Relevant bibliographies by topics / Displacement (Psychology) in 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 'Displacement (Psychology) in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Displacement (Psychology) in art"

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Gedo, John E. "Art Alone Endures." Journal of the American Psychoanalytic Association 40, no. 2 (April 1992): 501–16. http://dx.doi.org/10.1177/000306519204000209.

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Sigmund Freud, a passionate collector of antiquities, often treated these objects as animate beings. He described such blurring of boundaries between persons and things in the protagonist of W. Jensen's novella, Gradiva. Freud began collecting when his father died, but his unusual attitude toward artefacts was established much earlier, presumably as a consequence of repeated early disappointments in human caretakers. It is postulated that this adaptive maneuver was not simply a displacement of love and hate, but a turning away from vulnerability in relationships, toward attachments over which he might retain effective control. The Freud Collection is largely focused on Greco-Roman and Egyptian objects. Freud's profound interest in classical civilization was established in childhood; he was particularly concerned with the struggle between Aryan Rome and Semitic Carthage, a conflict in which he identified with both sides. This ambivalence reflected growing up within a marginal Jewish family in a Germanic environment. Commitment to classical ideals represented an optimal manner of bridging these contrasting worlds. Egyptian artefacts were, for Freud, links to the prehistory of the Jewish people; they also represent an era when maternal deities found their proper place in man's pantheon—an echo of Freud's prehistoric past.
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Neisworth, John T., Frances Moosbrugger Hunt, Howard R. Gallop, and Ronald A. Madle. "Reinforcer Displacement." Behavior Modification 9, no. 1 (January 1985): 103–15. http://dx.doi.org/10.1177/01454455850091007.

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Eriksson, Christine. "The art of displacement – curating a preschool context in a public transport system." Children's Geographies 18, no. 4 (September 20, 2019): 450–62. http://dx.doi.org/10.1080/14733285.2019.1668913.

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Meyerhoff, Hauke S., Frank Papenmeier, Georg Jahn, and Markus Huff. "Distractor Locations Influence Multiple Object Tracking Beyond Interobject Spacing." Experimental Psychology 62, no. 3 (May 7, 2015): 170–80. http://dx.doi.org/10.1027/1618-3169/a000283.

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Human observers are able to keep track of several independently moving objects among other objects. Within theories of multiple object tracking (MOT), distractors are assumed to influence tracking performance only by their distance toward the next target. In order to test this assumption, we designed a variant of the MOT paradigm that involved spatially arranged target-distractor pairs and sudden displacements of distractors during a brief flash. Critically, these displacements maintained target-distractor spacing. Our results show that displacing distractors hurts tracking performance (Experiment 1). Importantly, target-distractor confusions occur within target-distractor pairs with displaced distractors (Experiment 2). This displacement effect increases with an increasing displacement angle (Experiment 3) but is equal at different distances between target and distractor (Experiment 4). This finding illustrates that distractors influence tracking performance beyond pure interobject spacing. We discuss how inhibitory processes as well as relations between targets and distractors might interfere with target tracking.
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Hubbard, Timothy L. "Judged Displacement: A Modular Process?" American Journal of Psychology 107, no. 3 (1994): 359. http://dx.doi.org/10.2307/1422879.

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Leibowitz, H. W., R. B. Post, and J. B. Sheehy. "Efference, perceived movement, and illusory displacement." Acta Psychologica 63, no. 1 (December 1986): 23–34. http://dx.doi.org/10.1016/0001-6918(86)90040-5.

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Solin, Cynthia A. "Displacement of affect in families following incest disclosure." American Journal of Orthopsychiatry 56, no. 4 (October 1986): 570–76. http://dx.doi.org/10.1111/j.1939-0025.1986.tb03489.x.

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Hubbard, T. L. "Displacement in depth: Representational momentum and boundary extension." Psychological Research 59, no. 1 (May 1996): 33–47. http://dx.doi.org/10.1007/bf00419832.

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Clark, Seth B., Nathan A. Call, Christina A. Simmons, Mindy C. Scheithauer, Colin S. Muething, and Natalie Parks. "Effects of Magnitude on the Displacement of Leisure Items by Edible Items During Preference Assessments." Behavior Modification 44, no. 5 (April 15, 2019): 727–45. http://dx.doi.org/10.1177/0145445519843937.

