Relevant bibliographies by topics / Intangible art

Contents

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

Academic literature on the topic 'Intangible art'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Intangible art"

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Figal, Günter. "Intangible Matters." Research in Phenomenology 48, no. 3 (September 27, 2018): 307–17. http://dx.doi.org/10.1163/15691640-12341398.

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Abstract This paper is on matter and on art. Based on the assumption that the everyday attitude toward the world is a kind of materialistic realism and that philosophers, from the beginning of philosophy on, have objected to the plausibility of epistemological reliance on matter, I make attempts to investigate what matter is. I suggest doing this in reference to art. In particular I discuss works of art representing kinds of matter so extraordinary that their material character even could be doubted: light and sound. An installation by James Turrell and a piece of music composed by Morton Feldman, Rothko Chapel, function as paradigms to demonstrate the material character of light and sound and also the affinity of matter to space. Having qualities, matter proves to be different from space; being amorphous, however, matter as such has no distinct appearance, but, like space, enables appearance.
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Lieto, Antonio, Rossana Damiano, and Vanessa Michielon. "Conceptual Models for Intangible Art." Mimesis Journal, no. 3, 2 (December 1, 2014): 70–78. http://dx.doi.org/10.4000/mimesis.690.

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Amselle, Jean-loup. "Intangible Heritage and Contemporary African Art." Museum International 56, no. 1-2 (May 2004): 84–90. http://dx.doi.org/10.1111/j.1350-0775.2004.00461.x.

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Zolfagharian, Mohammad Ali, and Angelica Cortes. "Motives For Purchasing Artwork, Collectibles And Antiques." Journal of Business & Economics Research (JBER) 9, no. 4 (April 12, 2011): 27. http://dx.doi.org/10.19030/jber.v9i4.4207.

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Art is disaggregated into tangible and intangible offerings. Intangible art is one-time experiences of aesthetical and nostalgic products with no post-consumption exchange value. Tangible art preserves post-consumption exchange value. While psychographics of the consumers of intangible art are well-established, consumers of tangible art are under-researched. This research identifies and measures 16 different motives that underlie the purchase of artwork, collectibles and antiques. Heavy-consumers are found to score significantly higher than light-consumers on 8 of these motives: expected price fairness (economic); social acceptability and group identification (normative); aesthetics, pleasure and immersion (hedonic); culture (intellectual); and harmony. Findings are discussed and implications and limitations are also included.
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Isaac, Joseph. "Pics or it didn’t happen: The artwork formerly known as heritage in Google Street Art." Convergence: The International Journal of Research into New Media Technologies 25, no. 3 (June 19, 2017): 374–92. http://dx.doi.org/10.1177/1354856517714169.

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In 2014, Google announced a new initiative for its Cultural Institute. Called the Street Art Project, the online database was seen by many (Google included) as a continuation of the Google Art Project, in that it sought to make street art from around the world more easily accessible to interested audiences. The company acknowledged that such art was temporary, and that, by virtue of the artwork’s eventual disappearance, it would eventually become an important record of preservation for the practice. However, in its focus on the physical artwork, the project unwittingly highlights a problematic trend in street art’s protection as intangible heritage: one where its safeguard often becomes overpowered by the tangibility of its material elements. Exploring Google Street Art through the lens of Melbourne, a city that has long negotiated with street art and graffiti as forms of cultural heritage, this article outlines the consequences of such tangibility for the intangible artwork. It argues that any protection of intangible heritage requires a tacit acknowledgement of the subjectivity which surrounds its experience: those community reactions and responses whose wide variability help define that heritage as something intangible.
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Guo, Q., and X. Li. "Integrated Conservation of the Cantonese Opera Art Museum and Intangible Cultural Heritage." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 12, 2015): 187–93. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-187-2015.

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Cantonese Opera, as the sole cultural heritage of Guangdong Province of China so far, which was included in the World Intangible Cultural Heritage List by the UNESCO, bears the cultural memory of the Lingnan region and as well as the overseas Chinese worldwide. Located in the core historic urban area – Enning Road of Guangzhou, the Cantonese Opera Art Museum is designed in Lingnan traditional garden manner, through going deep into the Cantonese opera culture, Lingnan traditional garden culture and Lingnan cultural spirit. The design highlights the integrated conservation of tangible and intangible cultural heritage, to protect living history and build the historical environment and place spirit for the intangible cultural heritage. The Cantonese Opera Art Museum is not only a tangible space for exhibition, study, education and display of the Cantonese Opera art, but also a cultural space with the Lingnan cultural memory, gathering the Lingnan intangible heritage and closely linked with current life of successors and ordinary people.
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Gill, Jerry H. "Art and Incarnation." Theology Today 62, no. 2 (July 2005): 181–92. http://dx.doi.org/10.1177/004057360506200204.

