaux de Sara Ahmed, auteure féministe prolifique.Nous avons effectué une analyse du contexte général couvrant les principaux éléments de la modernité et de la modernité avancée, puis une analyse du contexte québécois, sans oublier les effets du 11 septembre 2001. Nous avons aussi présenté le contexte particulier entourant la création et les travaux de la Commission Bouchard-Taylor. Cette contextualisation jumelée à l'analyse discursive des allocutions nous a permis de constater que les dimensions de l'intimité jouent un rôle non négligeable dans le rapprochement et l'éloignement des corps dans l'espace et donc dans la différenciation des individus dans la communauté. Enfin, cette thèse nous a permis de voir que les individus sont poussés à manipuler leurs dimensions les plus intimes afin d'obtenir la reconnaissance de l'autre. Ce phénomène résulterait de nos capacités d'action qui se heurtent au processus de régulation et de contrôle externes diminuant notre marge d'indépendance dans la modernité avancée.
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Laurin, Helene. "La valorisation à travers les récits de vie mythiques: le projet autobiographique de Mӧtley Crüe au sein de la culture rock." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116935.

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Mötley Crüe is a glam metal cult group that was popular mostly during the 1980s. They are still well-known for their decadent lifestyle. Since 2001, the four members of the band (Nikki Sixx, Tommy Lee, Vince Neil and Mick Mars) have published no less than six autobiographies, amounting to a dense and varied autobiographical project. This doctoral dissertation examines Mötley Crüe's autobiographical project in terms of its performativity, or in other words, its accomplishments. The mythical narratives that are told act on rock culture on four levels in particular: sex, drugs, rock n' roll and wisdom. In order to understand what Mötley Crüe's autobiographical discourses mean, I chose to do close readings of numerous passages which offer us narratives taking us into their debauched lives, and rely on the many "I"'s weaved into the text. As a contribution to cultural studies, my analysis of these different narratives benefits from the theoretical input of many fields of research, including communication studies, gender studies, literature, sociology and art history. This research shows that rock culture has moved to welcome sensational discourses (sensational both in terms of the bodily sensations described and the strong impressions these discourses create), like those articulated in the autobiographies (and the first, in particular) by members of Mötley Crüe. At the same time, the group's later autobiographies reveal another movement: their autobiographical discourses correspond more and more with the values through which rock culture is consecrated, as they speak more and more of their songs, their artistic visions and their creativity.
Mötley Crüe est un groupe culte de glam metal qui a surtout été populaire pendant la décennie 1980, et qui demeure connu à ce jour pour le style de vie débauché de ses membres. Depuis 2001, Nikki Sixx, Tommy Lee, Vince Neil et Mick Mars ont publié un total de six autobiographies, ce qui constitue un projet autobiographique dense et varié. Cette thèse propose d'étudier le projet autobiographique du groupe Mötley Crüe du point de vue de sa performativité, autrement dit, sur le plan de ses accomplissements. Les récits mythiques qui y sont racontés agissent au sein de la culture rock à quatre niveaux : sexe, drogues, rock n' roll et sagesse. Pour comprendre ce que les discours autobiographiques des membres de Mötley Crüe signifient, j'ai opté pour des lectures rapprochées de plusieurs passages, constituant autant de récits immersifs sur leur vie décadante, mettant à profit les différents « je » tissés à même le texte. Mon projet de recherche relevant des cultural studies, l'analyse de ces différents récits passe par l'apport théorique de plusieurs champs de recherche, dont les études en communication, les gender studies, la littérature, la sociologie et l'histoire de l'art. Il ressort de cette recherche que la culture rock est maintenant différente et plus accueillante envers les discours sensationnalistes (compris comme les sensations corporelles et les fortes impressions que ces discours créent), tels que ceux articulés par les membres de Mötley Crüe dans leurs premières autobiographies. Par ailleurs, les dernières autobiographies du groupe révèlent un autre mouvement : leurs discours autobiographiques s'accordent de plus en plus avec les valeurs de la culture rock consacrée, alors qu'ils discourent à propos de leurs chansons, de leurs visions artistiques et de leur créativité.
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Bryant, Ursula Moore. "Tolerance: Challenge, Perception, and Social Stigmas Defined through Visual Communications." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2095.