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Studies on preference assessments have shown that when both edible and leisure items are compared, edible items tend to displace leisure items in preference hierarchies. However, the mechanisms behind this process are currently unclear. One possibility is that displacement may be a product of the relatively brief periods of access to leisure items typically used in preference assessments. The purpose of the current investigation was to examine whether the duration of access to leisure items affects displacement. In this study, participants chose between preferred leisure items and the edible items that had previously been shown to displace those leisure items in a preference hierarchy. Duration of access to the leisure item was systematically increased across series to identify the magnitude at which leisure items became more preferred than edible items. Results indicate that as the duration of access to leisure items increases, displacement decreases.
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Rubio, Fernando Domínguez, and Glenn Wharton. "The Work of Art in the Age of Digital Fragility." Public Culture 32, no. 1 (January 1, 2020): 215–45. http://dx.doi.org/10.1215/08992363-7816365.

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Impermanence and fragility have become the defining conditions of the digital age. Technologies that were ubiquitous barely a decade ago, like floppy disks, now look like archaeological relics. It takes only a few years, if not months, before software environments are replaced by newer versions, often with limited backward compatibility. At the same time, digital technologies rely on hardware that has short life expectancy. The radical obsolescence of this new digital register raises a number of important questions. How are we going to prevent the fragile memories of contemporary digital cultures from receding into oblivion? This essay answers this question by looking at one of the institutions in which the problems associated with digital fragility are most especially felt, the Museum of Modern Art (MoMA), and by exploring the ontological displacements that digital objects are operating at the heart of the museum.
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Dissertations / Theses on the topic "Displacement (Psychology) in art"

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Tezkan, Ayse Melis. "De l'intime au politique à l'identité à travers l'art vidéo en France, en Turquie et au Brésil." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030056.

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Cette thèse traite de la définition et des prolongements politiques de l’identité, questionnés à travers la manifestation de l’intime dans l’art vidéo des années 1970 à nos jours. L’intime est pensé aussi bien en tant qu’effacement des frontières entre le privé et le public qu’en tant que nature de la relation entre la vidéo et ses spectateurs. Le champ de recherche est géographiquement limité à la France, au Brésil et à la Turquie, de par la particularité de leurs rapports respectifs à l’identité culturelle et nationale : la jeune identité turque née des cendres de l’empire ottoman, entre Occident et Orient ; l’identité brésilienne, fondée sur l’hybridité ; l’identité française à l’épreuve de l’immigration. La première partie, structurée par une approche géographique et chronologique,expose les grands traits de l’histoire de l’art vidéo sur ces trois territoires et certains événements sociaux et/ou politiques marquant les choix esthétiques : les coups d’Etat au Brésil et en Turquie, l’avènement de la modernité turque, le mouvement anthropophagique brésilien, le reflet du mouvement féministe dans l’art français. Les thèmes majeurs qui y sont évoqués, comme le nomadisme, la relation entre le centre et la périphérie, le cinéma comme lieu d’invention des identités, dirigent les deux parties suivantes qui s’articulent autour des déplacements psychiques, géographiques et disciplinaires. Par le biais de l’analyse d’oeuvres vidéographiques de douze artistes - Nil Yalter, Regina Vater, Dias & Riedweg, Kutluğ Ataman, Fikret Atay, Şener Özmen,Thierry Kuntzel, Rebecca Digne, Brice Dellsperger, Wagner Morales, Pierrick Sorin etRafael França – on construit une réflexion sur la détermination de l’identité et la nature politique de l’intime
This thesis discusses the definition and the political extensions of identity, whichit questions through the expression of the intimate in video art from the 70s till today.The intimate is considered not only as the fading of borders between the private and the public but also as the nature of the relationship between the video and its viewers.The field of this research is geographically limited to France, Brazil and Turkey,because of the particular relation of each of these countries to the notion of cultural and national identity: the young Turkish identity, born from the ashes of the Ottoman Empire, standing between the West and the East; the Brazilian identity, established upon hybridity; the French identity, put to the test of immigration.The first part, which is structured by a geographical and chronological approach,exposes the important traits of video art’s history on these three territories as well assome social and/or political events which have left marks on the aesthetical preferences:the Coups d'état in Brazil and Turkey, the advent of Turkish modernity, the cannibalistic Brazilian movement, the reflections of the feminist movement in Frenchart. The major themes mentioned in the first part, like nomadism, the center-peripheryrelations and the cinema as a space to invent identities, guide the following two partsbased on psychic, geographical and disciplinary displacements. Through the analysis ofthe videographical pieces of twelve artists - Nil Yalter, Regina Vater, Dias & Riedweg,Kutlug Ataman, Fikret Atay, Sener Özmen, Thierry Kuntzel, Rebecca Digne, BriceDellsperger, Wagner Morales, Pierrick Sorin and Rafael França – a thinking on the determination of the identity and the political nature of the intimate is built
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Breyley, Gay Jennifer. "Memory, music and displacement in the minor memoirs of Evelyn Crawford, Ruby Langford Ginibi and Lily Brett." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.164144/index.html.