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Intangible qualities can be expressed or communicated only indirectly, in and through tangible qualities. I have found it helpful to speak of this indirection as the process of “mediation.” This essay explores the notion of mediation in relation to aesthetic creation and appreciation, on the one hand, and a Christian understanding of incarnation, on the other. While the experience of mediation is, in fact, quite common in a wide variety of human activities, the actual pattern or dynamic of this phenomenon generally goes unnoticed and unappreciated.
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Kuchkarova, Dilfuzaxon. "THE ART OF HALFA AS A TYPE OF INTANGIBLE CULTURAL HERITAGE." CROSSROADS OF CULTURE 4, no. 2 (April 30, 2020): 73–77. http://dx.doi.org/10.26739/2181-0737-2020-4-14.

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The article describes the history, socio-cultural significance of the art of the Khalf of Khorezm, analyzes the features of the art of the Caliph, methods of execution and scientific research of the art of the Caliph, examines the art of the Caliph as a type of intangible cultural heritage
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袁, 艳青. "Resource transformation of Intangible Cultural Heritage in Urban Public Art." Art Research Letters 10, no. 01 (2021): 7–11. http://dx.doi.org/10.12677/arl.2021.101002.

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Xasay qızı Osmanova, Asiya. "Artistic solution of aesthetic aura in the works of batik masters of modern Azerbaijan." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 154–59. http://dx.doi.org/10.36719/2663-4619/66/154-159.

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The people of Azerbaijan have created a rich and different culture, an important part of which is decorative and applied art. It can be said that the growing interest of young creative people in batik over time is the greatest support for the preservation of our national customs and traditions. Continuing the traditions of this art in their future activities is an indication that Azerbaijani national art and batik will always be in the center of attention. Considering that the art of kalagai is a UNESCO non-profit organization under the title "Traditional kalagai art and symbolism, preparation and use of women's silk headdresses". The Representative List of Intangible Cultural Heritage was included in the 9th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Paris on November 24-28, 2014, and therefore in modern times batik and kalagai are already of interest to local scholars as well as foreign scholars. was. As we know, the breadth of opportunities created by art in the modern era, many artists express their individual style in different ways. Among such artists there are currently working batik masters. Key words: Batik, kalagai, modernity, tradition, plot, composition, color
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Dissertations / Theses on the topic "Intangible art"

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Owens, Jenny. "Relatos de lo intangible: La memoria y la narrativa en el arte." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/671125.

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Esta tesis explora las conexiones entre la memoria y la narrativa en el arte y el importante papel que lo intangible desempeña en este proceso. La investigación parte de mi propia práctica artística, que se preocupa por historias en torno a lo abandonado y por la necesidad de reconstruir esas historias para que tengan una vida nueva, sin olvidar sus vidas pasadas. También se centra en lo que no vemos y en lo efímero. Asimismo, me he acercado al trabajo de otros artistas que me interpelaban de alguna forma para entender mejor mi propia obra artística y ofrecer una nueva lectura sobre cómo la memoria y la narrativa interactúan entre ellas.
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Ip, Holly, and 葉浩莉. "Ashes of the after death: the tangible and intangible heritage of bamboo-paper ritual objects." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48344916.

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When it comes to ritual ceremonies like Qing Ming, Chong Yang, Yu Lan, one will see all kinds of fascinating ritual paper offerings, ranging from the traditional to fashionable-living necessities, even though the recipients are dead. The types of ritual paper offerings can be categorized into paper materials (joss paper), bamboo-paper objects (traditional crafts), and non-bamboo framed objects (contemporary crafts). Though the life of these ritual paper objects is very short, because they are burned soon after they are made, they are designed and crafted in a very unique way. The topic of ritual paper objects is a very interesting one; however, it has hitherto received little scholarly attention from a heritage conservation perspective. It is found that a large body of literature mentions ritual paper objects in the context of the funeral ceremony. Building on the existing studies, this dissertation will demonstrate and recognize the cultural significance of the art and craft of bamboo-paper objects in Chinese culture with reference to the Convention for the Safeguarding of Intangible Cultural Heritage (2003), and thereby suggest ways for safeguarding this traditional craftsmanship.
published_or_final_version
Conservation
Master
Master of Science in Conservation
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Buss, Elaine M. "(Attempts at) Discerning Immateriality." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529367762750928.

