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1
Beene, Stephanie, Laura Soito, and Laura Kohl. "Art Catalogs Unbound." Art Documentation: Journal of the Art Libraries Society of North America 39, no. 1 (March 2020): 24–43. http://dx.doi.org/10.1086/709449.
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Augsburg, Tanya. "The Concupiscent Performer: Joanna Frueh's “Art of Seduction”." TDR/The Drama Review 55, no. 2 (June 2011): 86–103. http://dx.doi.org/10.1162/dram_a_00072.
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Joanna Frueh has developed her own contemporary ars erotica, in which seduction is both a persistent motif and performance strategy. Frueh has embodied numerous seductive personas, mirroring her own iterative process of self-transformation. The investigation of Frueh's “art of seduction” uncovers its relevance for her live performances since 1979.
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Kempe, Deborah. "Sold! The unique research role of auction sale catalogs." Art Libraries Journal 29, no. 2 (2004): 4–9. http://dx.doi.org/10.1017/s0307472200013535.
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The Frick Art Reference Library has one of the world’s richest historic collections of catalogs of art sold at auction. Awareness and use of this collection has increased as independent scholars and the staff of museums rigorously investigate issues of provenance. Another factor in the increasing recognition of auction sale catalogs is their value as economic documents that may shed light on broader trends, topics that sometimes resonate beyond the field of art historical scholarship.
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Halkevych, Tetiana. "Printed catalogs of art exhibitions as biographical sources." Entsykpopedychnyi Visnyk Ukrainy [The Encyclopedia Herald of Ukraine] 1 (December 1, 2009): 56–62. http://dx.doi.org/10.37068/evu.1.9.
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Guidarelli, Ngoc-My, and Karen Cary. "Untapped Resource: Art Students Cataloging Art Exhibition Catalogs at Virginia Commonwealth University." Cataloging & Classification Quarterly 26, no. 4 (May 6, 1999): 63–75. http://dx.doi.org/10.1300/j104v26n04_05.
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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Sevastyanov, Aleksandr Nikitich. "Modern art market: art, economics, marketing." Uchenyy Sovet (Academic Council), no. 1 (January 1, 2021): 19–27. http://dx.doi.org/10.33920/nik-02-2101-02.
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The article is devoted to the analysis of the market mechanism in the field of art, as well as the influence of the market on the development of mass taste and aesthetic mainstream. The author demonstrates that the market price for works of art is an indicator in which all the numerous factors of the art market, both aesthetic and economic, including the current situation, are collected and embodied in a concentrated form. That is, the price accumulates all the social connections of art. By spreading, auction catalogs like nothing else make the art market global, serving as a single information base for all its participants. The wide publicity of the auction results forms the fashion in art, raises the prestige of a particular direction, and makes it the main one. The material of the article is of interest in the disciplines "History of Art" and "Modern Art Market".
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Sreberny-Mohammadi, Leili. "The Emergence of an Auction Category: Iranian Art at Christie’s Dubai, 2006–2016." Arts 10, no. 2 (May 27, 2021): 35. http://dx.doi.org/10.3390/arts10020035.
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The expansion of the British auction houses Christie’s, Sotheby’s and Bonhams to markets in the Middle East has played a crucial role in building an international market for art from the region. They have also been essential in providing an international platform for the sale of art from Iran, a country whose economy is otherwise isolated from global markets. In this paper, I address the growth of the market for Iranian art specifically via Christie’s auctions in Dubai. Through close analysis of auction catalogs, ethnographic data drawn from live auctions and interviews with key staff members, I document the emergence of Iranian art into the international arena and the solidification of both Iranian and Middle Eastern art as a distinct category of sales. In particular, I explore the notion of “seeing with the other eye”, a way that auction specialists nudge local collectors into the arena of “international” taste. Through analysis of the particular tropes used to narrate artist biographies in auction catalogs, I demonstrate how artists are painted as interpreters and translators of “local” and “global” aesthetic registers.
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Franklin, Jonathan. "Index to Nineteenth-Century Canadian Exhibition and Auction Catalogs of Art." Art Documentation: Journal of the Art Libraries Society of North America 20, no. 1 (April 2001): 36–38. http://dx.doi.org/10.1086/adx.20.1.27949123.
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Manzella, Christina, and Alex Watkins. "Performance Anxiety: Performance Art in Twenty-First Century Catalogs and Archives." Art Documentation: Journal of the Art Libraries Society of North America 30, no. 1 (April 2011): 28–32. http://dx.doi.org/10.1086/adx.30.1.27949564.
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Stam, Deirdre C. "Artists and art libraries." Art Libraries Journal 20, no. 2 (1995): 21–24. http://dx.doi.org/10.1017/s0307472200009329.
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Asked about how artists use libraries, art librarians confirm that artists gather ideas from a wide spectrum of subjects and sources, beyond the scope of the art library; they also need images and other, specific, information which art libraries often can supply. Their approach is typically exploratory and intuitive; they are compulsive browsers, but are likely to be impatient of catalogs and only occasional users of standard references tools. They expect a lot of help from specialist librarians. Art libraries serving artists generally provide access to a wide range of images, and invariably house their collections on open stacks. Photocopying, including color copying, is an essential service, and other visual and ‘studio’ facilities may also be provided. As more and more visual and other relevant information is made available through electronic networks, art libraries can provide artists with assisted, convenient access to it.