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King, Victoria School of Art History &amp Theory UNSW. "Art of place and displacement: embodied perception and the haptic ground." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/22495.

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This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her paintings. The methodology is based on analysis of narrative, interview material, existing critical literature and the artists??? paintings. The haptic and embodiment emerge as strong themes, but the artists??? use of repetition provides fertile ground to question wholly aesthetic or cultural readings of their paintings. The thesis demonstrates the significance of historical and psychological denial and erasure, as well as transgenerational legacies in the artists??? work. A close examination is made of the artists??? use of surface shimmer in their paintings and the effects of it on the beholder. The implications of being mesmerized by shimmer, especially in the case of Aboriginal paintings, bring up ethical questions about cultural difference and the shadow side of art in its capacity for complicity, denial, appropriation and commodification. This thesis challenges the ocularcentric tradition of seeing the land and art, and examines what occurs when a painting is viewed on the walls of a gallery. It addresses Eurocentric readings of Aboriginal art and looks at the power of the aesthetic gaze that eliminates cultural difference. Differences between space and place are explored through an investigation of the phenomenology of perception, the haptic, embodiment and ???presentness???. Place affiliation and the effects of displacement are examined to discover what is often taken for granted: the ground beneath our feet. Art can express belonging and relationship with far-reaching cultural, political, psychological and environmental implications, but only if denial and loss of place are acknowledged.
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White, Ernestine Bianca. "There's no place (like home) : a graphic interpretation of personal notions of home and displacement." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/10891.

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I was born in Cape Town, South Africa around the tumultuous time of the Soweto uprisings of 1976. The first few years of my life were spent living with relatives and friends of my mother in Langa while she worked in the city in various households as a domestic worker. Her occupation took her away for long periods of time. By the age of two my mother and I moved to Woodstock where we lived with a family that consisted of five adults, who each had children of their own all under one small roof. The house was always full of people.
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Tomic, Milena. "Rituals and repetitions : the displacement of context in Marina Abramovic's Seven Easy Pieces." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2489.

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This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.
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Pozniak, Jolene. "Beneath the multicultural mosaic: representing (im)migration displacement, and home in contemporary Canadian art." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18394.

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This thesis examines contemporary Canadian art practices, which aim to challenge the notion of multiculturalism as a purported 'solution' to the cultural, racial and ethnic diversity that comprises the nation. Specifically focusing on the work of Canadian artists, Jin-me Yoon, Kinga Araya and Ken Lum, I explore the mythology surrounding Canada's liberal pluralist politics and problematize the notion of nationalism as operating through a process of exclusion by privileging a white Anglo-Canadian norm. This system of exclusion complicates further the process of (im)migration, therefore, I explore the psychological and 'unhomely' experience of displacement as expressed visually through artistic practice. Furthermore, as a means of addressing multiculturalism and (im)migration, I acknowledge the need for more global modes of thinking, in proposing reconceptualizations of the notions home and nation that favour mobility, hybridity, and change over stable, static and pure definitions that sustain exclusionary politics.
Ce mémoire cherche à examiner des pratiques en art contemporain canadien qui ont pour but de questionner le concept du multiculturalisme en temps que « solution » allégée à la diversité culturale, raciale et ethnique dont est composée l’état-nation canadienne. En étudiant surtout les œuvres des artistes canadiens Jin-me Yoon, Kinga Araya et Ken Lum, j’explore la mythologie qui soutient les politiques pluralistes libérales au Canada. Cette dissertation problématize également la notion du nationalisme comme processus d’exclusion qui privilégie une norme anglo-canadienne de race blanche, compliquant davantage l’(im)migration. J’examine ainsi l’expérience psychologique de la non-appartenance, exprimée visuellement à l’instar de la pratique artis! tique. Finalement, en adressant le multiculturalisme et l’(im)migration de cette approche, je reconnaît la nécessité de penser de façons plus globales. Ma proposition est donc de repenser les notions du « chez-soi » et de la nation en mettant de l’emphase sur les thèmes de la mobilité et l’hybridité et non pas sur des définitions statiques et politiquement exclusivistes. fr
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Sanders, Gwen J. "Art Response to Confusion, Uncertainty, and Curiosity During Group Art Therapy Supervision." Thesis, Notre Dame de Namur University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10246527.