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Yuen, Man-sin, and 阮文倩. "Virtuous fist and healing hands : a study of Chinese martial art school cum bone setting clinic as a combined intangible cultural heritage of Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/208078.

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The scope of this dissertation covers two intangible cultural practices of the Chinese traditions: martial art and bone setting. The research will be on the combination of these two practices in the context of Hong Kong. 　　　Martial art through a system of apprenticeship, aims at passing the traditional techniques to the apprentice; and bone setting is a trade intending to help and cure people. They are traditionally human-oriented but not profit-oriented. The combined martial art school and bone setting clinic of Master Wong Fei-hung (黃飛鴻) is a perfect example. Master Wong Fei-hung is one of the most impressive Chinese martial art practitioners in the recent Chinese history and culture. He has a remarkable status in the practice of Chinese martial art cum bone setting in Southern China, who is also a hero in many people’s eyes. As this dissertation is about the intangible cultural heritage of martial art and bone setting, a well-known character in the recent Chinese history has therefore been selected to showcase the macro significance of this heritage. Through Master Wong, who practiced martial art and bone setting, the relationship between martial art and bone setting can be more clearly explained. 　　　The focus of this dissertation will be on the practice of this living heritage via a martial art Master cum bone setter, Master Li Chan-wo (李燦窩師父), as a case study. The reason for applying Master Li as the case study in this dissertation is that he is the student of Master Wong's wife (Master Mok Kwai-lan), from whom he inherited the martial art and bone setting techniques. This background and connection could help enrich the findings of this research and increase the credibility of the research findings in this dissertation. Whether this tradition of martial art school cum bone setting clinic can be preserved, it rests on how well we respect our living heritage.
published_or_final_version
Conservation
Master
Master of Science in Conservation
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Iyer, Manisha. "Memoires de Soie en Inde: La Ville de Kanchipuram et son art de Tissage." Master's thesis, Universidade de Évora, 2009. http://hdl.handle.net/10174/19628.

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A cidade de Kanchipuram, no Estado de Tamilnadu, sul da Índia, é sinónimo de templos hindus, mas também do sari em seda. A migração de comunidades de tecelão para esta cidade começou durante o reinado da Dinastia Chola nos Séculos 8-13 d. C. Anteriormente, o pano de seda foi considerado como tecido dos Deuses e os tecelões satisfizeram as necessidades religiosas do templo da cidade. Paulatinamente, um tecido de seda torna-se, tanto um tecido dos "mortais", como dos Deuses, e houve um aumento da procura dos têxteis em seda, especialmente, do sari em seda. A particularidade dos tecelões de Kanchipuram reside na sua técnica complicada de tecelagem e nos ricos motivos que são uma expressão da paixão do tecelão. Nosso trabalho de investigação centra-se nas técnicas de tecelagem e no seu produto final - o sari - para destacar a sua singularidade. Neste contexto, quero propor um projecto de documentação dos motivos do sari, para ilustrar um dos principais meios de valorização desta tradição de tecelagem que remonta a vários séculos. RÉSUMÉ: La ville de Kanchipuram, située dans l'état du Tamilnadu, dans le sud de l'Inde, fait souvent écho aux temples hindous mais également au sari en soie. Les tisserands ont migré à l'époque Chola (850- 1279 ap.J.C.) pour répondre aux besoins religieux de la ville car au départ, la soie était un tissu destiné à I 'usage des dieux. Au fur et à mesure, la soie est devenue aussi bien un tissu destiné aux 'mortels' qu'aux dieux. Ces tisserands ont connu par la suite, une forte demande, plus particulierement, pour les saris en soie. La particularité des tisserands de la ville de Kanchipuram réside dans sa technique laborieuse de tissage et dans les motifs élaborés parle billet desquels s'exprime la passion du tisserand dans sa tâche. Le présent mémoire s'attache à la technique de tissage et à son produit final - le sari - pour mettre en valeur son unicité. Dans ce cadre, je propose un projet de documentation des motifs des saris pour illustrer un des vecteurs clés de valorisation de cette tradition de tissage qui remonte à plusieurs siecles. ABSTRACT: The city of Kanchipuram, located in the State of Tamilnadu in southern India, is synonymous with Hindu temples and silk saris. The migration of weaver communities to the city started during the Chola reign (81 131 centuries A.D). Early on, silk was considered the cloth of the gods and these weavers met the needs of the temple city by producing silk textiles for religious use. Gradually, silk became a cloth as much for the 'mortais' as for the gods and demand increased for silk textiles, especially saris. The importance of Kanchipuram weaving lies in its complex techniques and rich motifs as expressions of the. weaver’s passion. This text examines the weaving techniques popularly known as the korvai technique, as well as the saris produced using this technique. ln addition, it attempts to catalogue certain motifs woven into the saris as a first step in promoting and valorizing the cultural richness of an art dating back several centuries.
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Arbelaez, Natalia. ""Insignificant Grandeur"." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1435530944.