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My explorations and journey through life have led me to discover a connection in my work and responsibility as a visual communicator. My objective of communicating challenge, perception, and social stigmas through informed stories of individual lives is to provoke questions and spark moments of awareness in viewers. With this supporting manuscript, I hope to inform about my motivations through time including my personal, artistic, and historical influences. I will define graphic design as a fine art through the evaluation of artistic movements. I also intend to discuss design as a language and build a case for social awareness. Evaluating the process of my work will enlighten the technical aspects of my unique aesthetic and prove the success of my intention.
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Holton, Carolyn F. "The impact of computer mediated communication systems monitoring on organizational communications content." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002440.

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Brickler, Abigail. "Social Engagements: Facebook, Twitter, and Arts Marketing." University of Akron / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=akron1555949375427389.

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Burton, Samantha. "Canadian girls in London: negotiating home and away in the British World at the turn of the twentieth century." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107634.

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This dissertation examines the ways in which Canadian women artists who lived as expatriates in Britain managed multiple and often competing ideas about home in their writing and artwork in the late nineteenth and early twentieth centuries. Focusing on a small group of professional, white, English-Canadian painters, including Emily Carr, Elizabeth Armstrong Forbes, Mary Alexandra Bell Eastlake, Helen McNicoll, and Frances Jones, I reveal links between Canada and the greater British Empire that have tended to be lost in nationalist art history narratives. Though well-known and respected during their lifetimes as successful professional artists who pursued international careers, Canadian women of the pre-WWI period have since been almost exclusively studied through the narrow lens of the ideology of separate spheres. Without dismissing the very real restrictions that women did face because of their gender, I maintain that this distinction between public and private neglects the colonial context in which white Canadian women lived and worked. Indeed, the nineteenth-century cult of middle-class domesticity and the era of high imperialism went hand in hand: "home," the personal space of the family, and "home," the social space of a nation, were twinned in the discourse of empire, both signifying a bounded, secure, and racialized space of belonging, safely separate from the outside world. Indeed, the maintenance of this strict division between "home" and "away" was one of the structuring fictions of imperialism. By insisting on the importance of a consideration of the specificity of the experience of artists like Carr, Forbes, Eastlake, McNicoll and Jones as not just women, but as white women, and even more specifically, as white women working within the context of British imperialism, my work pushes at the boundaries of the now well-established framework of white feminist art history, which has overwhelmingly tended to shy away from questions of race and empire. Through an examination of primary sources such as letters, travel diaries, autobiographies, and sketchbooks, and a close analysis of visual representations of motherhood, domestic interiors, and literary and historical subjects, I argue that both senses of home were met with a deep ambivalence, that the boundaries between home and away were permeable, and that the global public and domestic private were, in fact, intertwined and mutually constitutive. By dismantling these boundaries and examining the networks that stretched across the Atlantic and throughout the English-speaking world, I situate Carr, Forbes, Eastlake, McNicoll, and Jones within the context of what has come to be called the "British World."
Cette thèse examine les façons dont les femmes artistes canadiennes, en tant qu'expatriées en Grande-Bretagne, traitaient des idées multiples et souvent contradictoires du foyer au cours de leurs écrits et de leurs œuvres d'art vers la fin du XIXe et au début du XXe siècle. En visant un petit groupe de peintres, anglo-canadiennes de race blanche, telles qu'Emily Carr, Elizabeth Armstrong Forbes, Mary Alexandra Bell Eastlake, Helen McNicoll, et Frances Jones, je révèle des liens entre le Canada et l'Empire britannique qui ont eu tendance à se perdre dans les récits nationalistes d'histoire de l'art. Bien que ces artistes soient reconnues et respectées au cours de leur vie en tant qu'artistes professionnelles accomplies ayant poursuivi des carrières internationales, ces femmes canadiennes de la pré-période de la Première Guerre mondiale furent depuis étudiées presque exclusivement par le biais d'un prisme idéologique étroit, soit deux sphères distinctes. En tenant compte des restrictions réelles que posait leur statut de femme à cette époque, je maintiens que cette distinction publique et privée néglige le contexte colonial dans lequel ces femmes ont vécu et ont travaillé. En effet, le culte de la domesticité de la classe moyenne au XIXe siècle et l'ère d'impérialisme élevé étaient de concert: le 'foyer,' espace personnel de la famille et le 'foyer' en tant qu'espace social d'une nation furent jumelés dans le discours d'empire, donnant lieu à un sentiment d'appartenance délimité, sécurisant et racialisé, à l'abri du monde externe. Certes, la division distincte entre le foyer et l'extérieur fut l'une des structures fictives de l'impérialisme. En insistant sur l'importance d'examiner la spécificité de l'expérience de ces artistes, non seulement en tant que femmes, mais femmes blanches et plus particulièrement en tant que femmes œuvrant dans un contexte d'impérialisme britannique, mon travail pousse à la limite de l'encadrement, désormais bien établi en histoire de l'art des féministes blanches, qui a eu tendance à se détourner des questions de race et de l'empire. En puisant les sources primaires telles que les lettres, les carnets de voyages, les autobiographies et les cahiers de croquis et en effectuant une analyse minutieuse des représentations visuelles de la maternité, des intérieurs domestiques, et des sujets littéraires et historiques, je soutiens que les deux sens du terme 'foyer' ont fait l'objet d'une profonde ambivalence, les frontières entre le foyer et l'extérieur étaient perméables, et que le secteur public et celui de la vie domestique privée étaient de fait intimement liés et mutuellement constitutifs. En démantelant ces frontières et en examinant les réseaux à travers l'Atlantique et le monde anglophone, je situe donc Carr, Forbes, Eastlake, McNicoll, et Jones dans un contexte maintenant connu comme le 'monde britannique.'
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Tembeck, Tamar. "Performative autopathographies: self-representations of physical illness in contemporary art." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40725.

