Relevant bibliographies by topics / Imitation in art

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  2. Dissertations / Theses
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Academic literature on the topic 'Imitation in art'

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

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Journal articles on the topic "Imitation in art"

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Slisli, Fouzi. "A Metaphor to Build Empires: Imitatio and the Politics of Representation in European Humanism." International Journal of Educational Sciences and Arts 3, no. 7 (July 14, 2024): 75–101. http://dx.doi.org/10.59992/ijesa.2024.v3n7p3.

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In Western criticism and philosophy, Renaissance discussions of imitation have often been seen as both a legacy of Greece and Rome, and as the foundation of modern theories of art and literature. This investigation shows that the discussions of imitation that spread throughout the Renaissance were indeed adopted from Latin Roman discussions of poetry and rhetoric, but they have no connection to the famous Greek philosophical concepts of mimesis/imitation that are found in the work of Plato and Aristotle. Indeed, European concepts of imitatio/ imitation, as this study shows, developed their conceptual potential before Plato’s and Aristotle’s discussions of mimesis became familiar in Europe. Furthermore, Renaissance discussions of imitation were not theories of art and literature, as is commonly believed. They were simply an educational pedagogy that organized the appropriation of the canons of description of classical Latin into the vernaculars. The peculiarity and the scale of this pedagogy become evident when located within its geopolitical context. In the early modern era, neither the dead Latin language nor the vernaculars were equipped to manage the wealth or the administrative and cultural needs of ascending European states. Like Rome at the height of its power, European states were emerging empires in need of a language and a culture. And just like the Romans resorted to the imitation of Greek masterpieces in order to develop their language, Europeans advocated the imitation of Latin masterpieces to develop their vernaculars. But while the Romans resorted to imitatio often with resentment and bitterness at the impossibility to match the Greek achievement, European humanists considered imitatio to have been a resounding success [sic]. By adopting the Roman practice of imitatio, European cultures appropriated and internalized Roman ambivalence without solving or even identifying it.
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Shields, J. Scott. "The Art of Imitation." English Journal 96, no. 6 (July 1, 2007): 56–60. http://dx.doi.org/10.58680/ej20075817.

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Applying his experiences teaching photography to teaching English, high school teacher J. Scott Shields cultivates students’ original writing by promoting imitation. Students learn to develop their literary voices by crafting verse-narratives that mimic the character, plot, and stylistic devices of Dante and Chaucer.
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Isıtman, Odul. "The lord of the postmodernity: Plagiarism." Global Journal of Arts Education 8, no. 2 (May 25, 2018): 84–90. http://dx.doi.org/10.18844/gjae.v8i2.3798.

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Today's art, which is dominated by postmodernism, evolves into a completely different sense of art that reverses the system over its own weapon and changes all the known values of art. Postmodern art, which focuses on questions about what is the thing that is art, canalises itself into citations and compilations which turn into imitation, appropriation, pastiche or plagiarism. While postmodernism turns into a kind of citation and compilation aesthetics; imitation, which is at the centre of the questions related to what is the thing that is art, becomes the strategy of postmodernism. The article titled ‘The Lord of the Postmodernity: Plagiarism’ is about the transformation of an art object into an art material or the re-presentation of it in today's sense of art which extends from imitation, appropriation and pastiche to plagiarism.Keywords: Postmodernism, plagiarism, power, imitation, appropriation, art, pastiche.
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Pan, Yunpeng, Ching-An Cheng, Kamil Saigol, Keuntaek Lee, Xinyan Yan, Evangelos A. Theodorou, and Byron Boots. "Imitation learning for agile autonomous driving." International Journal of Robotics Research 39, no. 2-3 (October 14, 2019): 286–302. http://dx.doi.org/10.1177/0278364919880273.

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We present an end-to-end imitation learning system for agile, off-road autonomous driving using only low-cost on-board sensors. By imitating a model predictive controller equipped with advanced sensors, we train a deep neural network control policy to map raw, high-dimensional observations to continuous steering and throttle commands. Compared with recent approaches to similar tasks, our method requires neither state estimation nor on-the-fly planning to navigate the vehicle. Our approach relies on, and experimentally validates, recent imitation learning theory. Empirically, we show that policies trained with online imitation learning overcome well-known challenges related to covariate shift and generalize better than policies trained with batch imitation learning. Built on these insights, our autonomous driving system demonstrates successful high-speed off-road driving, matching the state-of-the-art performance.
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Pichugina, Olga K. "DEVELOPMENT OF IMITATION METHODS IN THE PAINTING PRACTICE OF THE 16th-17th CENTURY ITALIAN MASTERS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 18. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-18.

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The article explores the imitation methods in Italian Renaissance and Baroque painting, which were widespread in the forms of copying, replication, compilation and imitation. Italian art inherited the practice of imitation from the era of Antiquity and the Middle Ages. It was the basis of apprenticeship and organization of work in art studios. Model imitation and, at the same time, search for stylistic originality from the second half of the 15th century led to the spreading of replication, compilation, imitation and emulation techniques. The practice of imitation was continued by the 17th century Italian masters in the form of self-copying. Thus, the processes of imitation in the form of copying, replication, and compilation during the Renaissance and Baroque were a major component of everyday artistic practice and produced a significant impact on its theoretical comprehension and continuation at the subsequent stages of development.
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Ristic, Stefan. "Identity of the work of art." Filozofija i drustvo 21, no. 2 (2010): 293–308. http://dx.doi.org/10.2298/fid1002293r.

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The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.
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Strzemecka, Joanna. "Idea twórczości i figura artysty w singeries Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina." Artifex Novus, no. 4 (March 9, 2021): 194–205. http://dx.doi.org/10.21697/an.7931.