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GASPARINI, LUCIA. "IL PATRIMONIO CULTURALE IMMATERIALE: NUOVE PROSPETTIVE CONCETTUALI, ARTISTICHE, MUSEOLOGICHE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1801.

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La ricerca affronta il tema del crescente spazio che la considerazione del patrimonio culturale immateriale ha acquisito nel panorama mondiale a partire dagli ultimi decenni, in particolare dal 2003, quando l’UNESCO ha stilato la Convenzione per la salvaguardia del patrimonio culturale immateriale. Oltre a ripercorrere le tappe storiche che nel XX secolo hanno condotto a tale risultato, esso traccia un ancora poco esplorato parallelismo - formale e teorico - tra l’evoluzione del concetto di patrimonio immateriale e lo sviluppo delle forme dell’arte contemporanea a partire dal secondo dopoguerra fino ad oggi. Tale tematica interessa anche il museo e una lettura della sua storia più recente mette in luce le conquiste e le difficoltà conseguenti l’accoglienza di manifestazioni immateriali all’interno delle collezioni. Tale aspetto viene avvicinato anche con gli strumenti dell’estetica fenomenologica, che contribuiscono a valutare possibili future azioni museologiche e museografiche nei confronti del patrimonio immateriale, nella direzione di un maggior rispetto della collezione e di un migliore coinvolgimento dei vari pubblici. Il contributo si sofferma altresì ad approfondire alcuni aspetti dell’architettura contemporanea, della didattica museale e dell’utilizzo delle nuove tecnologie in ambito museale valutandone utilizzi positivi o al contrario poco adeguati per una seria e fruttuosa valorizzazione del patrimonio immateriale.
This PhD dissertation deals with intangible cultural heritage and museums. An increasing interest in intangible heritage has been arising in the world in these last years, especially since 2003, when UNESCO drew up the Convention for the Safeguarding of Intangible Cultural Heritage. A detailed historical review shows the steps which brought to this attainment; a formal and theoretical parallelism between intangible heritage and contemporary art is outlined too. A study on the very recent history of museums allows to underline the difficulties museum encounters in collecting intangible heritage. It’s possible to think about new museological solutions thanks to the contribution of aesthetics: the thought of phenomenology helps in finding ways to respect the collection and to involve the publics. The dissertation also deals with the contemporary architecture of museums, with museum education and with the use of new technologies in museums: some uses are bad, others are good and useful for the communication of intangible cultural heritage.
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Cotentin, Régis. "Du simulacre numérique. Les images digitales au défi du vivant." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA027/document.

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Les auteurs contemporains, des plasticiens aux réalisateurs de blockbusters, créent des images où le réel et le virtuel semblent de la même étoffe. Leurs films, vidéos et installations exposent un monde qui émerge de l’immatérialité des écrans.À la différence des images qui procèdent de l'imprégnation de la lumière réelle sur des surfaces photosensibles, les simulacres numériques résultent du langage binaire. Ils correspondent à du code informatique qui transforme l’image en une somme de données.Dès lors, ceux-ci entraînent-ils une mutation de notre rapport à l’image ? En quoi induisent-ils une nouvelle perception des représentations artistiques où prime l’apport d’une subjectivité ?Les simulacres numériques apparaissent après des millénaires d’images qui relèvent de l’ontologie et entretiennent un lien sensible avec le réel. Le spectateur ayant besoin de se projeter dans ce qui emprunte à sa nature et ce qui interroge ses aspirations, ses sentiments comme ses croyances, il attend de la simulation numérique la même capacité d’incarnation et de transfiguration que les autres moyens d’expression.Entrelaçant la tradition et le contemporain, cette recherche analyse l’éloquence sensible du simulacre numérique au défi du vivant dans le cinéma et les arts plastiques des années 2000-2010 selon les concepts de présence, représentation et simulation.Comment le numérique actualise-t-il des codes culturels et esthétiques hérités de l’histoire de l’art ? Cette recherche tente de comprendre la nature et le sens des simulacres numériques du vivant en tant qu’ils conjuguent l’incorporel synthétique à l’argument ontologique
The contemporary authors, from visual artists to blockbusters’ directors, create images where the real and the virtual seem from the same cloth. Theirs movies, videos and installations show a world which emerges from the immateriality of the screens.Unlike images which are the result of the impregnation of the actual light on photosensitive surfaces, digital simulacra stem from binary language. They are made of pure computer code that can transform the image into a sum of data.Therefore, will the digital simulacra change our relationship to images? How do these digital sham images induce a new perception of artistic performances where subjectivity and its contributions are the prime factors?We are confronted with these digital simulacra of images after millennia of imagery that relate from ontology and that maintain a significant link with reality. The viewer, having the need to project himself into something that borrows from his nature and that questions his aspirations, his feelings as well as his beliefs, expects from the digital simulation the same capacity for incarnation and transfiguration that he experiences from others means of expression.Confronting and intertwining the traditional and the contemporary, this research analyses the sensitive eloquence of digital simulacra and how they face the challenge of real life, through film and in visual arts over the decade 2000-2010, based on the concepts of presence, representation and simulation.How do the various uses of digital technology force us to update the cultural and aesthetic codes that we inherited from Art history? Thus, this research attempts to understand the substance and the meaning of the digital pretence of life, which combines the synthetic intangible with an ontological argument
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De, Araujo Aguiar Luciana. "Les stratégies d’authenticité et les politiques de patrimoine culturel immatériel : une étude à partir de deux cas." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30058/document.