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Performative Autopathographies examines firsthand representations of physical illness produced by selected professional artists since 1980. Through pointed case study analyses, it shows how contemporary autopathographies function beyond therapeutic expression by articulating political, aesthetic, and metaphysical positions (e.g., autothanatography) in relation to lived experience. Notions of pathography, performativity, acting forms, confession, dialogism, and the ethics of response are presented in the Introduction. Chapter 1 reviews the literature relevant to the emergent field of “cultural illness studies,” situated at a disciplinary crossroads between medical humanities and visual / cultural studies. It outlines the research undertaken on pathography thus far, and details the relational, restorative, political and aesthetic stakes that characterize the practice. Chapter 2 examines the “performalist” photography of Hannah Wilke, conducted in response to her mother’s cancer and her own. Wilke’s pathographic works are read with the guidance of Aby Warburg’s Pathosformel, which helps to generate my notion of the “formula of pathos.” Chapter 3 considers Jo Spence’s construction of a living archive through her photographic treatment of illness. Contrasting her production to other circulating images of breast cancer, the chapter details how Spence built a critical visual culture of disease. The performative aspects of Spence’s “phototherapy” are discussed, while her final works are interpreted along the framework of autothanatography. Chapter 4 considers the semiotics of the body in pathographic choreography. The historical associations between disease and dance are retraced before considering works by Jan Bolwell and Bill T. Jones. Critic Arlene Croce’s notorious reaction to Jones’ Still/Here furthers the discussion on the ethics of response and responsibility in receiving pathographic works. Findings from these case studies of autopat
Autopathographies Performatives s’intéresse à une sélection d’autoreprésentations produites par des artistes professionnels depuis 1980 qui traitent de maladie physique. À travers des analyses d’études de cas, la thèse démontre comment les autopathographies contemporaines vont au-delà d’une expression strictement thérapeutique en articulant des positionnements politiques, esthétiques et métaphysiques (cf. autothanatographie) sur leur vécu. Les notions de pathographie, performativité, formes agissantes, confession, dialogisme et de l’éthique de la réception sont présentées dans l’Introduction. Le premier chapitre entreprend l’analyse des documents des études culturelles sur la maladie, au croisement des sciences sociales de la médecine et des visual/cultural studies. La recherche existante sur la pathographie y est résumée, ainsi que les enjeux relationnels, thérapeutiques, politiques et esthétiques qui la caractérisent. Le deuxième chapitre examine la pratique «performaliste» de Hannah Wilke, réalisée autour du cancer de sa mère et du sien. Ses œuvres pathographiques sont analysées à l’aide du Pathosformel d’Aby Warburg, qui nous permet de générer la notion de « formule du pathos ». Le troisième chapitre explore la construction d’une archive vivante par Jo Spence au moyen du traitement photographique de sa maladie. Contrastant sa production avec différentes images du cancer du sein, ce chapitre décrit comment Spence construit une culture visuelle critique de la maladie. Les aspects performatifs de sa « photothérapie » sont abordés, tandis que ses dernières œuvres sont interprétées selon le cadre de l’autothanatographie. Le quatrième chapitre se penche sur la sémiotique du corps dans la chorégraphie pathographique. Les associations historiques entre la danse et la maladie y sont retracées, avant d’aborder des œuvres de Jan Bolwell et Bill T. Jones. La réaction notoire de la critique Arl
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Books on the topic "Communications and the Arts"

