Relevant bibliographies by topics / Horror in art

Contents

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

Academic literature on the topic 'Horror in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Horror in art"

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Falvey, Eddie. "‘Art-horror’ and ‘hardcore art-horror’ at the margins: Experimentation and extremity in contemporary independent horror." Horror Studies 12, no. 1 (March 1, 2021): 63–81. http://dx.doi.org/10.1386/host_00029_1.

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The changing forms of contemporary horror have been the subject of much discussion, both in popular journalism and scholarship. Amid an on-going discussion on the arrival and characteristics of what has been contentiously termed ‘post-horror’, this article seeks to situate recent independent American horror within the context of the recent art film, in keeping with the work of Geoff King, as well as the traditions of ‘art-horror’ as it has been referred to by Joan Hawkins. Using a series of examples taken from recent independent horror – including A Ghost Story (David Lowery 2017) and The Lighthouse (Robert Eggers 2019), as well as the micro-budget independent films of Phil Stevens – Falvey makes use of King’s work to explore the textual characteristics of recent ‘art-horror’. Falvey argues that films iterative of this mode employ experimentation and extremity (in various forms) to discursively position the films away from more generically recognizable studio horror films in a bid for critical distinction.
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Hanscomb, Stuart. "Existentialism and Art-Horror." Sartre Studies International 16, no. 1 (January 1, 2010): 1–23. http://dx.doi.org/10.3167/ssi.2010.160101.

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Pascale, Marius A. "Art Horror, Reactive Attitudes, and Compassionate Slashers." International Journal of Applied Philosophy 33, no. 1 (2019): 141–59. http://dx.doi.org/10.5840/ijap201981116.

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In “The Immorality of Horror Films,” philosopher and film scholar Gianluca Di Muzio proposes an analytic argument that aims to prove horror narratives, particularly slashers, unethical. His Argument from Reactive Attitudes contests slashers encourage pleasurable responses towards depictions of torture and death, which is possible only by suspending compassionate reactions. Doing so degrades sympathy and empathy, causing desensitization. This article will argue Di Muzio’s ARA, while valuable to discussion of art horror and morbidity, fails to meet its intended aim. The ARA contains structural flaws in its logic, compounded by reliance on insufficient evidence. Additionally, Di Muzio does not adequately consider or rebut prominent aesthetic concerns, including ontological and moral distance of representations. Lastly, the argument utilizes a flawed classificatory schema that undermines its primary goal. Even narrowly confined to slashers, the ARA cannot explain alternative reasons for engaging with horror, nor does it account for those nuanced slasher works designed to foster compassion. The project concludes by offering a modified ARA with greater potential to accurately analyze the interrelation between art horror and morality.
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Contesi, Filippo. "Carroll on the Emotion of Horror." Projections 14, no. 3 (December 1, 2020): 47–54. http://dx.doi.org/10.3167/proj.2020.140304.

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Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond).
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Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.

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In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. There are also reports of some peoples that allegedly also consider the soul to be closely bound to photography and in consequence abhor photography, as the film is supposedly capable of capturing and depriving the photographed person of their soul. Films like The Ring, The Others, Peeping Tom, and The Invisible Man demonstrate how frequently uncanny photography appears in the horror film genre and open questions about the reasons of such depictions. While the theory of horror claims that horror uses specific iconography of fear to reflect the common fears of the time (e.g. an invasion of giant insects and carnivorous plants in the 50s as a consequence of American fear of a communist invasion), the article explores the issue of photography as the main antagonist in the horror genre of the 21st century and whether this means that it appears as the universal fear of digital identity, surveillance, and identity theft.
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Oeler, Karla. "Eisenstein and Horror." Journal of Visual Culture 14, no. 3 (December 2015): 317–31. http://dx.doi.org/10.1177/1470412915608138.

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‘Eisenstein and Horror’ places Eisenstein’s unfinished work, Method (2002 [1932–46]) in dialogue with key concepts that have been brought to bear on cinematic horror: ambivalence, excess, affect, and abjection. It argues that in Method, Eisenstein, largely through the astounding range of his examples, de-emphasizes the difference between narrative and non-narrative in favor of a broader compositional perspective that can only strengthen accounts of horror as reflex, and of self-referential horror. In Method, Eisenstein develops the idea that foundational structures of art (metaphor, metonymy, pars pro toto, and rhythm) are also those of thinking: thinking in art and life proceeds along, and undoes, associative pathways of similarity and contiguity that are variously calculable and unpredictable. In building its argument, this article offers an extremely condensed, but intensive reading of Method.
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Middleton, Jason. "Documentary Horror: The Transmodal Power of Indexical Violence." Journal of Visual Culture 14, no. 3 (December 2015): 285–92. http://dx.doi.org/10.1177/1470412915607913.

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This article reevaluates critical distinctions between so-called ‘art-horror’ and ‘natural’ or real-world horror to challenge larger modal distinctions between fiction and documentary film and their ostensibly divergent spectatorial practices. It focuses on images of animal slaughter, which traverse boundaries between fiction and documentary, art-horror and natural horror. The indexical force of animal slaughter may displace or undo the metaphorical in fictional horror film, producing a spectatorial wavering between the registers of the figurative and the literal. Shaun Monson’s documentary film Earthlings (2005) demands of viewers a mode of spectatorial discipline derived from the horror film experience. Earthlings and its viewer reaction videos reinvent the collective performance of terror among theatrical horror film audiences for a documentary context and for online media platforms like YouTube. Earthlings functions as a form of spreadable media in which viewers’ horrified reactions are harnessed in the production of knowledge and political commitment.
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Yang, Yang. "An analysis of the Aesthetics in Horror Artworks." International Journal of Education and Humanities 12, no. 1 (January 15, 2024): 73–75. http://dx.doi.org/10.54097/akerqg54.