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Cibes, Margaret. "The Sierpinski Triangle: Deterministic versus Random Models." Mathematics Teacher 83, no. 8 (November 1990): 617–21. http://dx.doi.org/10.5951/mt.83.8.0617.
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Recently a book on mathematics—Gleick's Chaos: Making a New Science (1987)—hit the best-seller lists and bookclub catalogs. Graphics displays on the subject have found their way into art galleries and magazines.
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Lidogoster, Tina, and Andrea Puccio. "Catalogs with a Global Reach: Collecting PDF Contemporary Gallery Catalogs at the Thomas J. Watson Library, The Metropolitan Museum of Art." Art Documentation: Journal of the Art Libraries Society of North America 35, no. 2 (September 2016): 296–304. http://dx.doi.org/10.1086/688729.
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Kim, GiSeung. "Entrepreneurship and self-employment: The state-of-the-art and directions for future research." New England Journal of Entrepreneurship 11, no. 1 (March 1, 2008): 39–52. http://dx.doi.org/10.1108/neje-11-01-2008-b003.
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This survey overviews the literature on entrepreneurship and self-employment. The author catalogs the main contributions of this body of research and makes a distinction between issues on which there is now widespread agreement and those for which no consensus has yet emerged. This latter set of issues provides fertile ground for further research.
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Pelling, Madeleine. "Recentring Peripheral Queerness and Marginal Art in Portrait of a Lady on Fire (2019)." Humanities 10, no. 2 (May 5, 2021): 73. http://dx.doi.org/10.3390/h10020073.
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This essay examines the ways in which Céline Sciamma’s 2019 film Portrait de la Jeune Fille en Feu (Portrait of a Lady on Fire) looks to centralise onscreen homosexual experience through engagement with, and queering of, eighteenth-century art practices and the discourse surrounding them. From its reception of Ovid’s Metamorphoses to ideas espoused by the eighteenth-century art critic and philosopher Denis Diderot, Portrait looks to traditionally peripheral spaces, or edgelands, and the visual and embodied consequences of transcending them. Engaging closely with eighteenth-century processes of artmaking, the film transforms sketches on paper, paint applied to canvas and wood, miniatures held close to the body and erotica annotated in the margins into queer-coded sites used to reflect and document the developing relationship at its heart.
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Weber, Alison. "Golden Age or Early Modern: What's in a Name?" PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 225–32. http://dx.doi.org/10.1632/pmla.2011.126.1.225.
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As few hispanists have failed to notice, early modern Spain is more often appearing as an alternative term for what we used to call the Spanish Golden Age. University catalogs still advertise courses on Golden Age poetry, but lectures are more apt to bear titles such as “The Crisis of the Gift in Early Modern Spain.” Although some recent books—Inventing the Sacred: Imposture, Inquisition, and the Boundaries of the Supernatural in Golden Age Spain (Keitt), Honor and Violence in Golden Age Spain (Taylor), and An Erotic Philology of Golden Age Spain (Martín)—display Golden Age in their titles, they share shelf space with offerings such as The Drama of the Portrait: Theater and Visual Culture in Early Modern Spain (Bass), Imperial Lyric: New Poetry and New Subjects in Early Modern Spain (Middlebrook), and Family and Community in Early Modern Spain: The Citizens of Granada (Casey). The preference for early modern is showing up even in genres in which traditional usage might be expected. An anthology by Barbara Mujica, published in 1991, is subtitled Renacimiento y Siglo de Oro, but the cover of an anthology edited by her and published thirteen years later reads Sophia's Daughters: Women Writers of Early Modern Spain.
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Whiting, Cécile. "More Than Meets the Eye: Archibald Motley and Debates on Race in Art." Prospects 26 (October 2001): 449–76. http://dx.doi.org/10.1017/s0361233300001009.
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In 1933, Archibald J. Motley Jr., an African-American artist from Chicago who enjoyed a moderate level of national and international renown, issued his only formal public statement concerning the relationship he perceived between his art and race. His words, resonating with confidence, assert his conviction that painting could capture the truth of race through pigment. Reproduced opposite this declaration,Bluesof 1929 (Figure 1), which depicts well-coiffed men and women dancing in the Petite Cafe in Paris to tunes played by musicians seated in the foreground, would seem to reinforce Motley's point: paint transcribes the gradations of skin pigment incarnated by the various African, West Indian, and perhaps even African-American patrons of this nightspot. The color of skin, transmuted into the color of paint, identifies and catalogs race.
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Klos, Sheila. "INDEX OF ART SALES CATALOGS, 1981–1985: A UNION LIST FROM THE SCIPIO DATABASE. 2 vol." Art Documentation: Journal of the Art Libraries Society of North America 7, no. 4 (December 1988): 165. http://dx.doi.org/10.1086/adx.7.4.27947973.
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Back, Andi. "The Collecting Practices for Art Exhibition Catalogs at Academic Libraries in the United States and Canada." Art Documentation: Journal of the Art Libraries Society of North America 37, no. 1 (March 2018): 104–18. http://dx.doi.org/10.1086/697272.
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Downey, Kay. "Not my father’s auction catalog database! SCIPIO, 1980 to 2003." Art Libraries Journal 29, no. 2 (2004): 17–22. http://dx.doi.org/10.1017/s0307472200013560.