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Niniejszy artykuł prezentuje problematykę artystycznego naśladownictwa na przykładzie przedstawień małp jako malarzy, rzeźbiarzy i koneserów sztuki, autorstwa Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina. Sceny te należały do gatunku satyrycznych przedstawień funkcjonujących w języku francuskim pod nazwą singerie (fr. singe - małpa, singerie - dosł. małpiarnia), ukazujących małpy podczas parodiowania przeróżnych ludzkich czynności. Niekwestionowanym mistrzem gatunku stał się flamandzki malarz David Teniers Młodszy, który spopularyzował temat małp w rolach artystów, a za nim, prawie stulecie później, podążyli Antoine Watteau i Jean Chardin. Skłonności naśladowcze, przypisywane małpie od starożytności, zaowocowały skojarzeniem zwierzęcia z mimetyczną rolą sztuki, a dosłownym wyrazem tej analogii stała się metafora ars simia naturae (sztuka małpą natury). Singeries wymienionych twórców nie tylko nawiązują do toposu naśladowania rzeczywistości, ale i przewrotnie go przekształcają w charakterystyczny dla tego tematu, ironiczny sposób. Małpa uwikłana zostaje w toczące się od czasów renesansu spory teoretyczno-artystyczne, których omawiane przedstawienia stanowią niejako kontynuację. Za pośrednictwem zwierzęcia artyści dotykają problemu imitatio i inventio, co w przypadku Watteau i Chardina przyjęło formę sprzeciwu wobec tendencji akademickich. Te, na pozór jedynie zabawne przedstawienia, niosą ze sobą znaczenie o wiele poważniejsze – poruszają kwestie oryginalności i artystycznej tożsamości. Podobnie jak sztuka „małpowała” naturę, tak dla malarzy małpa stała się ich alter ego, dlatego w artykule zaznaczony został także kontekst autoportretu. Summary: This article presents the issue of artistic imitation on the example of monkeys that are depicted as painters, sculptors and art connoisseurs by David Teniers the Younger, Antoine Watteau and Jean Chardin. These scenes were a part of a visual art genre called singerie. The name has been given from French word singe – monkey, ape. Although the practise dates back to medieval drôlerie, their greatest popularity in European art fell in the 17th and 18th century. The depictions of monkeys imitating human behaviours were a perfect parody of human nature, not only in a moral way, but also in connection with creativeness. The Flemish painter David Teniers the Younger popularised the subject of the artist as an ape. This tradition was subsequently adopted by Antoine Watteau and Jean Chardin in France. The monkey was an important symbol of imitation. In result, this meaning of an animal was associated with the art imitating reality and the expression of this analogy was the metaphor ars simia naturae (art is an ape of nature). The singeries of the mentioned artists refer to the topos of imitating nature and have strong historical significance that continues the aesthetics discussions about the mimetic role of art. These, apparently funny depictions, carry much more serious meaning – emphasize the questions of originality and artistic identity. Like an art „apes” nature that the monkey became an alter ego of the painters.
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Gayraud, Régis. "« Toutisme » et Renaissance." Modernités Russes 12, no. 1 (2011): 213–23. http://dx.doi.org/10.3406/modru.2011.965.

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Studying the relation between the Russian avant-garde and the Renaissance leads to two questions : 1) Did Russian avant-garde artists identify with artists of the Renaissance ? 2) How did they perceive Renaissance art ? The painter Mihail Le-Dantju, the originator of Everythingness, who claimed the right to chose the forms of the future among those of the past, rewrote art history in his theoretical works in order to establish a lineage for his own concept. His rejection of “illusionism” (the laws of perspective) went beyond the usual ground of avant-garde attacks (the art of the Wanderers) to confront the Renaissance, which he presented as an indistinct whole, and accused of being contemptible imitation. As imitative of a period of Antiquity that itself only found expression in imitation, he ruthlessly rejected the Renaissance as a period of artistic decadence, in fact only large-scale academicism. Another reason for the rejection is ideological, making it possible to limit dependence on Western art, insofar as the Renaissance never happened in Russia. Since the Renaissance could not be a model, modern creators were called upon to identify with Byzantine artists. Inasmuch as these criticisms are complemented by specific formal recommendations to artists, it is legitimate to wonder whether everythingness contained the germs of academicism itself.
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Bos, Jaap, and Leendert Groenendijk. "The art of imitation: Wilhelm Stekel's Lehrjahre." International Journal of Psychoanalysis 85, no. 3 (June 2004): 713–30. http://dx.doi.org/10.1516/mk55-46p0-ltah-vf5l.

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Pappas, Sara. "Managing Imitation: Translation and Baudelaireis Art Criticism." Nineteenth Century French Studies 33, no. 3 (2005): 320–34441. http://dx.doi.org/10.1353/ncf.2005.0032.

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Dissertations / Theses on the topic "Imitation in art"

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Giang, Leon. "The Art of Imitation : A Pedagogy for Developing Language Awareness." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-58740.