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Aesthetics in horror art works is also an important field of aesthetic research. The study of color, image, emotion, music and so on of horror art works also collide with unexpected sparks and make people feel the unique charm. This paper takes one of Lin Zhengying's masterpieces, "New Mr. Zombie", as an example, and analyzes it from multiple dimensions and levels of the film to explore the aesthetics in horror artworks and the unique artistic charm it gives.
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Tchernyavskaya, Y. O., and D. E. Tubolztceva. "ART ORIGINALITY OF “HORROR STORIES” BY RONSHIN." Tomsk State Pedagogical University Bulletin, no. 6 (2019): 77–86. http://dx.doi.org/10.23951/1609-624x-2019-6-77-86.

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Andresen, Christer Bakke. "Thelma: Empathic engagement and the Norwegian horror cinema." Journal of Scandinavian Cinema 9, no. 2 (June 1, 2019): 227–33. http://dx.doi.org/10.1386/jsca.9.2.227_1.

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Genre filmmaking has become very important in Norwegian cinema in the years since 2000, even to the point of certain art cinema directors like Joachim Trier creating types of horror movies. I argue that Trier’s intimate, subtle approach to the main character in his psychological horror film Thelma deepens and expands the experience of Norwegian horror.
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Dissertations / Theses on the topic "Horror in art"

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Wessinger, Alyssa L. "A Deconstruction of Horror, Fear and Terror: Using Horror Films as Didactic Tools in Art Education." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/85.

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This arts-based study discusses using the horror film and monsters as a means of exploring the personification of fear in contemporary society. The paper incorporates the viewing and dissection of horror films into an artistic process to explore fears in order to further artistic expression. It additionally shows how this process can be used in an art classroom within the context of contemporary art to empower students and facilitate art criticism discussions.
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Ma, Ho-yan, and 馬昊欣. "The Art of Gothic Terror: a study of Edgar Allan Poe's tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952240.

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Banyard, Kylie Jane Art College of Fine Arts UNSW. "Phantom in the corner: staging a gothic spectacle." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43082.

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My research proposes an analytical engagement with the central functions of Phantasmagoria and the Wunderkammer, namely atmosphere and display. My paper is divided into six chapters; Chapter one proposes spectatorship as a common thread linking the Phantasmagoria to the Wunderkammer and offers an overview of the similarities and disparities between the two. Chapters two, three and four focus on constructs, definitions and implications of Gothicity within the context of Phantasmagoria, Horror films and contemporary art. Aligning my studio-based practice with contemporary artists' who engage with aspects of the Gothic spectacle. Chapter five contemplates the Wunderkammer in terms of its history and precursive archival practices. Chapter six offers an analysis of specific contemporary artists' attraction to archaic modes of display and provides a theoretical platform for my own conceptual engagement. The objective of my research has been to collate reference material aligned to various modes of historic and theoretical enquiry, thereupon concluding my studies in the 'staging' of Phantom in the Comer an immersive multi-media installation.
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Yeung, Ka-chung Lorraine, and 楊家頌. "Emotion and art : a defense of an embodied theory of cinematic horror." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/200341.

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This thesis is concerned with art and emotion, and horror fiction in particular. I criticize a theoretical paradigm of emotion and art based on cognitive theories of emotion, and argue that the approach developed in this thesis is a more promising one. I shall begin by clarifying the role of affective response in our emotional engagement with art. Two dominant cognitivist accounts of art and emotion—Walton’s Make-believe Theory and Carroll’s Thought Theory—will be discussed. I position the two theories as competing solutions to Radford’s puzzle of response to fiction so as to examine the subsequent debates between them. I aim to show that the debates reach an impasse as a consequence of their ignoring affective responses in favour of cognitive states. As a result, I call for a deeper investigation of affective responses to works of art. In Chapter 2, I demonstrate that both theories fail to take formal/stylistic elements of an artwork into serious consideration and to address the power of film. In Chapter 3, I discuss problems specific to Carroll’s analysis of the horror genre. I hope to show that the flaws of his approach are rooted in a mischaracterization of the emotion “horror” as a cognitive emotion. I then set forth constraints for a more promising account of cinematic horror. One of the constraints is being able to deal with the peculiarities of horror film music and sound, which seem to be beyond the grasp of cognitivist analysis. The various drawbacks of the two cognitive theories can be traced back to their common assumption that cognitive states are necessary for emotion. So in Chapter 4 I scrutinize various forms of arguments in favour of this cognitivist view of emotion and I conclude that the view is not justified. In Chapter 5, therefore, I explore an alternative theory of emotion. Drawing mainly on works of J. Prinz and J. Robinson, I discuss an embodied appraisal theory of emotion which maintains that affective responses have primacy over cognitive states in emotion and that non-cognitive states can also trigger emotion. Taking this embodied appraisal theory of emotion as my starting point, in Chapter 6 and Chapter 7, I then develop an embodied theory of filmic emotion, on which an aesthetics of cinematic horror can be built. I defend the embodied theory in terms of its competence in providing an account of various phenomena regarding affective responses evoked by fiction, the emotive-power of stylistic/formal elements and the power of film. In the light of the embodied theory, I re-conceptualize the emotion “horror” and address the peculiarities of horror film music and sound. By demonstrating how the embodied appraisal theory of emotion contributes to a more comprehensive account of filmic emotion and a subtler aesthetic of cinematic horror, I conclude that it is a more promising theory of emotion that facilitates a proper understanding of our emotional engagement with art.
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Philosophy
Doctoral
Doctor of Philosophy
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Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.