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Thirty years ago new computer technology made it possible for libraries to develop co-operative solutions for technical services. It was at that time that a small group of art librarians worked together to create SCIPIO – the Sales Catalog Index Project Input Online – in an innovative effort to streamline bibliographic control over their auction sales catalog collections. Driven by advancing technological changes and the move toward standardization, the database has since evolved to become the most comprehensive source for bibliographic control and access for auction sales catalogs.
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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (October 9, 2018): 64. http://dx.doi.org/10.3390/arts7040064.
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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.
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Halligan, Benjamin. "Modeling Affective Labor." Cultural Politics 13, no. 1 (March 1, 2017): 58–80. http://dx.doi.org/10.1215/17432197-3755192.
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Photographer Terry Richardson works in a digital aesthetic vernacular that looks more to underground hard-core pornography of yesteryear than traditions associated with the institutionalization of erotica, as associated with Playboy. And yet his images, in Kibosh and Terryworld, anticipate the contemporary public recalibration of ideas of intimacy as associated with social media, tally with contested ideas of the sexualization of female empowerment as associated with contested elements of third wave feminism, and can be read as a contemporary phase of Antonio Negri’s theory of art and immaterial labor in their evidencing of the affective labor on the part of the photographer himself. This critical commentary, the first such academic writing on Richardson, explores his work in these contexts and considers Richardson’s return to the figure (over abstraction) as evidencing and exploring of the nature of work, and the nascent eroticization of working relations, under Western neoliberal regimes.
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Albert, Sarah, and Lisa Linville. "Benchmarking Current and Emerging Approaches to Infrasound Signal Classification." Seismological Research Letters 91, no. 2A (January 8, 2020): 921–29. http://dx.doi.org/10.1785/0220190116.
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Abstract Low-frequency sound ≤20 Hz, known as infrasound, is generated by a variety of natural and anthropogenic sources. Following an event, infrasonic waves travel through a dynamic atmosphere that can change on the order of minutes. This makes infrasound event classification a difficult problem, as waveforms from the same source type can look drastically different. Event classification usually requires ground-truth information from seismic or other methods. This is time consuming, inefficient, and does not allow for classification if the event locates somewhere other than a known source, the location accuracy is poor, or ground truth from seismic data is lacking. Here, we compare the performance of the state of the art for infrasound event classification, support vector machine (SVM) to the performance of a convolutional neural network (CNN), a method that has been proven in tangential fields such as seismology. For a 2-class catalog of only volcanic activity and earthquake events, the fourfold average SVM classification accuracy is 75%, whereas it is 74% when using a CNN. Classification accuracies from the 4-class catalog consisting of the most common infrasound events detected at the global scale are 55% and 56% for the SVM and CNN architectures, respectively. These results demonstrate that using a CNN does not increase performance for infrasound event classification. This suggests that SVM should be the preferred classification method, as it is a simpler and more trustworthy architecture and can be tied to the physical properties of the waveforms. The SVM and CNN algorithms described in this article are not yet generalizable to other infrasound event catalogs. We anticipate this study to be a starting point for development of large and comprehensive, systematically labeled, infrasound event catalogs, as such catalogs will be necessary to provide an increase in the value of deep learning on event classification.
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Fomicheva, Daria Vladimirovna. ""Picturesque graphics": three pencil technique, multi-layered charcoal drawing." Secreta Artis, no. 1 (July 11, 2021): 16–46. http://dx.doi.org/10.51236/2618-7140-2021-4-1-16-46.
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The article describes methods of achieving painterly qualities while drawing with soft materials, which include: 1) creation of a polychrome image effect using an extremely limited color palette (white, black and red chalk (sanguine)); 2) thorough work on a multi-layer charcoal drawing employing techniques similar to those of multi-layer watercolor, oil and pastel painting, as well as papier-pelle drawing. The study was first conducted by analyzing drawing manuals, catalogs of manufacturers and suppliers of art materials from France, Great Britain, Germany, USA and Russian Empire in the second half of the 19th – early 20th century. What is more, the author of the article assembled a collection of antique tools and materials for drawing with charcoal, black chalk or crayon, stumping chalk (pulverized charcoal), sanguine and white chalk, the use of which was widespread in the aforementioned period. The annex to the article provides photographs of the described instruments and materials accompanied by the aggregate data from art manuals, catalogs and price lists of drawing material suppliers from London, Paris, New York, St. Petersburg, Moscow and Kazan, published over a period from 1851 to 1913. The drawing tradition of the second half of the 19th century is among one of the most complex and challenging in the entire history of graphics, as it peculiarly combines in itself a variety of instruments and delicate thoroughness of techniques. As a result of the research, the author was able to expand and complement the existing knowledge about graphic techniques, which allows for teaching academic drawing and studying the history of drawing by applying new data and unique illustrative material.
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Hamaus, Nico, P. M. Sutter, and Benjamin D. Wandelt. "Modeling cosmic void statistics." Proceedings of the International Astronomical Union 11, S308 (June 2014): 538–41. http://dx.doi.org/10.1017/s174392131601053x.
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AbstractUnderstanding the internal structure and spatial distribution of cosmic voids is crucial when considering them as probes of cosmology. We present recent advances in modeling void density- and velocity-profiles in real space, as well as void two-point statistics in redshift space, by examining voids identified via the watershed transform in state-of-the-art ΛCDM n-body simulations and mock galaxy catalogs. The simple and universal characteristics that emerge from these statistics indicate the self-similarity of large-scale structure and suggest cosmic voids to be among the most pristine objects to consider for future studies on the nature of dark energy, dark matter and modified gravity.