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Although imitation pedagogy is not specified in the subject syllabus in GY 11, English teachers in upper-secondary school can apply this pedagogy in their teaching to enhance students’ language awareness. The subject syllabus specifies that teaching should help students develop language awareness. Imitation pedagogy that involves scaffolding a model can give students the opportunity to develop their language awareness, which in turn can enhance their production and reception skills. In addition, teaching students how to imitate a model work, using scaffolding as a strategy, allows them to practice deep analysis and to study how language works in different contexts and for different purposes. Imitation pedagogy that involves scaffolding a speech not only gives students the opportunity to pay attention to form, such as morphology and syntax, while maintaining emphasis on meaning, but also to notice the gap between the model work and their own compositions, which is beneficial for developing students’ reception and writing skills.Through the analysis of a model work combined with their writing practice, students learn about how language can create meaning, emphasis, rhythm, clarity, coherency and power. In addition, power is produced through language; therefore, equipping students with the capacity to understand how compositions written in English can be used for a range of different functions and purposes and how to adapt their own compositions to rhetorical context enables them to work towards participatory democracy. Furthermore, this essay will show how imitation pedagogy could enhance students’ language awareness by analyzing passages from the speech “A More Perfect Union” by Barack Obama. This essay will also demonstrate how this pedagogy could be applied in the English classroom for upper-secondary school through a lesson plan.
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Ammann, Daniel. "David Lodge and the art-and-reality novel /." Heidelberg : C. Winter, 1991. http://catalogue.bnf.fr/ark:/12148/cb35534512w.

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McBriar, Shannon Ross. "Shining through the surface : Washington Allston, Samuel Taylor Coleridge and imitation in romantic art criticism." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:67bc3d1d-ad3f-4e93-b774-5055f1e350b8.

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This thesis has evolved from William Blake's phrase, "Imitation is Criticism" written in the margin of Sir Joshua Reynolds's Discourses on Art. As a concept central to the production and criticism of art, imitation has largely been explored in the philosophical context of aesthetics rather than in terms of its practical application in image-text studies of the Romantic period. It has also traditionally served as a marker for the period designation 'Romantic', which in image-text studies continues to be played out in terms of the transition from imitative to expressive modes of making and response. Yet this notion of periodization has proven problematic in studying the response to 'false criticism' within what Wallace Stevens calls that 'corpus of remarks about painting'. These remarks reveal an important tension within imitation as a way of making something like something else, but also as a means of characterizing the relationships that underpin that resemblance. This tension not only occupies a central place in the concurrent development of art criticism and literary criticism in the period, but also offers a new foundation for the interdisciplinary study of image-text relationships in the period. The thesis is divided into two parts, each guided by the important role that imitation plays in the fight against 'false criticism' with respect to the visual arts. The first part examines the tension within imitation from the standpoint of artists and connoisseurs who expressed concern about the excesses of description in asserting the need for a credible art criticism while at the same time realizing its inevitability. The second part examines the tension within imitation from the standpoint of the American artist Washington Allston and his friend Samuel Taylor Coleridge, both of whom used this tension to advantage in setting forth a lexicon and methodology that could account not only for the 'specific image' described, but also the geometrical and structural relationships that underpin that image.
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Parise, Maddalena. "Ressemblance et détail dans le portrait photographique : De l'exactitude à la saturation : pour une réception des épreuves photographiques 1840-1860 /." Paris : M. Parise, 2003. http://catalogue.bnf.fr/ark:/12148/cb393023024.

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Niemeier, Jörg-Peter. "Kopien und Nachahmungen im Hellenismus : ein Beitrag zum Klassizismus des 2. und frühen 1. Jhs. v. Chr. /." Bonn : R. Habelt, 1985. http://catalogue.bnf.fr/ark:/12148/cb34829252p.

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Wat, Pierre. "Un jeu sérieux : la théorie de l'imitation dans les écrits des artistes romantiques allemands et anglais." Paris 1, 1996. http://www.theses.fr/1996PA010516.

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En choisissant d'aborder le romantisme par le biais de l'imitation, cette thèse a une double visée : - éclairer les rapports confus entre romantisme et néo-classicisme. C'est en effet là le point de départ et l'enjeu majeur de ce travail. Définissant le romantisme comme stratégie de subversion, il offre une vision singulière du romantisme : une vision d'où se dégage l'idée d'une cohérence romantique, là ou l'on a l'habitude de souligner les contradictions que recouvrent le terme "romantisme". Sans chercher à aplanir les différences, voire les contradictions, cette thèse tente en effet de démontrer que celles-ci entrent dans un "projet" romantique au sein duquel elles acquièrent un statut nouveau, participant à cette "subversion" de la mimesis néo-classique. - la deuxièmes visée de cette thèse, qui découle de la première, est de mesurer l'ambition et les limites de ce projet, les limites de ce que nous appelons "l'ambition romantique". (cette visée conduit à convoquer un vaste corpus de textes : les manuscrits (inédits) des conférences de Turner sur la perspective. Les textes théoriques de Blake : descriptive catalogue et annotations to the discourses of sir Joshua Reynolds. Les écrits de Constable. Un vaste corpus allemand et en particulier la sphère des couleurs de Runge. )
This PhD on the romantic theory of imitation has a double aim : - first, to shed new light on the confused relations between romanticism and neo-classicism. This, in fact, is the very strarting point of this work and the major one at stake. By defining romanticism as a strategy of subversion, it offers an uncommon vision of romanticism, a vision from wich the idea of a romantic coherence emerges where we tend to emphasize the contradictions inherent to the term "romanticism". Without trying to smooth out the differences or even the contradictions, this works tends to demonstrate that these enter a romantic project within which they can acquire a new status, sharing this subversion of the neo-classical mimesis. - the second aim of this study which ensues from the first, is to measure both the ambition and the limits of this project which may be referred to as the "romantic ambition". (such views lead us to call up a large corpus of texts. The unpublished mss of turner's lectures on perspective, the theoretical writings of William Blake - descriptive catalogue, annotations to the discourses of sir Joshua Reynolds - John Constable's writings, together with a vast German corpus, and, in particular, Runge's works on colour)
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Fouyer, Tony. "En métal et en céramique : production, imitation, circulation des œnochoés « rhodiennes » entre l’Italie, la Méditerranée et les communautés nord-alpines." Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCH036.