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This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
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Labbate, Ettore. "Horror vocis / horror vacui : formes du vide dans la langue et l'oeuvre de Giacomo Lubrano." Caen, 2009. http://www.theses.fr/2009CAEN1551.

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Le napolitain Giacomo Lubrano (1619-1693), poète et prédicateur jésuite, est l'un des représentants de la fin du baroque littéraire italien. Son œuvre, assez vite oubliée après la mort de l'auteur, n'a été redécouverte par la critique qu'à partir de la deuxième moitié du XXème siècle : les compositions en prose, comme les sermons des Prediche quaresimali, ainsi que les recueils de vers en latin (Suaviludia Musarum ad Sebethi ripam) ou en italien (Scintille poetiche), répondent à une vision moderne du langage, qui, si elle témoigne d’une sensibilité historique bien précise, s'insère de manière plus large dans le cadre d'une réflexion sur l'écriture poétique et oratoire appréhendée comme l'exercice apophatique de la voix (vox) ne pouvant retranscrire le Verbe divin (Verbum). À partir de l'analyse textuelle des trois œuvres mentionnées, notre recherche a donc voulu montrer cette modernité, en dégageant d'une part les caractéristiques d'une poétique du silence propre à G. Lubrano, pour qui le discours est toujours la manifestation d'une aphasie, et en proposant d'autre part la traduction française d'un choix de sonnets tirés des Scintille poetiche
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Comstock, Hannah Marie. "Deivisceris." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103038.

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Deivisceris is a four-player role-playing tabletop game that focuses on themes of horror. It looks into ideas from the horror genre as a whole while combining aspects from the body horror and cosmic horror subgenres to create a discomforting horror experience. The game features illustrations and written events with a choice-based narrative that can have multiple outcomes depending on a player's decisions, stats, and items. Deivisceris utilizes randomness in order to create a new experience each time it is played through randomized characters and a randomized game board that is built up as it is played. The game reveals its narrative through clues within the gameplay, illustrations, and written text as characters enter the game's world blindly. Deivisceris is an immersive tabletop horror experience that can be further expanded on in the future with the possibility of a larger production.
Master of Fine Arts
Deivisceris is a four-player tabletop game that looks into the ways horror can be created in a board game format. It examines various ideas from the horror genre as a whole while taking inspiration more directly from two subgenres of horror: body horror and cosmic horror, each of which has very different ways of evoking horror. The game includes a variety of full-color illustrations and written situations that give players a chance to make their own decisions. Deivisceris utilizes randomness in order to create a new experience every time it is played. The game board is built up differently every time it is played and characters' stats, such as strength, intelligence, and endurance, may be different in each game. The game's story is revealed through clues within the gameplay, illustrations, and text. Deivisceris is a tabletop role-playing horror experience that can be further expanded on in the future with the possibility of a larger production.
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Ma, Ho-yan. "The Art of Gothic Terror : a study of Edgar Allan Poe's tales /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161744.

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Doria, Kim Wilheim. "O horror não está no horror: cinema de gênero, anos Lula e luta de classes no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-09032017-104856/.

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Este trabalho se propõe a interpretar o diálogo travado por obras do cinema brasileiro contemporâneo com o repertório do cinema de gênero. A partir de questões suscitadas pela análise fílmica de obras como O invasor (Beto Brant, 2002) e Trabalhar cansa (Juliana Rojas e Marco Dutra, 2011), procura-se refletir sobre o discurso totalizador operado formalmente no cinema contemporâneo de ficção, os valores canônicos de nossa tradição crítica e sua relação com os gêneros cinematográficos e sobre a dinâmica sociopolítica na história recente do país.
This work aims to interpret the dialogue made by works of contemporary Brazilian cinema with the repertoire of genre cinema. As from issues raised by film analysis of works such as The Trespasser (Beto Brant, 2002) and Hard Labour (Juliana Rojas and Marco Dutra, 2011), it seeks to reflect on the totalizing discourse formally operated in the contemporary fiction cinema, on the canonical values of our critical tradition and its relation to film genres and on the socio-political dynamics in Brazil\'s recent history.
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Araújo, Rafael. "A experiência do horror: arte, pensamento e política." Pontifícia Universidade Católica de São Paulo, 2009. http://tede2.pucsp.br/handle/handle/2960.

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Made available in DSpace on 2016-04-25T20:22:53Z (GMT). No. of bitstreams: 1 Rafael Araujo.pdf: 36212890 bytes, checksum: bb4f853dfec8cd0b698c88003e5eaf87 (MD5) Previous issue date: 2009-06-08
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This paper portrays different ways of experiencing horror, from the existing relationship between art and thought, looking for understanding some of the political forces that act over humanity in distinct contexts. We start off by the principle that experience of horror accompanies mankind since the first social forms and, through it, it s possible to look at the human condition and situations generated by the difficult sociability. The analysis of these difficulties involves the recognition of circumstances that act over humanity and set violence situations, impotence and suffering. The experience of horror in face of world s reality starts off by the individual itself attesting the Cartesian rationality consequences, and broadens toward the collective, revealing social and political problems, specially with modernity, when the work world asserts itself to mankind in an absolute way and life becomes something disposable. The pieces of artwork selected to the study express different ways of horror, produced in distinct contexts of oppression and carry on themselves important information about the worldly reality. The analysis of these works allowed new perspectives and established a dialogue with some thinker s ideas. In front of the absurd of the world, in which assignments appear to be tragic by its unachievement, an affirmative thought points to a creative way of existing, which diagnoses, values and potentiate life
Este trabalho apresenta um mapeamento de diferentes formas de experiência do horror, a partir da relação existente entre arte e pensamento, procurando entender algumas das forças políticas que atuam sobre os homens em distintos contextos. Partimos do princípio de que a experiência do horror acompanha o homem desde as primeiras formas sociais e, através dessa experiência, é possível lançar um olhar sobre a condição humana e sobre as situações geradas pela difícil sociabilidade. A análise dessas dificuldades implica o reconhecimento das circunstâncias que atuam sobre os homens e configuram situações de violência, impotência e sofrimento. A experiência do horror frente à realidade do mundo parte do próprio indivíduo, atestando as conseqüências da racionalidade cartesiana, e se amplia em direção ao coletivo, revelando problemas políticos e sociais, especialmente a partir da modernidade, quando o mundo do trabalho impõe-se ao homem de forma absoluta e a vida torna-se algo descartável. As obras de arte selecionadas para o estudo expressam diferentes formas de horror; foram produzidas em contextos distintos e carregam em si mesmas informações importantes sobre a realidade mundana. A análise das obras permitiu que novas perspectivas surgissem e estabelecessem um diálogo com as idéias de alguns pensadores. Diante do absurdo do mundo, em que as tarefas mostram-se trágicas por sua irrealização, um pensamento afirmativo aponta para um modo de existir criativo, que diagnostica, valoriza e potencializa a vida
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Books on the topic "Horror in art"