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Joan Kelly, Elizabeth. "Andy Warhol: documentaries and biographical films." Collection Building 33, no. 3 (July 1, 2014): 81–85. http://dx.doi.org/10.1108/cb-04-2014-0021.
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Purpose – This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol. Design/methodology/approach – Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online. Findings – Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warhol through dramatization, primary source film, biographical documentary and his art in the context of other artists and movements are readily available through a variety of media. Originality/value – The selected titles provide a comprehensive introduction to the scholarly analysis of Warhol’s art and work through a format that allows the most extensive representation of Warhol’s artistic output.
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Genetu Bayih, Abebe, Anjan Debnath, Edward Mitre, Christopher D. Huston, Benoît Laleu, Didier Leroy, Benjamin Blasco, et al. "Susceptibility Testing of Medically Important Parasites." Clinical Microbiology Reviews 30, no. 3 (April 26, 2017): 647–69. http://dx.doi.org/10.1128/cmr.00111-16.
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SUMMARY In the last 2 decades, renewed attention to neglected tropical diseases (NTDs) has spurred the development of antiparasitic agents, especially in light of emerging drug resistance. The need for new drugs has required in vitro screening methods using parasite culture. Furthermore, clinical laboratories sought to correlate in vitro susceptibility methods with treatment outcomes, most notably with malaria. Parasites with their various life cycles present greater complexity than bacteria, for which standardized susceptibility methods exist. This review catalogs the state-of-the-art methodologies used to evaluate the effects of drugs on key human parasites from the point of view of drug discovery as well as the need for laboratory methods that correlate with clinical outcomes.
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Zinkham, Helena. "Pitching pictures: the Prints & Photographs Online Catalog at the Library of Congress1." Art Libraries Journal 27, no. 3 (2002): 18–25. http://dx.doi.org/10.1017/s0307472200020071.
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This article is a sales pitch for pictures, even though art librarians already value visual materials highly. A decade’s advances in online access at a major documentary picture provider, the Library of Congress’ Prints and Photographs Division, should encourage librarians to visit the online United States national library often, and also to offer more of their own collections through the World Wide Web. Despite the beneficial digital image navigation features introduced into the Prints & Photographs Online Catalog (PPOC), many improvements are still needed and there is a long list of desirable future developments. Reference librarians, catalogers, curators, digital conversion specialists and web designers are all invited to contribute to online reference aids as well as online catalogs, to help people succeed more often in finding pictures.
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Candia, Gabriel, Jorge Macedo, Miguel A. Jaimes, and Carolina Magna‐Verdugo. "A New State‐of‐the‐Art Platform for Probabilistic and Deterministic Seismic Hazard Assessment." Seismological Research Letters 90, no. 6 (September 11, 2019): 2262–75. http://dx.doi.org/10.1785/0220190025.
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ABSTRACT A new computational platform for seismic hazard assessment is presented. The platform, named SeismicHazard, allows characterizing the intensity, uncertainty, and likelihood of ground motions from subduction‐zone (shallow interface and intraslab) and crustal‐zone earthquakes, considering site‐specific as well as regional‐based assessments. The platform is developed as an object‐oriented MATLAB graphical user interface, and it features several state‐of‐the‐art capabilities for probabilistic and deterministic (scenario‐based) seismic hazard assessment. The platform integrates the latest developments in performance‐based earthquake engineering for seismic hazard assessment, including seismic zonation models, ground‐motion models (GMMs), ground‐motion correlation structures, and the estimation of design spectra (uniform hazard spectra, classical conditional mean spectrum (CMS) for a unique tectonic setting). In addition to these standard capabilities, the platform supports advanced features, not commonly found in existing seismic hazard codes, such as (a) computation of source parameters from earthquake catalogs, (b) vector‐probabilistic seismic hazard assessment, (c) hazard evaluation based on conditional GMMs and user‐defined GMMs, (d) uncertainty treatment in the median ground motions through continuous GMM distributions, (e) regional shaking fields, and (f) estimation of CMS considering multiple GMMs and multiple tectonic settings. The results from the platform have been validated against accepted and well‐documented benchmark solutions.
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Alarcon Parra, Pepita, and Giovanny Alarcon Parra. "Análisis y propuesta a la gestión de la Galería “El Palacio de Bellas Artes” / Analysis and proposal of promotion in the Gallery "El Palacio de Bellas Artes”." Ciencia Unemi 9, no. 18 (September 8, 2016): 11. http://dx.doi.org/10.29076/issn.2528-7737vol9iss18.2016pp11-18p.
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La gestión de la galería del siglo XXI plantea nuevas perspectivas de los procesos del arte y la relación que existe entre lo público y lo privado, que abarca los métodos de gestión de cultura, evidenciado en afiches, catálogos, redes sociales, agendas expositivas, entre otros. Muestran un arte local de vanguardia y revelan la circulación de obras y exposiciones que buscan posicionarla en un mercado artístico y la participación de un colectivo en este mundo del arte. El gestor cultural es quien conoce este horizonte amplio y es capaz de identificar todas las implicaciones e influencias que tiene que el arte en la sociedad mediante la observación e investigación. Este trabajo se centra en el análisis objetivo y detallado del mecanismo de gestión de una galería de arte y generar una propuesta de gestión de galería, ya que el mundo y mercado del arte son altamente complejos y cambiantes en el contexto económico y tecnológico actual. Abstract OManagement of art gallery in the XXI century poses new perspectives of art processes and the relationship between public and private areas, covering the promotion methods of culture, evident in posters, catalogs, social networks, exhibitions, and others. They show a local avant-garde art and reveal the circulation of works and exhibitions that seek to locate it in an art market and the participation of a group in this world of art. The cultural promoter is the one who knows this wide horizon and is able to identify all the implications and influences that art has in society through observation and research. This work focuses on an objective and detailed analysis of the promotion method in an art gallery and creates a proposal for the promotion of an art gallery, since the world and art market are highly complex and changing in the current economic and technological context.