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Il n’existe pas, à l’heure actuelle, d’étude prenant en compte trois classes de récipients, dans différents matériaux et sur un espace géographique aussi vaste. Il est en effet, nécessaire de mettre en relation les différentes productions de ces classes de vases, des prototypes aux imitations locales, afin d’appréhender le rôle de ces produits dans des contextes similaires ou différents. L’objectif est d’aborder à partir de différents aspects les contacts entre l’Italie, la Méditerranée et les communautés nord alpines :- tout d’abord à partir des productions et des aspects techniques,- puis par l’identification et l’étude approfondie des imitations locales de ces trois classes de récipients,- ensuite par la circulation des objets importés (voies et nature des échanges),- et enfin en clarifiant la place et le rôle des modèles importés et de leurs imitations au sein des contextes de découvertes et pour les clients.L’intérêt de cette thèse est de restituer un cadre complet et structuré des relations reliant le monde transalpin et les mondes grecs et étrusco-italiques à travers l’inventaire de trois classes de vases dont les fonctions rituelles et idéologiques sont intimement liées à leur utilisation dans le cadre du banquet d’origine gréco-méditerranéenne, dans laquelle l’interdisciplinarité est essentielle (archéologie classique, archéologie protohistorique et étruscologie). Il s’agit, à partir d’un autre point de vue sur les objets et sur les contextes de découverte, d’apporter des éléments de réponse en ce qui concerne les pratiques fonctionnelles, rituelles et idéologiques liées à ces objets qui sont rares et précieux, qu’ils soient importés ou réalisés in situ (acquérant de la valeur grâce à la technique de fabrication ou encore au caractère exotique auquel ils renvoient)
At present there is no study taking into account three classes of containers, in different materials and in such a vast geographical area. It is necessary to relate the different productions of these classes of vases, from prototypes to local imitations, in order to understand the role of these products in similar or different contexts. The objective is to approach the contacts between Italy, the Mediterranean and the northern Alpine communities from different aspects:- first of all from the productions and the technical aspects,- then by the identification and in-depth study of the local imitations of these three classes of receptacles,- second, by the circulation of imported objects (routes and nature of trade);- and finally clarifying the role and role of imported models and their imitations in the contexts of discovery and for customers.The interest of this thesis is to restore a complete and structured framework of the relations linking the transalpine world and the Greek and Etrusco-italic worlds through the inventory of three classes of vases whose ritual and ideological functions are intimately linked to their use in the framework of the banquet of Greco-Mediterranean origin, in which interdisciplinarity is essential (classical archeology, protohistoric archeology and etruscology). From another perspective on objects and contexts of discovery, it is a question of providing answers about the functional, ritual and ideological practices associated with these objects which are rare and whether they are imported or made in situ (acquiring value through manufacturing technology or the exotic nature to which they refer)
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Curcio, Mariateresa. "Le problème de l'auteur dans la culture artistique romaine : originalité et imitation." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010502/document.

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Normalement, la première question que l'observateur se pose quand il se trouve en face d'une image, d'une œuvre visuelle est "De qui est-ce?". Comme si l'auteur était la première condition pour attribuer à un objet une valeur artistique. Il n'y a pas d'art sans auteur, ni de chef-d'œuvre qui n'ait été conçu à partir d'un artiste singulier, en assurant l'originalité. D'une certaine manière, la prérogative autorielle est le sceau qui transforme J'image en une œuvre d'art, considérée par les spécialistes et appréciée par les utilisateurs, par le public. Il semblerait donc que l'auteur soit le sujet actif de la production artistique, acteur principal du besoin expressif des hommes, c'est du moins ce que l'on a longtemps pensé. En vérité, l'autorialité (difficile traduction de l'anglais autorship) et toutes les pistes sémantiques qui s'y réfèrent (comme la dichotomie original/faux) ne sont que des significations modernes, nées pendant la période de la modernité. Mais d'abord il faut faire quelques remarques de méthode. Dans ma recherche, je ne veux pas annuler le rôle de l'autorialité dans le production visuelle, ni proclamer la mort de l'auteur. Le but de mon travail sera de déconstruire la notion d'auteur considérée comme l'expression d'un sujet unique dans l'acte de création (dans ce cas artistique). Il s'agit de comprendre quels sont les différents acteurs qui ont contribué à définir le travail artistique (dans ses caractéristiques formelles et sémantiques) dans la complexité de la culture visuelle romaine. Mon travail de recherche porte sur la culture artistique romaine située dans la structure sociale et politique spécifique de Rome. Pour atteindre cet objectif, il faut d'abord essayer de «déconstruire» certains axiomes qui définissent la structure du langage visuel romain. À cet effet, j'ai essayé d'entreprendre un travail d'analyse qui, partant de la question de l' originalité artistique dans le cadre de la culture romaine, retrouve l'origine du problème
The topic of my research has been to deconstruct the authorship as expression of a unique subject within the artistic creation. act, in order to understand the different elements composing an art-work in the elaborated Roman visual culture. I tried to investigate how the modern concept of author has influenced the analysis of Roman art and I have offered new paradigms useful for dealing with the investigation of some components of the Roman artistic culture. Now it's widely recognized that the aesthetic paradigms that consider the art-work separated from contexts (whether cultural or physics) can't thoroughly read Rome's artistic production. For that reason, redefining the authorial contents and introducing in the artistic vocabulary words such as emulation and reproduction, allows to analyze the who le artistic culture under a different interpretative point of view. Indeed the preponderance of the author in the creative process has influenced the modem study of the ancient works of art: an author has argued and verified the idea that any art-work has only a style, a period, and a unique culture. If we go beyond this reasoning, we can understand that the production of certain artistic categories, above all in Roman cultural world, is the result of a mix of formals features and cultural models that can't be isolated within a style, a period or geographical borders. As a consequence, my work tried to propose new contents and theories more suitable for the understanding of the Ancient cultural processes. Thus I have analyzed a specific sculptural group (the honorary nude-portraits), which generally isn't particularly appealing as work of art, in order to understand its cultural and social value, turning away from a purely aesthetic assessment
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Sewell, Janice. "The art of imitation in the order of things : poetry, rhetoric, and the discursive formation of English." Thesis, University of Birmingham, 2003. http://etheses.bham.ac.uk//id/eprint/1794/.