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Tony, Nourmand, and Marsh Graham, eds. Horror poster art. London: Aurum, 2004.

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Arts, Royal Academy of, ed. Apocalypse: Beauty and horror in contemporary art. [London]: [Royal Academy of Arts], 2000.

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Steve, Miller. Scared!: How to draw fantastic horror comic characters. New York, NY: Watson-Guptill Publications, 2004.

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Christoph, Grunenberg, ed. Gothic: Transmutations of horror in late twentieth century art. Boston: Institute of Contemporary Art, 1997.

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Clive, Barker. Everville: The second book of the Art. London: BCA, 1994.

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Clive, Barker. Everville: The second book of the art. New York: HarperCollins, 1994.

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Hawkins, Joan. Cutting edge: Art-horror and the horrific avant-garde. Minneapolis: University of Minnesota Press, 2000.

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Juan, Mejía, Bogotá (Colombia) Alcaldía Mayor, and Bogotá (Colombia). Instituto Distrital de Cultura y Turismo., eds. Los límites del cuerpo, o, Lo bello en el horror. Bogotá, Colombia: Alcaldía Mayor de Bogotá, 2005.

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Milani, Raffaele. Il fascino della paura: L'invenzione del gotico dal rococò al trash. Milano: Guerini e associati, 1998.

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Manuele, Bellini, ed. L'orrore nelle arti: Prospettive estetiche sull'immaginazione del limite. Milano: C. Lucisano, 2008.

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Book chapters on the topic "Horror in art"

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Folias, Stefanos. "Poincaré’s Homoclinic Horror." In The Art of Theoretical Biology, 132–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33471-0_66.

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Scherer, Agnes. "The Pre-cosmic Squiggle: Tendril Excesses in Early Modern Art and Science Fiction Cinema." In Plant Horror, 31–53. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57063-5_2.

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Glick, Martin. "Art-Horror Environments and the Alien Series." In Alien and Philosophy, 132–39. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781119280873.ch12.

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Howell, Amanda. "Haunted Art House: The Babadook and International Art Cinema Horror." In Australian Screen in the 2000s, 119–39. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48299-6_6.

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Fan, Yawen. "The Research on the Influence of American Horror Films upon Chinese People." In Proceedings of the 2022 International Conference on Science Education and Art Appreciation (SEAA 2022), 1099–105. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-05-3_132.

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Keetley, Dawn. "Introduction: Six Theses on Plant Horror; or, Why Are Plants Horrifying?" In Plant Horror, 1–30. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57063-5_1.

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Seymour, Nicole. "“What We Are Watching” Does Not Present “Us with a Struggle”." In Reading Rocky Horror, 123–40. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230616820_8.

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Bell, Neal. "Building Act One." In How to Write a Horror Movie, 37–45. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429055416-4.

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"Why horror?" In Arguing About Art, 313–32. Routledge, 2013. http://dx.doi.org/10.4324/9780203717448-31.

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"Horror, Art and Disruption." In TV Horror. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755698431.ch-008.

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Conference papers on the topic "Horror in art"

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Haig, Ian. "Body Horror 2.0." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.6.

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Butler, Mitch. "The smell of horror." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281992.

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Ran, Yu. "The Influence of Sound Modeling on Elements of Horror Movies." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.048.

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Fatha, Basyarayni Mawla, and Alvanov Zpalanzani Mansoor. "The Structural Analysis of Indonesian Horror Webtoon’s Visual and Narrative." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.056.

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Pigulevskiy, V., and L. Mirskaya. "AMPLIFICATION OF THE PLOT «THE TEMPTATION OF SAINT ANTHONY»." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2555.978-5-317-06726-7/97-101.

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Attention is focused on the art of sketching meaning, amplifying the plot of “the Temptation of St. Anthony”. Starting in the late middle Ages, the plot becomes the occasion for developing the problem of the miraculous. For centuries, the artist's attention has been focused on horrors and torments, then on temptations and longing. The bestiary serves as an occasion for developing the wonderful, the terrible, and the ugly. If in the Renaissance the attention is focused on torment and horror, in the New age the interest is shifted to seduction and vicious beauty. The interest in hallucinations poses the problem of combining the charming and the disgusting to Surrealists. Over the course of the epochs, the aesthetic meaning of the “Temptation” story is transformed from the frightening infernal, invading reality as le merveilleux, to the psychosexual energy of the unconscious, generating le merveilleux sexuel.
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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.