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Condraticova, Liliana. "ARTISTIC METAL PROCESSING IN THE MOLDOVAN SSR AND THE REPUBLIC OF MOLDOVA: FORGOTTEN OR LESS KNOWN NAMES." Akademos 60, no. 1 (June 2021): 146–52. http://dx.doi.org/10.52673/18570461.21.1-60.20.
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The main purpose of our approach is to analyze the activity of craftsmen (artisans) in the field of artistic metal processing in the second half of the twentieth century – the beginning of the twenty-first century. The work of the artists includes various decorative boards representing village life, heroes of folk tales and agricultural work, emphasizing the impact of folk art on the subjects approached by decorative craftsmen. Jewelry, being a relatively apolitical field, is represented by necklaces with pendants, earrings, brooches, rings, all made of noble metals and fine, ornamental pebbles. Based on archival documents, exhibition catalogs and interviews with artists who used to make jewelry and various metal plates, was presented relevant information regarding the activity of craftsmen whose names were recently revealed (Alexei Marco, Gheorghe Cojusnean, Vladimir Calasnicov, Vladimir Vasilkov etc.). Also, in the scientific circuit were introduced new, forgotten or less known names: Vasili Sochin, Iuri Terehov, Natalia Vavilina and others. The evocation of their creation comes to complete the general picture of the evolution of decorative art, implicitly of the artistic processing of metals from the Moldovan SSR and the Republic of Moldova.
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Gaines, Brian J. "From Duverger to Cox, and beyond: The State-of-the-Art in Electoral Law Studies." Japanese Journal of Political Science 1, no. 1 (May 2000): 151–56. http://dx.doi.org/10.1017/s1468109900000177.
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Prior to its publication, Gary Cox's Making Votes Count was widely and eagerly anticipated. (Indeed, some years ago, I received a referee report dismissing my submission as unnecessary because superior analysis would eventually appear in Cox's then forthcoming manuscript.) Upon its release in 1998, the book was instantly lauded: it collected multiple awards, including the prestigious Woodrow Wilson prize for best book published on government, politics, or international affairs. This acclaim was scarcely surprising – Cox has been one of the foremost scholars of elections and legislatures for the whole of his professional career. He is responsible for an impressive body of work spanning multiple research topics, nations, and methods of analysis. This book is testimony to his breadth, as it catalogs the key electoral features of virtually the whole set of modern democracies (more than 70), and makes frequent forays into diverse nations in search of empirical support for novel theoretical findings. In brief, Cox's project is to bring together a large formal, deductive literature on voting rules and social choice with an equally voluminous empirical, inductive literature on elections and party systems in the world's democracies. The prizes it garnered are one measure of the book's success at this merger; a large boost in Cox's swelling citation count will doubtless follow, reiterating the judgement that this is the major work on electoral law and voting to date.
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.
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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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Alexander, David R., Jason W. Ferguson, Robert F. Wing, Hollis R. Johnson, Peter H. Hauschildt, and France Allard. "Effective Temperature Scales of Red Giant Stars." Symposium - International Astronomical Union 191 (1999): 84–90. http://dx.doi.org/10.1017/s0074180900202921.
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We have completed a grid of spherically symmetric AGB star atmospheres using the state of the art spectral synthesis code PHOENIX. Models are constructed for stars with masses of 1 M⊙and 1.5 M⊙, spanning the range 10 to 3300 L⊙in luminosity and 2500 to 5200 K in effective temperature. We find that grains of Al2O3and CaTiO3among other species form in atmospheres cooler than Teff= 3000 K. In the coolest models the grains cause a weakening of the TiO absorption features in the red and near infrared of up to 30% through both a depression of the continuum and a depletion of the TiO number abundance. We use spectrophotometric observations from a number of catalogs to determine effective temperature – spectral class and effective temperature – color relationships. We also compare synthetic colors calculated from our models with observations of M giants on Wing's 8-color narrow-band system of classification photometry.
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Naldi, Chiara. "Il patrimonio fotografico dell’Archivio Storico delle Gallerie Fiorentine: ragioni e provenienza di alcune fotografie dello stabilimento Brogi." Rivista di studi di fotografia. Journal of Studies in Photography 5, no. 10 (December 14, 2020): 36–58. http://dx.doi.org/10.36253/rsf-12244.
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This essay considers a selection of painting reproductions made by Brogi in the 1870s, as part of a larger study on the historical archive of the Florentine Galleries held by the Superintendence of Archaeology, Fine Arts and Landscape in Florence. Cross-referencing these photographs with written documents in the same archive and the commercial catalogs published by Brogi between 1863 and 1901, it is possible to determine that they were originally delivered in compliance with legal deposit regulations established by the new Ministry of Public Education in 1867. At the same time, this case study sheds new light on the connections between commercial photographers and art institutions in Italy in the second half of the 19th century, especially regarding the creation of public photographic archives and the role played by Corrado Ricci, the director of the Uffizi Galleries between 1903 and 1906.