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Cette thèse a pour but de comprendre les stratégies de construction d’authenticité et les politiques de patrimoine culturel immatériel à partir de l’étude de deux pratiques culturelles reconnues actuellement comme patrimoine culturel immatériel : le fest-noz, présente dans les villes et campagnes de la région Bretagne, en France ; et le jongo, présente au sein des villes installées dans la vallée du fleuve Paraíba do Sul, dans la région Sudeste du Brésil. La démarche comparative présentée dans cette thèse résulte d’une double étude de cas, d’une part les rapports entre le fest-noz et l’authenticité en Bretagne, et d’autre part le jongo et l’authenticité afro-brésilienne. La thèse est structurée en trois parties. La première partie s’attache à comprendre le fest-noz et les questions de l’authenticité en Bretagne ; la deuxième partie met en lumière le jongo et la quête de l’authenticité afro-brésilienne ; la troisième partie est une analyse comparative des deux pratiques mais elle est également conclusive. Dans l’écriture ethnographique, les données de terrain ont été traitées dans une perspective bourdieusiennne. Par ailleurs, l’analyse des documents institutionnels - tels que les dossiers de patrimonialisation du fest-noz et du jongo, et les documents relatifs à la législation de l’UNESCO et du PCI en France et au Brésil – fût d’une importance cruciale. En outre, les entretiens avec les responsables des politiques de sauvegarde du fest-noz et du jongo et des politiques culturelles dans le domaine du PCI au Brésil et en France, m’ont permis d’affiner et de complexifier l’analyse des documents institutionnels. Cette thèse repose encore sur des données historiques contextuelles qui ont contribué à une meilleure compréhension des pratiques culturelles en question
This thesis aims to understand the strategies (used in the representation of authenticity and the policies of intangible cultural heritage, based on the study of two cultural practices currently recognized as instances of intangible cultural heritage: fest-noz, present in the cities and countryside of Brittany, France; and jongo, present in the cities of the Paraíba do Sul river valley, located in the southeast region of Brazil. The comparative approach results from a double case study; on the one hand, the relations between fest-noz and authenticity in Brittany, and on the other hand, jongo and Afro-Brazilian authenticity. The thesis addresses three principle questions. First of all, an effort to understand fest-noz and how it shapes authenticity in Brittany; secondly, how jongo impacts the quest for Afro-Brazilian authenticity; and finally, a comparative analysis into both practices and the conclusions drawn from this approach. The field data collected from ethnographic writing archives were treated from a Bourdieu perspective. In addition, the analysis of institutional documents, including the heritage files of both fest-noz and jongo, and the documents relating to UNESCO and ICP legislation in France and Brazil, was of crucial importance. Furthermore, interviews with policy makers for the safeguarding of fest-noz and jongo and for cultural policies in the field of ICH in Brazil and France enabled a more nuanced elaboration of institutional documents. This thesis relies on contextual historical data that has contributed to a better understanding of the cultural practices in question
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Dahmash, Firas Naim. "An examination of the value relevance and bias in the accounting treatment of intangible assets in Australia and the US over the period 1994-2003 using the Feltham and Ohlson (1995) framework." University of Western Australia. Financial Studies Discipline Group, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0145.