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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
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Campos, Letícia Badan Palhares Knauer de. "Atrações perversas: apontamentos sobre Macabro (1980) de Lamberto Bava." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4227.

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Este texto parte da análise do filme Macabro (1980), de Lamberto Bava, procurando entendê-lo dentro da produção do cinema de horror, sobretudo dos anos de 1980 e sua relação com o universo da História da Arte, como o simbolismo e o decadentismo, nos quais o apreço pelo grotesco em correspondência com o prazer aparecem com evidência.
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Souza, Talita Favrin de. "Imagem e horror: fotografias da libertação dos campos de concentração nazistas." In Encontro de História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3381.

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Campos, Letícia Badan Palhares Knauer de. "Entre corpos, esculturas, tintas e sangue: a representação do artista no cinema de horror." In Encontro da História da Arte. Universidade Estadual de Campinas, 2015. http://dx.doi.org/10.20396/eha.11.2015.4298.

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Não há dúvidas de que o cinema e artes plásticas possuem relações diretas. O universo artístico, independente de sua época, tornou-se um constituinte-chave na composição do imaginário cinematográfico, desde sua concepção. Como produções culturais, seus realizadores nutrem-se de imagens e ideias largamente trabalhadas nas artes plásticas, as quais, inseridas no filme, tomam novas formas. A vida do objeto artístico escolhido, seja ele pintura, escultura ou outra produção, é prolongada e ganha novos entornos quando inserida em diálogo com o cinema. Tanto uma, quanto a outra iluminam-se dessas relações. Ao aproximarmos tais produções, temos um dialogo estabelecido que nos remete à cada uma delas, mas que a partir de tal união, cria um terceiro olhar, existente apenas por conta de tal junção, e que nos atenta, concomitantemente, para outras questões.
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Kutsa, O. "Little Black Copy, or, Design Trends for Horror-Editions." In VI Tyktor’s Readings “Publishing in Ukraine: At the Crossroads of Traditions and Innovations”. Ukrainian Academy of Printing, 2021. http://dx.doi.org/10.32403/978-966-322-528-9-2021-136-145.

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Reports on the topic "Horror in art"

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Franco, Susana, Ander Sánchez, and James Wilson. Euskal Autonomia Erkidegoko ekonomia eta gizarte digitalak. DESI 2023. Edited by Patricia Canto. Universidad de Deusto, 2024. http://dx.doi.org/10.18543/lsup3952.

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"Euskal Autonomia Erkidegoko Ekonomia eta Gizarte Digitalak. DESI 2023" txostenaren aurtengo edizioa Europako Batzordeak Hamarkada Digitalaren testuinguruan garatu duen metodologia berrira egokitu dugu, Euskal Autonomia Erkidegoaren bilakaera Europar Batasuneko estatu kideenarekin alderatuko duen diagnostikoa egiteko, 4 dimentsiok osatutako panela erabiliz: (i) gaitasun digitalak; (ii) azpiegitura digitalak; (iii) enpresen eraldaketa digitala; eta (iv) zerbitzu publikoen digitalizazioa. Analisiaren emaitzek erakusten dute Euskal Autonomia Erkidegoak hobera egin duela adierazle guztietan. Horrek erakusten du gure ekonomiaren eta gizartearen digitalizazioan etengabe ari garela aurrera egiten. Hala ere, adierazleen gorakada joera orokorra da lurralde guztietan, eta, horregatik, Euskal Autonomia Erkidegoak gainerako lurraldeekiko duen kokapenak eta kokapen horren azken urteetako bilakaerak argi-ilunak eta ñabardurak ditu dimentsioetako bakoitzean.
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Atkinson, E. A. Regional mapping and qualitative petroleum resource assessment of the Magdalen Basin, Gulf of St. Lawrence, Quebec, Prince Edward Island, New Brunswick, Nova Scotia, and Newfoundland and Labrador. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331452.

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The Geological Survey of Canada conducted a broad regional study of the Magdalen Basin in the Gulf of St. Lawrence, as part of the Marine Conservation Targets initiative. MCT is a national initiative to protect more of Canada's offshore areas, and resource assessment and related regional mapping are part of the review process. This study assembled a large seismic and geologic database that allowed new regional mapping of several key horizons in this basin. Digital seismic data was donated by industry, and reprocessing undertaken both in-house and with contractors. Wells were correlated and tops from literature were used to indentify regional reflection packages. Regionally consistent two-way time interpretations add to confidence. Depth conversion used regional time-depth functions from literature, which were developed from refraction data, with a residual correction for the water column. Nine regional depth maps and eight isopach maps were produced, including Pre-Horton Basement, Horton Group Isopach, Base Windsor Group, Top Salt, Top Bradelle Formation, Bradelle / Cumberland Isopach, and Top Cable Head Formation. These maps illustrate that the Pre-Horton basement is about 15 km deep in the centre of the basin. Two main trends are visible in the Horton Grabens, which may relate to basin formation, and no significant reactivation of deeper Appalachian structure is observed. In the basin centre, the more robust Base Windsor Unconformity horizon reaches about 12 km deep, and a key reservoir and source sequence in the Bradelle Formation reaches 7 km. These maps are useful for considering regional stratigraphy. The new mapping also constrained basin models and became the input for our Qualitative Petroleum Potential map. Basin modelling reveals scenarios where oil may be preserved. The petroleum potential of the region is highest north of Îles de la Madeleine and southeast of Îles de la Madeleine and northwest of Cape Breton.
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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Khan, Mahreen. The Environmental Impacts of War and Conflict. Institute of Development Studies, March 2022. http://dx.doi.org/10.19088/k4d.2022.060.