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This research project used a causal comparative design to examine differences between intact groups of graduate art therapy students using art as a response to emotions and sharing the art during group supervision. There is scant research on group art therapy supervision thus in this study the variables of curiosity and psychological mindedness were analyzed. Utilizing art making as a tool to understand emotions in response to working with clients therapeutically provides both an implicit, internal focus on the self in relation to others that is then evaluated in an explicit, external context of group supervision, where these emotions are shared. Forty participants completed response art as well as pre- and post-test inventories of the Curiosity and Exploration Inventory-II, subscales of stretching and embracing, and the Balanced Inventory of Psychological Mindedness, subscales of interest and insight. Data were analyzed using Wilcoxon rank sum test and Spearmen’s rho correlations. While findings were limited due to the small sample size, nonparametric measures, and confounding variables, findings confirmed that stretching and interest showed significant increases. Students later in their practicum showed an increase in embracing while group size of four or less had greater increases in insight. Insight increased early in the research study and decreased significantly at the end of this present study, suggesting that as students learn they develop a more humble stance of not knowing. Future research would benefit from a qualitative inquiry to identify and understand aspects of creating art in response to clients and sharing it in supervision.

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O'Mara, Lauren. "Children of a sandy heart and other stories." Diss., Online access via UMI:, 2006.

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Hui, Yat-sin Cindy, and 許逸仙. "The displaced person: re-placement and returnin contemporary representations of exile." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50900079.

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This thesis examines the workings of “home” for the displaced individual in contemporary contexts: whether a counterpoint for disorientation arising from displacement, for example, or an attempt to assert control in the very process of identity negotiation across geographical distances, “home” in the novels of White Teeth by Zadie Smith and Ignorance by Milan Kundera, especially, offer an important study of the quest for home through an unexpected anchor of exile. The signifier of ultimate security and belonging in pre-modern eras, God has been destabilized in the post-war, contemporary context. “Home,” like the notional God, that is, has been destabilized by social forces of the diaspora, where “home,” in addition to the physical native place of birth or permanent place of shelter, can take on forms of imaginary exile/unbelonging within the same place without physical estrangement; as Martin Heidegger recognizes home can paradoxically be constituted as a form of control, namely from the inside out: from the existential feeling of “not being at home.” Samad, Irena and Josef of White Teeth and Ignorance, respectively, are analyzed on their alternative quests for control of identity. Replacing the trace of God with a trace now of “home,” Samad, Irena and Josef face limitless freedom outside their native and geographic contexts, which entails at the same time a sense of disorientation. They feel compelled to achieve meaningful identity based on a left-over notion of “home,” or, in the converse, to utilize what they control as “home” to avoid at least self-annihilation. This thesis contends in the contemporary narratives studied that there is a tendency for the individual to avoid estrangement or perceived unnatural “provisional” separations from the idea of “home”; and, second, therefore to seek to control of identity formation in the name of seeking “home.” Such control is desired by reflex of aversion to estrangement, which can be felt with the liberation from God or the distances from the geographies or assumptions of “home.” This thesis will expound, therefore, upon the stages of estrangement through, first, an initial and tentative placement of “home”; then, displacement through physical departure; exile revisited; attempts at re-placement along a nostalgic trace of belonging toward a “home” in the identity negotiation; and the “returnability” of the displaced person to adopt a native “home” after prolonged absence. In conclusion, considering the placement of the self somewhere, in order to gain control over identity inside an environment of dis-placement; in physical and updated “exile” away from place of birth; or even in the form of tragic imagination to be discussed, a trace of “home” (like an absent “god” in Waiting for Godot, for example) cannot be relinquished altogether as a point of reference for reinvention of identity while it can still be reinvented and updated at the same time. However, even this trace remains an illusion of the displaced person, reflecting an ache for certainty of roots as a point of reference for identity formation, rather than a route, running backwards or forwards, towards a feasible alternative “home.”
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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.