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Savasta Alsina, Mene. "Music is not enough." Revista Música 20, no. 1 (July 9, 2020): 381–400. http://dx.doi.org/10.11606/rm.v20i1.170852.
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The first event in Argentina that ever included arte sonoro in its programming was Experimenta. Through its concerts and workshops, it was a milestone for the argentinean experimental music at the end of the 90s. Since its first edition in 1997, it challenged circles and procedures already stabilized in music, bringing together artists from different generations and sonic searches. It was in its year 2000 edition that the festival incorporated arte sonoro as one of its tags for the first time. What does it happen when it becomes necessary, from one moment to the next, to use a new expression to name an artistic activity?
That music is not enough is the hypothesis of this outline of the sound art history in Argentina, which aims to illuminate the foundational moment when that category arte sonoro began to be used in the programming of events and festivals.
From the observation of the textual framework around works and events -that is, catalogs, critical texts or press releases- we will see that, since 2000 in Argentina, the initial circulation of the expression arte sonoro shows what could be understood as musical origin, as a reaction to what was established, and as one of the features that contribute to the particular identity of early Argentine arte sonoro, in contrast with other histories -from other geographies- that usually link the origin of sound art with art installations and the participation of galleries and museums.
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Wu, M. "Guidebooks and Catalogs of Exhibitions in Russia in Late XIX - Early XX Centuries as a Source of Historiographic Research on Chinese Art." Университетский научный журнал, no. 54 (2020): 72–83. http://dx.doi.org/10.25807/pbh.22225064.2020.54.72.83.
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Conley, M. Elizabeth, Debra J. Schwarze, and David P. Lambe. "414 PB 033 STAMP OUT HORTICULTURE!" HortScience 29, no. 5 (May 1994): 490c—490. http://dx.doi.org/10.21273/hortsci.29.5.490c.
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Rubber stamps have traditionally been used in business to deliver visual or concise verbal messages. That tradition has changed as rubber stamps have also become an art form. Stamps are now available in virtually any horticultural design, including flowers, vegetables, fruits, trees, cacti, turf and as landscape design forms. Stamps can be purchased at specialty stores, craft stores, book stores, kiosks at shopping malls, and from catalogs or they can be easily crafted from gum or rubber erasers. Two periodicals are available that describe stamping techniques and provide catalog sources: Rubberstampmadness (Corvallis, Oregon) and Rubber Stampers World (Placerville, California). Using rubber stamps is fun and promotes creativity! Stamps can be used in a wide range of colors and they allow versatility in positioning, whether on paper or fabric. They are cost effective because they can be reused. Some suggested uses include enhancement of visual displays, personalization of mailings, and application for 4-H projects. A list of selected references will be available.
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Pai, Hyung Il. "Monumentalizing the Ruins of Korean Antiquity: Early Travel Photography and Itinerary of Seoul’s Heritage Destinations." International Journal of Cultural Property 21, no. 3 (August 2014): 331–47. http://dx.doi.org/10.1017/s0940739114000228.
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Abstract:This study introduces the oldest photographs of Seoul’s ruins, which have been recycled for more than a century in a wide variety of print sources, such as travelogues, postcards, museum catalogs, and guidebooks. Regardless of the medium, the aesthetic, disciplinary, and cultural biases practiced by the first generation of globe-trotters, diplomats, and commercial photographers to arrive in the Korean peninsula resulted in the mass distribution of the most “picturesque” monuments, such as Buddhist art and architecture, palaces, and fortress gates targeting the “tourist gaze.” By analyzing a select number of stock images of architectural landscapes, which have served as the “scenic” backdrop for framing “native types,” currently part of museum collections and photographic archives, the article will illustrate how such exoticized and romanticized visions of the conquered “Hermit Kingdom” trapped in time and space have continued to impact the trajectory of heritage management policies and the hierarchical ranking system of national treasures and famous places in postwar South Korea.
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Parlina, Alin, Gita Mawarni, and Dinda Safitri. "Media Penunjang Informasi Dan Promosi Berbentuk Katalog Produk Pada PT. Ideal Formica Purnatata Tangerang." CICES 4, no. 1 (February 28, 2018): 15–28. http://dx.doi.org/10.33050/cices.v4i1.472.
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Visual communications media plays an important role in the self-introduction a company primarily in supporting information and promotion. One of the visual communication media is very important in supporting the successful sale of the company is a media product catalog. Companies in need of information and promotional media such as print media, because the media is effective compared with other media such as video profile. PT. Ideal Formica Purnatata is a company engaged in the manufacture of products and architectural interiors. The purpose of this study, so that the company can achieve its sales target of each product marketed. To obtain accurate data in the preparation of the study, there is the research methodology used are: problem analysis methods, data collection methods, methods of design analysis and methods of design concepts. The problem that exists is the lack of information and promotional media such as media product catalog. Visual communication media has a method of designing one form of material used is 260 g carton art and art paper 120 gr. The choice of material is in use because of the materials according to the media catalog. Media design through product catalogs, is expected to increase the attractiveness of the consumer to use the services and products of PT. Ideal Formica Purnatata, so that the sales target is reached, the company's turnover increased, and PT. Ideal Formica Purnatata widely known.