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The first part of this thesis offers an analysis of Elizabethan poetical treatises, such as Philip Sidney’s Apology for Poetry, in terms of Michel Foucault’s discursive formations, and the ways in which they were instrumental in redefining the sixteenth century literary terrain of poetry, prose, drama, poetics and literary criticism. It examines the role of contributory factors such as the Puritan attack, Renaissance humanism, the Ramist reform of logic and rhetoric, increased levels of literacy and printing. It explores conflicting definitions of poetry in the early modern period and its changing role and function, and the appropriation of significant elements from other discourses, notably rhetoric, arguing that this process constituted part of the wider reorganisation of contemporary knowledges. The second part of the thesis is concerned with the work and practice of the writer George Gascoigne, author of the first poetical treatise in English and his importance as an Elizabethan poet.
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Marcangeli, Catherine. "La troisième main : la citation dans la peinture américaine contemporaine." Paris 3, 2001. http://www.theses.fr/2001PA030121.

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Cette thèse analyse les manifestations de la citation dans la peinture américaine entre les années 1950 et 1990. La citation est ici entendue comme un phénomène de co-présence, comme présence partielle, fragmentaire ou totale, d'une oeuvre dans une autre. Larry Rivers cite des oeuvres célèbres et les réinterprète avec humour, nostalgie ou ironie. Peter Saul s'adonne au travestissement burlesque : estimant que le musée paralyse les oeuvres à force de respect, il entreprend de "réactiver" les toiles dont il peint des versions iconoclastes. Qu'en est-il de la citation à l'âge de la reproduction mécaniséé ? Les oeuvres Pop de Roy Lichtenstein et Andy Warhol seront prétexte à examiner la notion de transformation dans ses rapports avec la citation, la mimesis et la représentation. Les années 1980 ont vu un retour en force de la figuration sur la scène artistique. L'usage que font de la citation les Néo-Expressionnistes et les Appropriationnistes met en question le statut de l'artiste et de l'art-même dans un contexte post-moderne où les notions d'originalité et d'avant-garde sont mises en doute
This thesis analyses contemporary American paintings (from the 1950s to the 1990s) which quote from previous works of art. Quotation is understood here as the literal presence of one work of art within another. Larry Rivers produces his own versions of famous paintings and develops his own personal style in the process. Peter Saul is an iconoclast ; his aim is to "reactivate" paintings which have been numbed by too much reverence, and he translates the pictures he quotes into the idiom of the comics. In the Pop Art works of Roy Lichtenstein and Andy Warhol, mechanical reproduction becames an issue : what of transformation and originality when the work of art is no longer given birth to by the sacrosanct hand of the painter ? the 1980s saw a spectacular return of figurative painting on the art scene. Historicism and quotation are part and parcel of the so-called postmodern era, as it centres round notions of originality, progress and avant-garde
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Books on the topic "Imitation in art"

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Oriental Ceramic Society of Hong Kong., Hongkong and Shanghai Banking Corporation., and University of Hong Kong. University Museum and Art Gallery., eds. Art & imitation in China. [Hong Kong]: Oriental Ceramic Society of Hong Kong, 2006.

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Bigot, Fabrice. Imitation of life. Melbourne: Screen Space, 2011.

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Gannaway, Clare. The imitation game. Edited by Manchester Art Gallery. Manchester: Manchester Art Gallery, 2016.

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Hyman, John. The imitation of nature. Oxford: Basil Blackwell, 1989.

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Louvre, Ecole du, ed. L' imitation, aliénation ou source de liberté? Paris: La Documentation Française, 1985.

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Li, Raymond. The art of imitation in Chinese snuff bottles. Kowloon, Hong Kong: Nine Dragons, 1985.

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Bethanien, Künstlerhaus. What is modern art?: Introductory series to the modern art. Berlin: Museum of American Art, 2006.

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Helffenstein, Iris. Wissenstransfer in Bildprogrammen des Trecento: Allegorie, Imitation und Medialität. Paderborn: Brill, Wilhelm Fink, Brill Deutschland GmbH, 2021.

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honouree, Rotermund Erwin, ed. Mimesis, Mimikry, Simulatio: Tarnung und Aufdeckung in den Künsten vom 16. bis zum 21. Jahrhundert : Festschrift für Erwin Rotermund. Berlin: Weidler Buchverlag, 2013.

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Winckelmann, Johann Joachim. Reflections on the imitation of Greek works in painting and sculpture. La Salle, Ill: Open Court, 1987.

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Book chapters on the topic "Imitation in art"

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Sörbom, Göran. "Imitation and art*." In Aesthetics and the Philosophy of Art, 182–93. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-15.

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Shin, Chunghoon. "Imitation or Necessity." In Interpreting Modernism in Korean Art, 154–65. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429351112-20.