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In modern warfare, the first widely acknowledged scientific study and documented case of environmental damage during conflict was the (direct and deliberate) use of Agent Orange and other toxic chemicals by US forces, from 1961-1971, during the Vietnam War in a policy known as herbicide. The Vietnam War has been relatively well documented for the sheer horror and magnitude of the devastation to natural habitats and because it was the first war where television and global media brought vivid images and accounts into people’s homes, making the war a matter of political and public conscience This helped stir academic and scientific interest and facilitated evidence collection and documentation of environmental damages. This helpdesk report is a rapid literature review on the main environmental impacts of war and conflict, drawing primarily on academic, and peer reviewed literature and only some policy and practitioner sources, as per the request. Where current situations are discussed, such as the ongoing Ukraine war, a few blogs are referred to. Within the literature focused on the environmental impacts of conflict, common case studies include: the North Atlantic Treaty Organisation (NATO) bombing of Kosovo (1999), and the conflict in the Donbas region of Ukraine (2014). Interestingly there is comparatively less literature on the conflicts in Afghanistan (2001-2021), the Iraq-Iran War (1980-1988), the Gulf Wars (1991 and 2003), the Yemeni civil war (2014 – present) and the ongoing war in Syria (since 2011) despite their relatively greater severity, intensity and duration.
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Bigorre, Sebastien P., Benjamin Pietro, Alejandra Gubler, Francesca Search, Emerson Hasbrouck, Sergio Pezoa, and Robert A. Weller. Stratus 17 Seventeenth Setting of the Stratus Ocean Reference Station Cruise on Board RV Cabo de Hornos April 3 - 16, 2018 Valparaiso - Valparaiso, Chile. Woods Hole Oceanographic Institution, March 2021. http://dx.doi.org/10.1575/1912/27245.

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The Ocean Reference Station at 20°S, 85°W under the stratus clouds west of northern Chile is being maintained to provide ongoing climate-quality records of surface meteorology, air-sea fluxes of heat, freshwater, and momentum, and of upper ocean temperature, salinity, and velocity variability. The Stratus Ocean Reference Station (ORS Stratus) is supported by the National Oceanic and Atmospheric Administration’s (NOAA) Climate Observation Program. It is recovered and redeployed annually, with past cruises that have come between October and May. This cruise was conducted on the Chilean research vessel Cabo de Hornos. During the 2018 cruise on the Cabo de Hornos to the ORS Stratus site, the primary activities were the recovery of the previous (Stratus 16) WHOI surface mooring, deployment of the new Stratus 17 WHOI surface mooring, in-situ calibration of the buoy meteorological sensors by comparison with instrumentation installed on the ship, CTD casts near the moorings. The Stratus 17 had parted from its anchor site on January 4 2018, so its recovery was done in two separate operations: first the drifting buoy with mooring line under it, then the bottom part still attached to the anchor. Surface drifters and ARGO floats were also launched along the track.
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Fernández Gómez, Jorge, and Jaime Menéndez Sánchez. Euskal Autonomia Erkidegoko hidrogeno sistemaren garapena epe ertainera. Edited by Patricia Canto. Universidad de Deusto, 2023. http://dx.doi.org/10.18543/hhcr1526.

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Txosten honek Euskal Autonomia Erkidegoan hidrogenoa garraiatzeko azpiegituren sistemak epe ertainean izan dezakeen bilakaera du aztergai. Zehazki, lanak hiru helburu ditu: (1) epe ertainera (10-15 urteko epean) azpiegiturak garatzeko jokalekuen ezaugarriak definitzea; (2) EAEko hidrogeno sistemaren garapenean eragina duten funtsezko faktoreak identifikatzea eta epe ertaineko jokalekuak zehazteko orduan izan dezaketen eragina aztertzea; (3) Euskal Autonomia Erkidegorako ondorio estrategikoak ateratzea. Hidrogenoaren ekoizpen eta garraio sistemari dagozkion jokalekuak askotarikoak dira: guztiz deszentralizatutako egoera batetik hasi (tokiko ekoizpen azpiegiturak dituena, kontsumo instalazioetan edo industria hubetan) eta gaur egungo gas saretik abiatuta, guztiz zentralizatutako sistema batera arte joan daitezke. Txostenaren ondorio nagusia da Euskal Autonomia Erkidegoaren ikuspuntutik epe laburrerako estrategia onena dela industria hubetan (Bilboko Portuaren inguruan) hidrogenoa azkar hedatzen laguntzea eta gainerako erabakiak hartzeko pixka bat itxarotea, sektorea datozen urteetan nola garatzen den ikusteko eta, horren arabera, epe luzeagoko azpiegiturak osatzen hasteko.
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Larrea Basterra, Macarena, and Stephanía Mosquera López. Teknologia garbietan inbertitzeko pizgarriak. Universidad de Deusto, 2024. http://dx.doi.org/10.18543/gqtg1145.