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[Truncated abstract] The primary aim of this study was to examine, and compare, the value relevance and any bias associated with the reporting of intangible assets in Australia and the US over the ten-year period 1994 to 2003. The study adopts a disaggregated form of the Feltham and Ohlson (1995) valuation model and associated linear information models (LIMs) to allow goodwill and identifiable intangible assets to be separately examined using unbalanced panel regression analysis. The results for the Australian sample suggest that the adaptation of the Feltham and Ohlson (1995) valuation model used in this study is particularly useful in examining Australian equity securities. For example, the pooled sample analysis results in an adjusted R2 of 71%, which is consistent with similar US studies by Ahmed, Morton and Schaefer (2000) and Amir, Kirscenheiter and Willard (1997). Further, the results from the disaggregated Feltham and Ohlson (1995) valuation models suggest that the information presented with respect to intangible assets (both goodwill and identifiable intangible assets) under Australian GAAP is value relevant. However, the results from the valuation models also suggest that (for the average Australian company) the market believes goodwill is reported conservatively and identifiable intangible assets aggressively. ... As noted earlier, the increasing importance of intangible assets in the `new-economy’ suggests that (wherever possible having regard to the measurement difficulties) all intangible assets should be recognised in financial statements to maximise the value relevance of those statements. It should be noted, however, that there was some evidence to suggest that certain Australian companies (that is, those not consistently reporting positive abnormal operating earnings) might be reporting goodwill and/or identifiable intangible assets aggressively and this is an area that standard setters might need to carefully consider in future. I trust that the findings presented in this study will prove helpful to both researchers and those involved with formulating international accounting standards in this particularly difficult area of intangible assets. I also hope the results will help to allay any fears regulators (and others) might have that providing managers with accounting discretion will (necessarily) lead to biased reporting practices; based on the findings of this study for the majority of Australian and US companies, any such fears appear unwarranted.
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Books on the topic "Intangible art"

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Hirsch, Antonia. Intangible economies. Vancouver: Fillip Editions, 2012.

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1946-, Saccidānandan, Ajīta Kaura, Miśra Dineśa, Foundation of SAARC Writers and Literature (India), and Academy of Fine Arts and Literature (India), eds. Folklore, the intangible cultural heritage of SAARC Region. New Delhi: Foundation of SAARC Writers and Literature, 2009.

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Trejos, Cecilia Dobles. Boyeros, bueyes y carretas: Por la senda del patrimonio intangible. San José, Costa Rica: Editorial Universidad de Costa Rica, 2008.

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Intangible spirits and graven images: The iconography of deities in the pre-Islamic Iranian world. Leiden: Brill, 2014.

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Unesco, ed. 2007 Bali Zhongguo fei wu zhi wen hua yi chan yi shu jie: 2007 China intangible cultural heritage art festival in Paris. Beijing Shi: Wen hua yi shu chu ban she, 2011.

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Ben tu jing shen: Fei wu zhi wen hua yi chan yu min jian mei shu yan jiu wen ji = A native spirit : the research collection of intangible cultural heritage and folk arts. Nanchang Shi: Jiangxi mei shu chu ban she, 2008.

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Di er pi guo jia ji fei wu zhi wen hua yi chan ming lu jian jie. Beijing Shi: Wen hua yi shu chu ban she, 2010.

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Zhong yuan ji yi: Henan shou pi fei wu zhi wen hua yi chan dai biao zuo = The memory of central plains : the first batch of intangible cultural heritage in Henan. Zhengzhou Shi: Da xiang chu ban she, 2013.

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Hunan Sheng fei wu zhi wen hua yi chan ming lu. Changsha Shi: Hunan ren min chu ban she, 2009.

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Low, Jonathan. Invisible advantage: How intangibles are driving business performance. Cambridge, MA: Perseus Pub., 2002.

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Book chapters on the topic "Intangible art"

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Bhattacharya, Amitava. "Art for Life: Intangible Cultural Heritage as a Tool for Entrepreneurial Development in India." In Entrepreneurship and Development in South Asia: Longitudinal Narratives, 65–94. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4859-8_5.

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Sehgal, Vandana. "The Idea of Infinite in Indian and Western Art: Perceiving It Through the Intangible Cultural Identity." In Understanding Built Environment, 255–67. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2138-1_21.

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Khan, Mazlina Pati, Andika Abdul Aziz, and Khairul Azhar Mat Daud. "Documentation Strategy for Intangible Cultural Heritage (ICH) in Cultural Heritage Institutions: Mak Yong Performing Art Collection." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 470–79. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01762-0_41.