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Khorsand, Parsoa, and Fereydoun Hormozdiari. "Nebula: ultra-efficient mapping-free structural variant genotyper." Nucleic Acids Research 49, no. 8 (January 27, 2021): e47-e47. http://dx.doi.org/10.1093/nar/gkab025.
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Abstract Large scale catalogs of common genetic variants (including indels and structural variants) are being created using data from second and third generation whole-genome sequencing technologies. However, the genotyping of these variants in newly sequenced samples is a nontrivial task that requires extensive computational resources. Furthermore, current approaches are mostly limited to only specific types of variants and are generally prone to various errors and ambiguities when genotyping complex events. We are proposing an ultra-efficient approach for genotyping any type of structural variation that is not limited by the shortcomings and complexities of current mapping-based approaches. Our method Nebula utilizes the changes in the count of k-mers to predict the genotype of structural variants. We have shown that not only Nebula is an order of magnitude faster than mapping based approaches for genotyping structural variants, but also has comparable accuracy to state-of-the-art approaches. Furthermore, Nebula is a generic framework not limited to any specific type of event. Nebula is publicly available at https://github.com/Parsoa/Nebula.
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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.
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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing School M. Muraskho in the public presentation of works of art by Kyiv’s artists. The author reconsiders the peculiarities of exhibition activity in Kyiv from the seldom events of the late 1870's to the exhibitions systematically led in the early 20th century. The statutes of Kyiv artistic intelligentsia associations from the 1890s-1900s ("Bakhtins", the Association of Artists of Kyiv, the Kyiv Union of Artists), the frequency and membership of their exhibitions were revealed. The author highlights the role of O. Murashko in the consolidation of artistic milieu of Kyiv, his initiative in the emergence of the Kyiv Association of Artists (KAA). Also the author carries out a comparative analysis of the Statute of the KAA and similar materials of the associations of Kyiv artists from the late nineteenth and early twentieth centuries. The author shows the key aspects of the art and exhibition activity of KAA during 1916-1918 and determines the role of the KAA in the cultural and artistic life of Kyiv with the advent of Soviet occupation (1917-1918) as well as the participation of KAA members in the establishment of the Council of United organizations, the Professional Union of Artists, the All-Ukrainian Congress of Artistic Organizations, the First Congress of People Ukrainian plastic art.
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Schevill, Margot Blum. "Catalogs from the Wheelwright:Anil Anaadaalyaa'igii (Recent Ones That Are Made): Continuity & Innovation in Recent Navajo Art.;Ramona Sakiestewa. Patterned Dreams: Textiles of the Southwest." Museum Anthropology 13, no. 3 (August 1989): 14–16. http://dx.doi.org/10.1525/mua.1989.13.3.14.
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Wang, Jiawei, Wei Dai, Jiahui Li, Qi Li, Ruopeng Xie, Yanju Zhang, Christopher Stubenrauch, and Trevor Lithgow. "AcrHub: an integrative hub for investigating, predicting and mapping anti-CRISPR proteins." Nucleic Acids Research 49, no. D1 (November 2, 2020): D630—D638. http://dx.doi.org/10.1093/nar/gkaa951.
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Abstract Anti-CRISPR (Acr) proteins naturally inhibit CRISPR-Cas adaptive immune systems across bacterial and archaeal domains of life. This emerging field has caused a paradigm shift in the way we think about the CRISPR-Cas system, and promises a number of useful applications from gene editing to phage therapy. As the number of verified and predicted Acrs rapidly expands, few online resources have been developed to deal with this wealth of information. To overcome this shortcoming, we developed AcrHub, an integrative database to provide an all-in-one solution for investigating, predicting and mapping Acr proteins. AcrHub catalogs 339 non-redundant experimentally validated Acrs and over 70 000 predicted Acrs extracted from genome sequence data from a diverse range of prokaryotic organisms and their viruses. It integrates state-of-the-art predictors to predict potential Acrs, and incorporates three analytical modules: similarity analysis, phylogenetic analysis and homology network analysis, to analyze their relationships with known Acrs. By interconnecting all modules as a platform, AcrHub presents enriched and in-depth analysis of known and potential Acrs and therefore provides new and exciting insights into the future of Acr discovery and validation. AcrHub is freely available at http://pacrispr.erc.monash.edu/AcrHub/.
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Tikhonov, Dmitrii, and Elena Tikhonova. "Lyre shaped motif and its origins." Siberian Research 2, no. 2 (December 1, 2019): 74–84. http://dx.doi.org/10.33384/26587270.2019.02.009e.