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Mundu mailan deskarbonizazioaren konpromisoa betetzeak teknologia garbietan inbertitzea eskatzen du, modu globalean. Horretarako, finantzaketa bolumen handiak behar dira, baina ingurunea konplexua da eta, gainera, zalantza teknologiko handiak daude eta baliabideak ez dira modu homogeneoan banatzen mundu osoan zehar. Egoera horren aurrean, teknologia garbietan inbertitzeko pizgarriek, behar bezala diseinatzen badira, inbertsio pribatua bultza dezakete ingurumen helburuak lortzeko. Txosten honek teknologia garbietan inbertitzeko funts beharrak, ingurumen jasangarritasunerantz aurrera egiteko gaur egun finantzaketan dagoen arrakala eta inbertsiorako pizgarria terminoaren kontzeptualizazioa lantzen ditu. Pizgarriak sei kategoria handitan sailkatzea proposatzen da: ekonomikoak, finantzarioak, fiskalak, merkatukoak, erregulazioak eta jakintza eta lankidetzakoak. Ondoren, hainbat herrialdetan (Ameriketako Estatu Batuak, Europar Batasuna, Txina, Kanada, India eta Erresuma Batua) nola ezartzen ari diren deskribatzen da. Azkenik, azterketaren ondorioak adierazi eta teknologia garbietan inbertitzeko pizgarriak diseinatu, ezarri, kontrolatu eta eragina ebaluatzeko kontuan hartzeko elementuen eta dimentsioen inguruko hausnarketa proposatzen da.
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Fernández Gómez, Jorge. PROIEKTU ETA JARDUERA JASANGARRIEN FINANTZAZIOA. Lankidetza publiko-pribatuan oinarritutako eskema berritzaileak. Universidad de Deusto, 2024. http://dx.doi.org/10.18543/fapk7002.

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Txosten honek munduko hainbat lekutan lankidetza publiko-pribatuko formulez baliatuz garatzen ari diren proiektu jasangarrien finantzaketa eskema berriak aztertzen ditu. Txostenaren helburu nagusia da gobernantza eta lankidetza egitura eta finantzaketa soluzio berritzaileetan oinarritutako eskema horien funtsezko elementuak identifikatzea, ondorioak ateratzeko eta Euskal Autonomia Erkidegoan aplika daitezkeen gomendioak egiteko. Finantzaketa eskema berriak aztertzen dira, hainbat ikuspegitatik: tartean dauden eragileak (erakunde publikoak, finantza erakundeak, enpresak, herritarrak eta hirugarren sektoreko elkarteak eta erakundeak), finantzaketa berdeko tresna berriak (kontratazio publiko berritzailea, bonu berdeak, crowdfunding eskemak, naturan oinarritutako irtenbideak, etab.), eta lankidetza publiko-pribatuko eskema berriak (3P “berdeak”, arreta jarduera eta proiektu jasangarrietan jartzen dutenak, eta 4P, proiektu jasangarrien finantzaketan eta/edo kudeaketan hirugarren sektorea eta, bereziki, filantropian edo mezenasgoan aritzen diren fundazioak modu aktiboan inplikatzen dituena). 4P eskemei esker, kapital pribatua ingurumen arloetara bideratzea zaila denean, proiektu horietara kapitala bideratzea lor daiteke. Era berean, Greater Manchester hiri-eskualdearen adibidea xehetasunez aztertu da. Bertan, finantzaketa mekanismo berritzaile bat eratu zen, Greater Manchester Environment Fund (GMEF) funtsaren inguruan. Funts horrek lankidetza publiko-pribatuko gobernantza berritzaile bat du eta finantza pribatuaren fluxua areagotzea lortu du, ingurumenean eragin positiboa duten proiektuen irismena hedatzeko.
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Horton, David R., Victoria Soroker, Peter Landolt, and Jocelyn Millar. Optimization and field-testing of synthetic sex attractants for two psyllid pests of pears (Hemiptera: Psyllidae). United States Department of Agriculture, October 2011. http://dx.doi.org/10.32747/2011.7594407.bard.

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OBJECTIVES OVERVIEW Improve field activity of pheromone Evaluation of the seasonality of psylla reproduction Evaluate the seasonality of female attractiveness (pheromone production) Evaluate seasonality of male response to synthetic pheromone components Develop practical use for pheromone Test psylla trapping by synthetic pheromone impregnated in rubber septa (provided by J. Millar, cooperator in USA). Test a sprayable formulation of pheromone developed by D. Horton (USA cooperator) SIGNIFICANT FINDINGS No consistent seasonality in female attractiveness was observed. Female attractiveness was observed in winter forms in the end December and in May-June in summer forms. C. bidenshas a very distinct but short period of low mating rate, that is associated with low ovarian development. This short period of low ovarian development and low mating rate cannot be considered as a reproductive diapause. Ovarian development is inhibited by short day photoperiod especially in presence of low temperatures. Male attraction to individual synthetic putative pheromone components is not strong and fluctuates seasonally. While 7MeC27was attractive to males of the winter form, it was not attractive to the summer forms in the beginning of the summer. These data are in accordance with differences in cuticular profiles of winter and summer attractive females vs non attractive ones. Cuticular profile of females shows significant seasonality and difference according to their attractiveness to males especially in summer time. Differences between attractive and non-attractive females is based on several compounds . Female attraciveness in summer and winter is apparently based on a different combination of chemical cues, but 7meC27 is one of the common components to both mixtures. These two last findings are likely to be the main reason for our failure to have consistent success in trapping C. bidensin the field. It seems that a sprayable formulation of pheromone on the pear is better way of pheromone application to attract psyllid then the impregnated rubber septa, but additional trials are needed.
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Nazioen Lehiatzeko Abantaila: Esperientzia arrakastatsua, Euskal Autonomia Erkidegoaren ekonomia eta gizarte garapenerako estrategia eraldatzailea bideratzekona. Universidad de Deusto, 2015. http://dx.doi.org/10.18543/pdmc8484.