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Ji, Jingyi, Jianxin Cheng, and Rongrong Fu. "Research on Design Process of Small Intangible Cultural Heritage Art Gallery Based on VRP-MUSEUM Technology—Taking the Art Gallery of Shanghai Style Lacquerware as an Example." In Communications in Computer and Information Science, 566–74. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23525-3_77.

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Ji, Jingyi, Jianxin Cheng, and Rongrong Fu. "Correction to: Research on Design Process of Small Intangible Cultural Heritage Art Gallery Based on VRP-MUSEUM Technology—Taking the Art Gallery of Shanghai Style Lacquerware as an Example." In Communications in Computer and Information Science, C1. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23525-3_78.

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Goegebuer, Sibylla. "St John’s Hospital in Bruges in the Sixteenth and Seventeenth Centuries. A Real and Intangible-Symbolic Interaction Between Religion & Devotion, Care and Art Forms a Holy Trinit." In ‘Church’ at the Time of the Reformation, 145–60. Göttingen: Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.13109/9783666570995.145.

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Ellis, Sheri Murray. "“Intangible” Cultural Resources: Values are in the Mind." In A Companion to Cultural Resource Management, 156–71. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396065.ch9.

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de-Miguel-Molina, Blanca, and Rafael Boix-Doménech. "Introduction: Music, from Intangible Cultural Heritage to the Music Industry." In Music as Intangible Cultural Heritage, 3–8. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_1.

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AbstractOur first contact with music is almost certainly in our childhood when our parents sing lullabies to us at bedtime. In a community where music is important, these songs are likely to be successfully transmitted from one generation to the next. This is similar to the concept of intangible cultural heritage and how it is transmitted.
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de-Miguel-Molina, María, and Virginia Santamarina-Campos. "Conclusions: Music as an Economic, Social, Cultural, Creative and Resilient Activity." In Music as Intangible Cultural Heritage, 139–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_9.

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AbstractMusic, like many cultural and creative industries, can be analysed from symbolic, political and economic dimensions. It is a vibrant, highly resilient sector that has continued to evolve over time from prehistory to the present. Moreover, the music industry has developed in lockstep with technology, creating fascinating business models since the inception of the Internet, forcing companies and artists to adapt continuously to the new environment. This is also related to music customers, who change their preferences as new genres and trends appear. Governments are well aware of the opportunities that music affords to local development and have created public policies that boost the sector. On the other hand, music has also proved its educational role, and its function as an identity builder, especially in local environments where music is present in many festivities in the shape of bands. Mediterranean locations have a rich tradition in this type of musical societies and groups which create a collective identity that is transmitted from one generation to the next. Finally, music has not been immune to the crisis caused by the pandemic, though it has once again shown resilience in this respect, adapting rapidly to the new economic, societal and educational challenges that are currently affecting the entire world.
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Goegebuer, Sibylla. "The role of St John’s Hospital religious community in Bruges in the 16th and 17th-century history of care. How did the tangible 17th-century art collection commissioned by St John’s Hospital represent the intangible history of caring for people?" In Arts, Portraits and Representation in the Reformation Era, 89–108. Göttingen: Vandenhoeck & Ruprecht, 2019. http://dx.doi.org/10.13109/9783666552496.89.

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Conference papers on the topic "Intangible art"

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Sheng, Lei. "Tangible and Intangible. Protection and Development of Traditional Industrial Art." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.72.

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Wang, Jianguo, and Haiqin Wang. "Integration and Optimization of Folk Culture and Art Resources, Inheritance of Intangible Culture and Art." In 2015 International Conference on Education Technology, Management and Humanities Science (ETMHS 2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/etmhs-15.2015.137.

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Liu, Hongjiang. "Digital expression and inheritance of the intangible cultural heritage “Regong Art”." In 2014 IEEE Workshop on Advanced Research and Technology in Industry Applications (WARTIA). IEEE, 2014. http://dx.doi.org/10.1109/wartia.2014.6976223.

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Qu, Shuxun, and Hongmin Yang. "Research on Campus Promotion of Intangible Cultural Heritage Project." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.431.

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Dai, Junbo, and Lishu Zhang. "Manchu Intangible Cultural Heritage Protection Research Based on Digital Multimedia Technology." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.171.

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Qian Yu and Bao Chunyan. "The role of art designers in the productive protection of intangible cultural heritage." In 2012 4th Electronic System-Integration Technology Conference (ESTC). IEEE, 2012. http://dx.doi.org/10.1109/estc.2012.6485752.

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Jiang, Zhiying. "Protection and Inheritance of Intangible Cultural Heritage Based on Children’s Perspective." In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.358.