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Books on the topic "Displacement (Psychology) in art"

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Lee-At, Meyerov, Rayner Lucy, and Hobbes Stephen, eds. Too close for comfort: Belonging and displacement in the work of South African video artists / curated by Leora Farber, Lee-At Meyerov and Lucy Rayner ; featuring Stephen Hobbs ... [et al.]. Johannesburg [South Africa]: David Krut Publishing, 2008.

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Ryan, Veronica. Veronica Ryan: Sculptures. Manchester: Castlefield Gallery, 1987.

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Johannes-Künzig-Institut für Ostdeutsche Volkskunde. Tagung, ed. Zur Ästhetik des Verlusts: Bilder von Heimat, Flucht und Vertreibung : Referate der Tagung des Johannes-Künzig-Instituts für Ostdeutsche Volkskunde, 8. bis. 10. Juli 2009. Münster: Waxmann, 2010.

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Toscano, Ellyn, and Deborah Willis undifferentiated. Women and migration: Responses in art and history. Cambridge, UK: Open Book Publishers, 2019.

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1979-, Connon Daisy, Jein Gillian 1978-, and Kerr Greg 1981-, eds. Aesthetics of dislocation in French and Francophone literature and art: Strategies of representation. Lewiston, N.Y: Edwin Mellen Press, 2009.

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1963-, Margolles Teresa, Margolles Teresa 1963-, Viola Eugenio 1975 curator, and Museo de Arte Moderno (Bogotá, Colombia), eds. Estorbo: Obstruction. [Bogotá]: Museo de Arte Moderno de Bogotá, 2019.

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Donna, McAlear, Karlinsky Amy, and Winnipeg Art Gallery, eds. Reva Stone: Displacement. Winnipeg, Man: Winnipeg Art Gallery, 2004.

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Displacement. Boston: Houghton Mifflin Harcourt, 2009.

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1966-, McGrath Jason, Smith Stephanie 1970-, and David and Alfred Smart Museum of Art., eds. Displacement: The Three Gorges Dam and contemporary Chinese art. Chicago, IL: Smart Museum of Art, the University of Chicago, 2008.

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Fran, Lloyd, ed. Displacement & difference: Contemporary Arab visual culture in the diaspora. London: Saffron Books, 2001.

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Book chapters on the topic "Displacement (Psychology) in art"

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Potts, John. "Displacement in Contemporary Art." In The Handbook of Displacement, 687–700. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47178-1_47.

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Bonz, Annie G., Sofia del Carmen Casas, and Asli Arslanbek. "Conflict and Displacement." In Art Therapy Practices for Resilient Youth, 337–58. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315229379-18.

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Burch, Rebecca L. "Penis Size: Semen Displacement." In Encyclopedia of Sexual Psychology and Behavior, 1–4. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-08956-5_290-1.

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Whitten, Shannon. "Psychology." In Psychology, Art and Creativity, 1–21. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003014362-1.

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Mottram, Pauline. "Psychology of Art/Art Therapy." In Encyclopedia of Critical Psychology, 1552–56. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-5583-7_248.

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Potts, John. "Space and Displacement in Contemporary Art." In The New Time and Space, 75–92. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137494382_5.

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da Rocha Lordelo, Lia. "Psychology of Art." In International Handbook of Psychology Learning and Teaching, 993–1009. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-28745-0_48.

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da Rocha Lordelo, Lia. "Psychology of Art." In International Handbook of Psychology Learning and Teaching, 1–18. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-26248-8_48-2.

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da Rocha Lordelo, Lia. "Psychology of Art." In International Handbook of Psychology Learning and Teaching, 1–18. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-26248-8_48-1.

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Moghaddam, Fathali M. "Dictatorship, displacement of aggression, and group cohesion." In The psychology of dictatorship., 105–21. Washington: American Psychological Association, 2013. http://dx.doi.org/10.1037/14138-006.