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Lyre shaped ornament is a common motif of ornamental and folklore applied art. But, unfortunately, the origins of the lyre shaped motif are still not well investigated. In the paper we review the literature devoted to the study of the emergence and spread of a lyre shaped motif and analyze museum exhibits from catalogs and published sources. The aim of the study is to define the сenters of the lyre motif origin and the paths of its distribution. Material and methods. Article analyzes lyre shaped motifs in museum artifacts, folk arts and crafts using materials presented in published literature and catalogs of museum exhibits. A spiral motif originated in Egypt. The origins of the lyre motif in ancient Egypt are probably connected with the iconography of the Egyptian god of Hathor, who was depicted as a woman with a headdress decorated with lyre shaped horns and a solar disk between them. It should be noted that the tradition of depicting a human face with cow horns has connections with the Neolithic period of the Nile Valley, where cattle breeding arose in the 6-5th millennium BC. The first cases of using a lyre shaped motif occured in scarab-like seals of Egypt and Minoan culture. Artifacts with a lyre shaped motif were observed related, dating from the Minoan and Mycenaean periods, during to the period of classical Hellenistic Greece. A lyre shaped motif was spread along trade routes from Crete to the Danube, the Elbe, the shores of the Baltic Sea and, together with the Celts, penetrated into Britain, from the Greek colonies of the Black Sea to the Scythians. In the Asian part of the Eurasian steppes, this motif symbolized the image of the eagle totem animal depicted like a griffin, especially in the early Scythian and Hunnic period. The origins of the lyre shaped motif in the Asian steppe, apparently, were the ancient motifs “taotie” in China and “masks” in the Russian Far East. The popularity of the lyre shaped motif in the folk arts and crafts of the Turkic peoples was probably due to the spread of this motif within the Scythian community, when there was a cult of the eagle-like griffin and totem.
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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.
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Chrzanovski, Laurent. "The Forcart Collection of lamps from Fayum." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 30, 2019): 555–639. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.27.
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The Forcart collection of Ptolemaic, Roman and Late Roman lamps from Fayum is today the largest single-collector Egyptian lychnological corpus owned by a Swiss public institution, the Geneva Museum of Art and History, which acquired it in 1923. The importance of the 145 lamps in this collection is twofold. Firstly, all the artifacts were offered to Max Kurt Forcart by the different directors of excavations operating legally in the Fayum area during the first two decades of the 20th century, giving us a clear—even if generic—finding area, contrary to collections purchased from the various antiquaries. And secondly, even if incomplete compared to the richness and diversity of the Fayum workshops, the chronological and typological range it covers makes it a perfect companion to the only two published and illustrated lamp catalogs of regular excavations made in the area: the early 1900s work of W.M.F. Petrie at Ehnasya and the later investigations by the University of Michigan team at Karanis. Also highlighted are the unique Fayum fashions and approaches to the importation, adoption or rejection of common types found in the Nile Delta, as well as the emergence of typically microregional subtypes as discussed by John W. Hayes.
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Bilicki, Maciej, John A. Peacock, Thomas H. Jarrett, Michelle E. Cluver, and Louise Steward. "Mapping the Cosmic Web with the largest all-sky surveys." Proceedings of the International Astronomical Union 11, S308 (June 2014): 143–48. http://dx.doi.org/10.1017/s1743921316009753.
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AbstractOur view of the low-redshift Cosmic Web has been revolutionized by galaxy redshift surveys such as 6dFGS, SDSS and 2MRS. However, the trade-off between depth and angular coverage limits a systematic three-dimensional account of the entire sky beyond the Local Volume (z< 0.05). In order to reliably map the Universe to cosmologically significant depths over the full celestial sphere, one must draw on multiwavelength datasets and state-of-the-art photometric redshift techniques. We have undertaken a dedicated program of cross-matching the largest photometric all-sky surveys – 2MASS, WISE and SuperCOSMOS – to obtain accurate redshift estimates of millions of galaxies. The first outcome of these efforts – the 2MASS Photometric Redshift catalog (2MPZ, Bilickiet al. 2014a) – has been publicly released and includes almost 1 million galaxies with a mean redshift ofz=0.08. Here we summarize how this catalog was constructed and how using the WISE mid-infrared sample together with SuperCOSMOS optical data allows us to push to redshift shells ofz∼ 0.2 –0.3 on unprecedented angular scales. Our catalogs, with ∼ 20 million sources in total, provide access to cosmological volumes crucial for studies of local galaxy flows (clustering dipole, bulk flow) and cross-correlations with the cosmic microwave background such as the integrated Sachs-Wolfe effect or lensing studies.
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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
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SOLNTSEV, Mikhail Nikolaevich. "TECHNOLOGICAL POTENTIAL OF SOCIAL AND CULTURAL ACTIVITY IN DESTRUCTIVE BEHAVIORAL TEENAGERS’ STRATEGIES PREVENTION." Tambov University Review. Series: Humanities, no. 174 (2018): 122–27. http://dx.doi.org/10.20310/1810-0201-2018-23-174-122-127.
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Social and cultural features of destructive behavior among adolescents, such as “subjective adulthood”, communication with peers, affilation, conformal behavior, emotional instability are considered. Destructive behavior is defined as a stable behavior of the personality, deviating from the most important social norms, accompanied by its social disadaptation. It is noted that modern theories of deviance interpret destructive behavior in the context of a hierarchical system of factors manifested at the individual and group levels. Modern types of destruction prevention are characterized (“direct” – information and educational activity in the study of the features of destruction and their destructive consequences and “indirect” – the formation of basic life skills). The successive stages of socio-cultural prevention deviant behavior in adolescents are selected: correctional and psychological (diagnosis and development of an adaptive prevention programs at the secondary and tertiary prevention); educational (social and cultural competence of teenagers development); art therapy (certain communication and interaction skills needed to adapt to the group norms development). The technologies of social and cultural activity are considered as an effective resource for creating conditions for personal realization. The review of social and cultural practices aimed at destructive behavior of teenagers prevention, implemented on the basis of the application of social and cultural activity technologies complex. Among the most effective forms of social and cultural prevention lectures, project activities, creation of multimedia catalogs, integration in volunteer activities, creative competitions, informal educational courses etc. are highlighted.