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Hsü, Ginger Cheng-chi. "Imitation and Originality, Theory and Practice." In A Companion to Chinese Art, 293–311. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch14.

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Kingston, Peter, Jason von Hinezmeyer, and Magnus Egerstedt. "Metric Preference Learning with Applications to Motion Imitation." In Controls and Art, 1–26. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-03904-6_1.

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Chapman, Sara S. "The Imitation of Art in ‘The Author of Beltraffio’." In Henry James’s Portrait of the Writer as Hero, 27–34. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20419-9_3.

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Lyu, Jingyu. "Evolution of Language Learning Perspectives: From Imitation to Interaction." In Proceedings of the 3rd International Conference on Education, Language and Art (ICELA 2023), 241–47. Paris: Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-214-9_31.

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Virčíková, Mária, and Peter Sinčák. "Discovering Art in Robotic Motion: From Imitation to Innovation via Interactive Evolution." In Communications in Computer and Information Science, 183–90. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-20975-8_20.

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Nilsson, Ingela. "Imitation as Spoliation, Reception as Translation. The Art of Transforming Things in Byzantium." In Spoliation as Translation, 20–37. Brno, Czech Republic: Masarykova univerzita, 2021. http://dx.doi.org/10.1484/m.convisup-eb.5.130919.

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Quent, Marcus. "Thinking — Mimesis — Pre-Imitation: Notes on Art, Philosophy, and Theatre in Adorno’s Aesthetic Theory." In Adorno and Performance, 130–42. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137429889_9.

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Herrera, Mónica. "The Concept of Work of Art and the Failurein the Imitation of the Classics." In Law and Peace in Kant’s Philosophy, 621–30. Berlin, New York: Walter de Gruyter, 2008. http://dx.doi.org/10.1515/9783110210347.3.621.

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Conference papers on the topic "Imitation in art"

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Jones, B. "Computer imagery: imitation and representation of realities." In SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73884.

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Klimenko, Stanislav, Leonid Mestetskiy, and Andrey Semenov. "Imitation of Handwriting for Art and Heritage in Cyberspace." In 2017 International Conference on Cyberworlds (CW). IEEE, 2017. http://dx.doi.org/10.1109/cw.2017.57.

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Yuan, Xu, Hongshen Chen, Yonghao Song, Xiaofang Zhao, and Zhuoye Ding. "Improving Sequential Recommendation Consistency with Self-Supervised Imitation." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/457.

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Most sequential recommendation models capture the features of consecutive items in a user-item interaction history. Though effective, their representation expressiveness is still hindered by the sparse learning signals. As a result, the sequential recommender is prone to make inconsistent predictions. In this paper, we propose a model, SSI, to improve sequential recommendation consistency with Self-Supervised Imitation. Precisely, we extract the consistency knowledge by utilizing three self-supervised pre-training tasks, where temporal consistency and persona consistency capture user-interaction dynamics in terms of the chronological order and persona sensitivities, respectively. Furthermore, to provide the model with a global perspective, global session consistency is introduced by maximizing the mutual information among global and local interaction sequences. Finally, to comprehensively take advantage of all three independent aspects of consistency-enhanced knowledge, we establish an integrated imitation learning framework. The consistency knowledge is effectively internalized and transferred to the student model by imitating the conventional prediction logit as well as the consistency-enhanced item representations. In addition, the flexible self-supervised imitation framework can also benefit other student recommenders. Experiments on four real-world datasets show that SSI effectively outperforms the state-of-the-art sequential recommendation methods.
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Holthaus, Patrick, and Sven Wachsmuth. "Direct on-line imitation of human faces with hierarchical ART networks." In 2013 IEEE International Symposium on Robot and Human Interactive Communication (RO-MAN). IEEE, 2013. http://dx.doi.org/10.1109/roman.2013.6628502.

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Cîrcu, Sorina-Silvia, and Chu-Yin Chen. "How Digital Anthropomorphism Enhances Creativity in Human-to-Robot Dance Interactivity." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-47-full-circu-et-al-human-to-robot-dance.

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Through our research-creation experiments, we imagine movement sequences that challenge the concept of anthropomorphism in digital twin robots. While considering the term of interactivity to better define their interaction, we observe how different movement material is stimulating creativity through a hybridization process between human and machine. From this perspective, we determine how users experience qualia while learning through imitation a dance sequence consecutively demonstrated by a humanoid robot, an industrial arm and a human. Their feedback and our own practical experimentation allow us to better understand the impact of digital anthropomorphism in the making of a sustainable human-to-robot interaction.
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Lai-man Tin, Man. "Generative Adversarial Network Algorithms in Art: Data Video." In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100957.

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The recent development of machine learning to synthesize the dataset and manipulate images into new works of art, bringing essential changes in visual art and the method of art creation. The paper aims at applying the Generative Adversarial Network (GAN) to the new media art in particular the image generation and video synthesis through latent space interpolation, through the indirect training in GAN to process a series of still images as the dataset, the generated work presents the ability of machine algorithms in learning and processing the image creation, as well as the next stage of machine-made art. The generated images through latent space interpolation are the artificial imitation among the images by the machine, indicating a new form of image interpretation and representation where human’s intervention in art creation is restricted in the pre-data selection and post-data appreciation.
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Zinkiv, Iryna. "MUSICAL AND INSTRUMENTAL REALITIES IN THE TREATISE �THE MUSICAL GRAMMAR� BY MYKOLADYLETSKYI 1723: ETHNIC IDENTIFICATION OF MUSICAL INSTRUMENTS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2023/s08.12.