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Ekonomia berriak eta ongizate gizarteek zergatik gomendatuko lukete geraleku berri bat jartzea lehiakortasunerako bidaia luzean, duela 25 urte argitaratu zen "nazioen lehiatzeko abantailaren" ildotik? Orain dela hogeita bost urte baino gehixeago, Euskal Autonomia Erkidegoak garapenerako bere estrategia eraikitzearen aldeko apustua egin zuen eta bere etorkizuna diseinatzeko erronkarekin konpromisoa hartu. Euskal Autonomia Erkidegoak ahalik eta autogobernu mailarik handiena eskuratu nahi zuen, Estaturik gabeko nazio izanik, diktadura luzetik atera ostean. Hain zuzen ere, diktadurak Espainiako ekonomia autarkikoa izatea eragin zuen, mendebaldeko demokrazietatik guztiz isolatua. Horrek guztiz mugatzen zuen euskal erakundeek beren etorkizuna eraikitzeko izan zezaketen ahalmena eta erantzukizuna, baita gizarteari ongizate maila handiagoa lortzen laguntzeko erabil zitzaketen tresnak ere. Garai hartan, euskal ekonomiak historiako krisi ekonomiko, politiko eta sozial handienetako bat bizi zuen: indarkeriak gogor jotzen zuen gizartea, langabezia % 25etik gorakoa zen, BPG jaisten ari zen, eta industria sektore gakoak –altzairuaren nagusitasunean eta industria metal-mekanikoaren inguruan egituratuak– erortzen ari ziren, domino fitxen moduan. Garai bertsuan, Europako sei herrialde Ekonomia Elkartea osatzen hasiak ziren, baina gu periferian geunden, guztiz baztertuta, Londres-Milan etorkizuneko ardatz izango zen "banana urdinetik" urrun. Administrazio berria eraikitzen hasi berriak ginen, inongo esperientziarik gabe, baina ilusio handiz; eta enpresa mundua garai berrietara moldatzen eta sindikatuekin bizitzen ikasten ari zen, diktadura zaharrak haiek ezkutuan utzi baitzituen. Erronka konplexu baina zirraragarri horren aurrean, apustu hori lantzeko pribilegioa izan genuenok, lehenengo, munduko ekonomiaren egoera azalduko zuten gako nagusiak eta aldaketaren joera nagusiak interpretatzeari ekin genion (gure analisiak eginez eta gure asmoak eta ametsak egi bihurtu nahian), eta euskal ekonomian izan zezaketen eragina aztertzen hasi ginen (“Munduko ekonomiak erakusten diguna"). Eta, abiapuntu horretatik aurrera, “Geure ekonomia eta geure herrialdea modernizatzeko eta nazioartekotzeko estrategia” deitutakoa definitzen hasi ginen. Zentzua eman nahi genion jokalari berriengandik (Estatuak, hiri-eskualdeak, lurraldeak…) espero zitekeen rolari; izan ere, rol horietan gure herrialde txikia –hirieskualdearen ezaugarriak zituena, nazioz azpiko eremua izanik, Pirinioen bi aldeetara egituratu gabeko eremuan–, beste batzuekin batera, protagonista izan zitekeen eta, horrela, gizarteari etorkizun oparoa eskaini. Arrakastako estrategia aurrera eramateko esparru eta tresna egokiak ere behar genituen. Paradigma berriek sortuko zituzten beharren eta garai hartako gure esparru politiko-ekonomikoak eskaintzen zizkigun tresnen (edukiak, gaitasunak, garapen potentzialak) arteko aldea identifikatu genuen, eta azterketa horri herrialdearen estrategia erantsi genion, geurea, arreta berezia eskaintzen ziena gure gizarteak, ongizate eta garapen maila jakin bat erdiesteko, behar zituen ekimenei eta faktore edo bektore kritikoei. Testuinguru horretan, Eusko Jaurlaritza Michael E. Porterrengana hurbildu zen, garai hartako bere ideia eta kontzeptuetara, eta lankidetza prozesu bati ekin genion (gaur egun oraindik ere indarrean dagoena). Horrela, "Euskal Autonomia Erkidegoko lehiatzeko abantaila” baino gehiago eraiki genuen, “lehiakortasunerako eta oparotasunerako bidaia" zirraragarri eta amaitu gabean. Euskal Autonomia Erkidegoak pribilegio bat du orduz geroztik: Porterrek proposatutako kontzeptuak, ikuspegi estrategikotik eta osotasunean, aplikatu zituen lehenengo nazioa izatea. Hain zuzen ere, kontzeptu horiek, urte batzuk geroago, "Nazioen Lehiatzeko Estrategia” liburu ospetsuan argitaratu zituen, orain dela hogeita bost urte. Lan horrek, mundu osoan zehar, politika eta estrategia zenbatezinak diseinatzea ekarri du, jarraitzaileak ugaritzea, prestatzaileak prestatzea, ikertzaile eta akademiko berri asko eta asko sortzea, policy maker berriak, lehiakortasunerako tresna berriak, eta oparotasun maila ikusgarriak planeta osoan zehar. Orduz geroztik, gure proiektu berezi, bizi eta aldakor honetan elkarrekin lan egin dugu, erronka berriei eta ekonomiaren eta gizartearen eskari berriei erantzunez, eta Herrialde mailako estrategia bat eraikiz eta gauzatuz. Horrek guztiak ekarri du gure emaitzak inguruko ekonomienak baino hobeak izatea. Michael E. Porterrek Lehiatzeko Abantailan proposatzen duen kontzeptuaren osagarri berriak ere (Lehiakortasunaz gainera, Shared Value Initiative eta Gizarte Aurrerapena) kontuan hartzen dituen esparru kontzeptuala aurrean izanik eta egunez egun ikasitako ekarpenekin, geure bokazio, izaera, borondate eta konpromisoarekin guztiz lerrokatuta. Prozesu amaigabea, pertsonak abiapuntu eta helmuga hartzen dituen estrategia eraikitzeko apustu zaharraren eredutik eta ulertzeko modutik hasi zena.
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