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Conference papers on the topic "Displacement (Psychology) in art"

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Stuedlein, Armin W., and Robert D. Holtz. "Undrained Displacement Behavior of Spread Footings in Clay." In Art of Foundation Engineering Practice Congress 2010. Reston, VA: American Society of Civil Engineers, 2010. http://dx.doi.org/10.1061/41093(372)34.

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Wang, Xiaolin. "The Related Research on Color Psychology and Art Design." In 2016 5th International Conference on Social Science, Education and Humanities Research. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.16.

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SHakulova, N. O. "The relevance of St. Petersburg contemporary art museums for children primary school age." In Scientific Trends: pedagogy and psychology. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/sciencepublic-04-12-2019-18.

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"Animation and Its Theoretical Analysis of Art Education." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.094.

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Ulieru, Dumitru G. "Noncontact laser speckle sensor for measuring one- and two-dimensional angular displacement." In Lasers in Metrology and Art Conservation, edited by Wolfgang Osten, Werner P. O. Jueptner, and Malgorzata Kujawinska. SPIE, 2001. http://dx.doi.org/10.1117/12.445564.

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Pawlowski, Michal E., and Malgorzata Kujawinska. "Shape and displacement determination based on extended spatio-temporal fringe pattern analysis." In Lasers in Metrology and Art Conservation, edited by Roland Hoefling, Werner P. O. Jueptner, and Malgorzata Kujawinska. SPIE, 2001. http://dx.doi.org/10.1117/12.445573.

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S.K., Berdibayeva, Massalimova A.R., Yelubayeva M.C., Imangaliyeva S., Mursaliyeva A., and Berdibayev S. "The Art of “Aitys” in Modern Ethnic Psychology of Kazakhstan." In Annual International Conference on Cognitive and Behavioral Psychology. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-1865_cbp15.59.

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Wan, Xiaoyun. "Education Research on Children's Art from the Perspective of Psychology." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.244.

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Xu, Wubin, Yuanfei Zhan, and Chao Gao. "Discussion on the Influence of Public Psychology on Public Art." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.152.

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Sidneva, Tatiana. "The Role Of Cultural Studies In Contemporary Art Education." In 9th ICEEPSY - International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.01.72.

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Reports on the topic "Displacement (Psychology) in art"

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Daniellou, François, Marcel Simard, and Ivan Boissières. Human and organizational factors of safety: a state of the art. Fondation pour une culture de sécurité industrielle, January 2011. http://dx.doi.org/10.57071/429dze.

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This document provides a state of the art of knowledge concerning the human and organizational factors of industrial safety. It shows that integrating human factors in safety policy and practice requires that new knowledge from the social sciences (in particular ergonomics, psychology and sociology) be taken on board and linked to operational concerns.
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Kost’, Stepan. THE CONCEPT OF CREATIVITY IN JOURNALISM. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11092.

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The article analyzes some theoretical and practical aspects of creativity. The author shares his opinion that the concept of creativity belongs to the fundamental concepts of philosophy, psychology, literature, art, pedagogy. Creativity is one of the important concepts of the theory of journalism. The author does not agree with the extended definition of creativity. He believes that journalistic activity becomes creativity when it is free and associated with the creation and establishment of new national and universal values, with the highest intensity of intellectual and moral strength of the journalist, when journalism is a manifestation of civic position, when this activity combines professional skills and perfect literary form.The author also believes that literary skill and the skill of a journalist are not identical concepts, because literary skill is a component of journalistic skill.
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DMITRIENKO, B. Ch, O. A. KOVALEVA, and E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, April 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.

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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.
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Robinson, Benjamin, Alison Halford, and Elena Gaura. Finding the Uncomfortable Solution: Responsible Innovation in Humanitarian Energy. Coventry University, October 2021. http://dx.doi.org/10.18552/heed/2021/0005.

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As a result of the lessons learned from the Humanitarian Engineering and Energy for Displacement (HEED) project around the different perceptions of innovation between key energy stakeholders, this paper looks to engage with questions around ensuring innovation in the humanitarian sector, and more specifically, humanitarian energy, is responsible. How can we define responsible? Is responsible innovation a theoretical nicety or can it ensure a just energy transition as outlined by the SDGs? What does responsible innovation look like in reality? Building to our underlying research question: what is the state-of-the-art in responsible innovation for humanitarian energy and how is it implemented at project level?
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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