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The article describes the discussion among East Slavic researchers regarding the appearance of the manuscript �The Musical Grammar� by M. Dyletskyi in 1723. Mentions in its text of musical instruments and imitation of their sound nature in the newly found composer�s choral concerto�Let the trumpets sound� have been analyzed. The musical instruments have been considered for the first time depicted on the title sheet of the manuscript in terms of similar Slavic and Western European instruments of the XII � XVIII centuries, an attempt has been made to establish their ethnicity.
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Sun, Mingfei, and Xiaojuan Ma. "Adversarial Imitation Learning from Incomplete Demonstrations." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/487.

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Imitation learning targets deriving a mapping from states to actions, a.k.a. policy, from expert demonstrations. Existing methods for imitation learning typically require any actions in the demonstrations to be fully available, which is hard to ensure in real applications. Though algorithms for learning with unobservable actions have been proposed, they focus solely on state information and over- look the fact that the action sequence could still be partially available and provide useful information for policy deriving. In this paper, we propose a novel algorithm called Action-Guided Adversarial Imitation Learning (AGAIL) that learns a pol- icy from demonstrations with incomplete action sequences, i.e., incomplete demonstrations. The core idea of AGAIL is to separate demonstrations into state and action trajectories, and train a policy with state trajectories while using actions as auxiliary information to guide the training whenever applicable. Built upon the Generative Adversarial Imitation Learning, AGAIL has three components: a generator, a discriminator, and a guide. The generator learns a policy with rewards provided by the discriminator, which tries to distinguish state distributions between demonstrations and samples generated by the policy. The guide provides additional rewards to the generator when demonstrated actions for specific states are available. We com- pare AGAIL to other methods on benchmark tasks and show that AGAIL consistently delivers com- parable performance to the state-of-the-art methods even when the action sequence in demonstrations is only partially available.
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Tilki, Umut, Ismet Erkmen, and Aydan M. Erkmen. "Imitation of Human Body Poses by the Formation Control of a Fluidic Swarm." In ASME 2012 11th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/esda2012-82903.

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Imitation learning is one of the forms of social learning that enables the human or robot agents to learn new skills. The knowledge acquired for imitation can be basically represented as action mapping based on “organ matching” which determines the correspondence between imitator and imitatee, if the imitator and the demonstrator share the same embodiment. In this paper, we aim at imitation of two system with totally different dynamics, imitating each other, where any correspondence is missing. Towards this aim, we adopt a case where the imitator is a fluidic system which dynamics is totally different than the imitatee, that is a human performing different body poses. Our work proposes the fluidics formation control of fluid particles where the formation results from the imitation of observed human body poses. Fluidic formation control layer is responsible of assigning the correct fluid parameters to the swarm formation layer according to the body poses adopted by the human performer. The movement of the fluid particles is modeled using the Smoothed Particle Hydrodynamics (SPH) which is a particle based Lagrangian method for simulation of fluid flows. The region based controller first extract the human body parts generating the regions where the attention is attracted by the imitatee and fits an appropriate ellipses to delimite boundaries of those regions. The ellipse parameters such as center of the ellipses, eccentricity, length of the major and minor axis etc. are used by the fludic layer in order to generate human body poses. This paper introduces our technique and demonstrates the imitation performance of our system.
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Yuan, Zheng, Aldo Pastore, Dorina de Jong, Hao Xu, Luciano Fadiga, and Alessandro D'Ausilio. "The ART of Conversation: Measuring Phonetic Convergence and Deliberate Imitation in L2-Speech with a Siamese RNN." In INTERSPEECH 2023. ISCA: ISCA, 2023. http://dx.doi.org/10.21437/interspeech.2023-2283.

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Reports on the topic "Imitation in art"

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Soroko, Nataliia V., Lorena A. Mykhailenko, Olena G. Rokoman, and Vladimir I. Zaselskiy. Educational electronic platforms for STEAM-oriented learning environment at general education school. [б. в.], July 2020. http://dx.doi.org/10.31812/123456789/3884.

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The article is devoted to the problem of the use of educational electronic platform for the organization of a STEAM-oriented environment of the general school. The purpose of the article is to analyze the use of educational electronic platforms for organizing the STEAM-oriented school learning environment and to identify the basic requirements for supporting the implementation and development of STEAM education in Ukraine. One of the main trends of education modernization is the STEAM education, which involves the integration between the natural sciences, the technological sciences, engineering, mathematics and art in the learning process of educational institutions, in particular, general school. The main components of electronic platform for education of the organization STEAM-oriented educational environment should be open e-learning and educational resources that include resources for students and resources for teachers; information and communication technologies that provide communication and collaboration among students; between teachers; between students and teachers; between specialists, employers, students, and teachers; information and communication technologies that promote the development of STEAM education and its implementation in the educational process of the school; online assessment and self-assessment of skills and competences in STEAM education and information and communication technologies fields; STEAM education labs that may include simulators, games, imitation models, etc.; STEAM-oriented educational environment profiles that reflect unconfirmed participants’ data, their contributions to projects and STEAM education, plans, ideas, personal forums, and more. Prospects for further research are the design of an educational electronic platform for the organization of the STEAM-oriented learning environment in accordance with the requirements specified in the paper.
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Modlo, Yevhenii O., and Serhiy O. Semerikov. Xcos on Web як перспективний засіб навчання моделювання технічних об’єктів бакалаврів електромеханіки. [б. в.], August 2018. http://dx.doi.org/10.31812/0564/2454.