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Gillam, Scott. Communications and the Arts. NY: Facts on File Inc, /DBA Infobase Publishing, 2010.

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Security, Illinois Department of Employment. Arts, A/V technology & communications. Springfield, Ill.]: Illinois Dept. of Employment Security, 2007.

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Wilkinson, Philip. Scrolls to computers: Arts and communications. Limpsfield: Dragon's World Children's Books, 1994.

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Graphic communications. 3rd ed. Mission Hills, Calif: Glencoe Pub. Co., 1988.

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Creating communication: Exploring and expanding your fundamental communications skills. 2nd ed. Lanham, Md: Rowman & Littlefield Publishers, Inc., 2008.

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Greenwald, Martin L. Graphic communications: Design through production. Albany, N.Y: Delmar Publishers, 1997.

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Devenez champion dans vos communications. Sainte-Foy, Québec: Éditions MultiMondes, 2003.

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E, Conover Theodore, ed. Graphic communications today. 4th ed. Clifton Park, NY: Thomson/Delmar Learning, 2004.

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Wyckoff, Claire. Top careers in two years: Communications and the arts. New York: Ferguson, 2007.

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Greenan, James P., Patricia J. Marton, and Jo Ann Powell. Generalizable communications skills: Resource directory. Springfield, Ill.]: The Section, 1985.

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Book chapters on the topic "Communications and the Arts"

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Dethridge, Lisa. "Arts and Communications." In The Fourth Industrial Revolution, 107–24. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1614-3_7.

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Lockee, Barbara B., and Feihong Wang. "Visual Arts Education." In Handbook of Research on Educational Communications and Technology, 583–90. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-3185-5_46.

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Gardner, Paula, Stephen Surlin, Caitlin McArthur, Adekunle Akinyema, Jessica Rauchberg, Rong Zheng, Jenny Hao, and Alexandra Papaioannou. "ABLE Music: Arts-Based Exercise Enhancing LongEvity." In Communications in Computer and Information Science, 450–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60703-6_58.

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Goldberg, Merryl. "Communication, Expression, and Experience." In Arts Integration, 76–108. 6th ed. Sixth edition. | New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780367809805-5.

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Kannan, Rajkumar, Frederic Andres, Fernando Ferri, and Patrizia Grifoni. "Towards Multimodal Capture, Annotation and Semantic Retrieval from Performing Arts." In Advances in Computing and Communications, 79–88. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22726-4_10.

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Hui, Fang. "Study on the Development of Martial Arts Industry in China." In Communications in Computer and Information Science, 565–71. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23020-2_84.

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Zuo, Xiaolu. "Communication Networks: States of the Arts." In Grid and Cooperative Computing, 372–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-24680-0_61.

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Takach, Geo. "Environment, Communication and Arts-Based Research." In Scripting the Environment, 1–20. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40433-2_1.

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Johnson, Clare. "Feminist and Queer Arts Activism." In The Routledge Handbook of Gender and Communication, 223–38. New York : Routledge, 2020. | Series: Handbooks to gender and sexuality: Routledge, 2020. http://dx.doi.org/10.4324/9780429448317-16.

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Schnugg, Claudia. "Communication." In Palgrave Studies in Business, Arts and Humanities, 137–61. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04549-4_8.

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Conference papers on the topic "Communications and the Arts"

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Nguyen, Minh Quang. "Communications and Arts." In 6th International Conference on Electronic, Mechanical, Information and Management Society. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/emim-16.2016.74.