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Research goals: to identify the perspective learning simulation tool for Bachelors of Electromechanics. Research objectives: to prove the feasibility of using the simulation system Xcos on Web as a tool of forming of future Bachelors of Electromechanics competence in modeling of technical objects. Research object: the use of imitative simulation systems to learning the Bachelors of Electromechanics. Research subject: the use Xcos on Web in learning modeling of technical objects the Bachelors of Electromechanics. Research methods used: the analysis of existing software usage experience. Research results. The imitative simulation system Xcos on Web is a promising cloud-based learning tool for Bachelor’s of Electromechanics modeling of technical objects. The main conclusions and recommendations: 1. The use of simulation systems, such as Scilab Xcos, is a necessary part of Bachelor of Electromechanics professional training. 2. Cloud-based learning environment built on the integrative usage of mobile Internet devices promotes the forming of Bachelor’s of Electromechanics professional competencies. 3. Implementation the full Scilab Xcos functionality at Xcos on Web creates conditions for transition in Bachelor’s of Electromechanics learning the simulation of technical objects to the use of mobile Internet devices.
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Aiginger, Karl, Andreas Reinstaller, Michael Böheim, Rahel Falk, Michael Peneder, Susanne Sieber, Jürgen Janger, et al. Evaluation of Government Funding in RTDI from a Systems Perspective in Austria. Synthesis Report. WIFO, Austria, August 2009. http://dx.doi.org/10.22163/fteval.2009.504.

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In the spring of 2008, WIFO, KMU Forschung Austria, Prognos AG in Germany and convelop were jointly commissioned by the Austrian Federal Ministry for Transport, Innovation and Technology and the Austrian Federal Ministry of Economy, Family and Youth to perform a systems evaluation of the country's research promotion and funding activities. Based on their findings, six recommendations were developed for a change in Austrian RTDI policy as outlined below: 1. to move from a narrow to a broader approach in RTDI policy (links to education policy, consideration of the framework for innovation such as competition, international perspectives and mobility); 2. to move from an imitation to a frontrunner strategy (striving for excellence and market leadership in niche and high-quality segments, increasing market shares in advanced sectors and technology fields, and operating in segments of relevance for society); 3. to move from a fragmented approach to public intervention to a more coordinated and consistent approach(explicit economic goals, internal and external challenges and reasoning for public intervention); 4. to move from a multiplicity of narrowly defined funding programmes to a flexible, dynamic policy that uses a broader definition of its tasks and priorities (key technology and research segments as priority-action fields, adequate financing of clusters and centres of excellence); 5. to move from an unclear to a precisely defined allocation of responsibilities between ministries and other players in the field (high-ranking steering group at government level, monitoring by a Science, Research and Innovation Council); 6. to move from red-tape-bound to a modern management of public intervention (institutional separation between ministries formulating policies and agencies executing them, e.g., by "progressive autonomy").
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Syvash, Kateryna. AUDIENCE FEEDBACK AS AN ELEMENT OF PARASOCIAL COMMUNICATION WITH SCREEN MEDIA-PERSONS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11062.

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Parasocial communication is defined as an illusory and one-sided interaction between the viewer and the media person, which is analogous to interpersonal communication. Among the classic media, television has the greatest potential for such interaction through a combination of audio and visual series and a wide range of television content – from newscasts to talent shows. Viewers’ reaction to this product can be seen as a defining element of parasociality and directly affect the popularity of a media person and the ratings of the TV channel. In this article we will consider feedback as part of parasocial communication and describe ways to express it in times of media transformations. The psychological interaction «media person – viewer» had been the focus of research by both psychologists and media experts for over 60 years. During the study, scientists described the predictors, functions, manifestations and possible consequences of paracommunication. One of the key elements of the formed parasocial connections is the real audience reaction. Our goal is to conceptualize the concept of feedback in the paradigm of parasocial communication and describe the main types of reactions to the media person in long-term parasocial relationships. The research focuses on the ways in which the viewer’s feedback on the television media person is expressed, bypassing the issue of classifying the audience’s feedback as «positive» and «negative». For this purpose, more than 20 interdisciplinary scientific works on the issue of parasocial interaction were analyzed and their generalization was carried out. Based on pre­vious research, the types and methods of feedback in the television context are separated. With successful parasocial interaction, the viewer can react in different ways to the media person. The type of feedback will directly depend on the strength of the already established communication with the media person. We distinguish seven types of feedback and divide them into those that occur during or after a television show; those that are spontaneous or planned; aimed directly at the media person or third parties. We offer the following types of feedback from TV viewers: «talking to the TV»; telling about the experience of parasocial communication to others; following on social networks; likes and comments; imitation of behavior and appearance; purchase of recommended brands; fanart.
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A Decision-Making Method for Connected Autonomous Driving Based on Reinforcement Learning. SAE International, December 2020. http://dx.doi.org/10.4271/2020-01-5154.

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At present, with the development of Intelligent Vehicle Infrastructure Cooperative Systems (IVICS), the decision-making for automated vehicle based on connected environment conditions has attracted more attentions. Reliability, efficiency and generalization performance are the basic requirements for the vehicle decision-making system. Therefore, this paper proposed a decision-making method for connected autonomous driving based on Wasserstein Generative Adversarial Nets-Deep Deterministic Policy Gradient (WGAIL-DDPG) algorithm. In which, the key components for reinforcement learning (RL) model, reward function, is designed from the aspect of vehicle serviceability, such as safety, ride comfort and handling stability. To reduce the complexity of the proposed model, an imitation learning strategy is introduced to improve the RL training process. Meanwhile, the model training strategy based on cloud computing effectively solves the problem of insufficient computing resources of the vehicle-mounted system. Test results show that the proposed method can improve the efficiency for RL training process with reliable decision making performance and reveals excellent generalization capability.
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