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Cai, Yuefei. "Application of multimedia technology in martial arts." In 3rd International Conference on Green Communications and Networks. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/gcn131152.

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Shenoy, Sanath S., C. R. Vijeth, and Raghavendra Eeratta. "Apriori resource-determination based task scheduling algorithm (ARTS)." In 2013 International Conference on Advances in Computing, Communications and Informatics (ICACCI). IEEE, 2013. http://dx.doi.org/10.1109/icacci.2013.6637336.

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Layng Rosner, Terre. "An Analysis of Traditional Graphic Design and MultiCommunication Arts Pedagogy." In Annual International Conference on Journalism & Mass Communications. Global Science & Technology Forum (GSTF), 2014. http://dx.doi.org/10.5176/2301-3710_jmcomm14.67.

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Le, Van-Hung, Tuong-Thanh Nguyen, Ngoc-Anh Tran, and Thanh-Cong Pham. "OpenPose’s Evaluation in The Video Traditional Martial Arts Presentation." In 2019 19th International Symposium on Communications and Information Technologies (ISCIT). IEEE, 2019. http://dx.doi.org/10.1109/iscit.2019.8905243.

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Zakharov, Vladimir, and Irina Avenarius. "COMMUNICATION AND ARTS FOR PEOPLES’ FRIENDSHIP AND UNDERSTANDING." In VIII World Congress on Communication and Arts. Science and Education Research Council (COPEC), 2015. http://dx.doi.org/10.14684/wcca.8.2015.8-9.

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Revell, Tobias. "University of the Arts London London College of Communication." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.74.

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C. FREEMAN, Bradley, Andrew DUFFY, and Xiaoge XU. "Towards a cluster effect: Coverage of the Arts in Singapore’s print media." In Annual International Conference on Journalism & Mass Communications. Global Science & Technology Forum (GSTF), 2014. http://dx.doi.org/10.5176/2301-3710_jmcomm14.19.

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Andrade-Munoz, Maguis, Yaser Aguas-Garcia, Antonio Marin-Hernandez, and Ericka Janet Rechy-Ramirez. "A computational tool for analyzing the turning kicks in martial arts." In 2018 International Conference on Electronics, Communications and Computers (CONIELECOMP). IEEE, 2018. http://dx.doi.org/10.1109/conielecomp.2018.8327198.

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Jelinkova, Martina. "USING MASS COMMUNICATION AND MASS MEDIA TO INCREASE THE EFFICIENCY OF INTEGRATED MARKETING COMMUNICATIONS OF CHEMICAL INDUSTRIAL ENTERPRISES." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b22/s7.126.

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Reports on the topic "Communications and the Arts"

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Hoffer, Nicholas J. The Art of Communications Support. Fort Belvoir, VA: Defense Technical Information Center, June 1997. http://dx.doi.org/10.21236/ada328393.

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Graham, Scott E. Training Command, Control, and Communications Skills on SIMCAT (simulation in Combined Arms Training). Fort Belvoir, VA: Defense Technical Information Center, August 1987. http://dx.doi.org/10.21236/ada190584.

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Forden, Geoffrey Ethan. Arms Control Opportunities for Inherently Safe and Secure Nuclear Command Control and Communications. Office of Scientific and Technical Information (OSTI), October 2019. http://dx.doi.org/10.2172/1569653.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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Abstract:
The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Shope, Virginia C. Communicative Arts. A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 2001. http://dx.doi.org/10.21236/ada395159.

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Shope, Virginia C. Communicative Arts. A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 1994. http://dx.doi.org/10.21236/ada281709.

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Shope, Virginia C. Communicative Arts: A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 2003. http://dx.doi.org/10.21236/ada415667.

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ARMY WAR COLL LIBRARY CARLISLE BARRACKSPA. Communicative Arts. A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 2002. http://dx.doi.org/10.21236/ada406030.

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Shope, Virginia C. Communicative Arts: A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 1995. http://dx.doi.org/10.21236/ada296504.

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ARMY WAR COLL LIBRARY CARLISLE BARRACKSPA. Cummunicative Arts: A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 1998. http://dx.doi.org/10.21236/ada347150.

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