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Bujchik, A. G., and M. A. Bujchik. "The relevance of saving inactive programming languages as part of intangible cultural heritage in the framework of communicative clronomy." In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-05-2020-15.

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Wang, Bin. "Research on the Influence of Intangible Cultural Heritage on Art Design and Public Life." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.151.

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Fu, Jing. "Research on the Development Paths of Intangible Cultural Heritage from the Perspective of Peripheral Communication." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.105.

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Reports on the topic "Intangible art"

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Schneider, David A. Measuring The Intangible: How Can An Operational Commander Know If His Information-Based Operations Are Effective? Fort Belvoir, VA: Defense Technical Information Center, May 2002. http://dx.doi.org/10.21236/ada406201.

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Torres-Mancera, Rocio, Carlos de las Heras-Pedrosa, Carmen Jambrino-Maldonado, and Patricia P. Iglesias-Sanchez. Public Relations and the Fundraising professional in the Cultural Heritage Industry: a study of Spain and Mexico / Las relaciones públicas y el profesional de la captación de fondos en la industria del patrimonio cultural: un estudio de España y México. Revista Internacional de Relaciones Públicas, June 2021. http://dx.doi.org/10.5783/rirp-21-2021-03-27-48.

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The present research aims to understand the current situation of strategic communication and public relations applied in the professional field of fundraising in the cultural heritage environment. It observes the current patterns used in the sector to obtain and generate long-term sustainable funding, through the stimulation of investors and International Cooperation projects from the European Union in line with UNESCO. Two international case studies are compared: Spain and Mexico, through the selection of territorial samples in Malaga and San Luis Potosi. The methodology used is based on a combination of in-depth interviews with key informants and content analysis. In the first instance, the degree of application of communication and public relations tools for strategic purposes to directly attract economic resources to the management of cultural heritage (tangible and intangible) in the region is studied. In line with the results obtained, the current parameters and key indicators of the profile of the fundraising professional in public and private cultural management are presented.
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Alviarez, Vanessa, Javier Cravino, and Natalia Ramondo. Firm-Embedded Productivity and Cross-Country Income Differences. Inter-American Development Bank, February 2021. http://dx.doi.org/10.18235/0003029.

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We measure the contribution of firm-embedded productivity to cross-country income differences. By firm-embedded productivity we refer to the components of productivity that differ across firms and that can be transferred internationally, such as blueprints, management practices, and intangible capital. Our approach relies on micro-level data on the cross-border operations of multinational enterprises (MNEs). We compare the market shares of the exact same MNE in different countries and document that they are about four times larger in developing than in high-income coun-tries. This finding indicates that MNEs face less competition in less-developed coun-tries, suggesting that firm-embedded productivity in those countries is scarce. We propose and implement a new measure of firm-embedded productivity based on this observation. We find a strong positive correlation between our measure and output per worker across countries. In our sample, differences in firm-embedded productivity account for roughly a third of the cross-country variance in output per worker.
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Kelly, Luke. Lessons Learned on Cultural Heritage Protection in Conflict and Protracted Crisis. Institute of Development Studies (IDS), April 2021. http://dx.doi.org/10.19088/k4d.2021.068.

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This rapid review examines evidence on the lessons learned from initiatives aimed at embedding better understanding of cultural heritage protection within international monitoring, reporting and response efforts in conflict and protracted crisis. The report uses the terms cultural property and cultural heritage interchangeably. Since the signing of the Hague Treaty in 1954, there has bee a shift from 'cultural property' to 'cultural heritage'. Culture is seen less as 'property' and more in terms of 'ways of life'. However, in much of the literature and for the purposes of this review, cultural property and cultural heritage are used interchangeably. Tangible and intangible cultural heritage incorporates many things, from buildings of globally recognised aesthetic and historic value to places or practices important to a particular community or group. Heritage protection can be supported through a number of frameworks international humanitarian law, human rights law, and peacebuilding, in addition to being supported through networks of the cultural and heritage professions. The report briefly outlines some of the main international legal instruments and approaches involved in cultural heritage protection in section 2. Cultural heritage protection is carried out by national cultural heritage professionals, international bodies and non-governmental organisations (NGOs) as well as citizens. States and intergovernmental organisations may support cultural heritage protection, either bilaterally or by supporting international organisations. The armed forces may also include the protection of cultural heritage in some operations in line with their obligations under international law. In the third section, this report outlines broad lessons on the institutional capacity and politics underpinning cultural protection work (e.g. the strength of legal protections; institutional mandates; production and deployment of knowledge; networks of interested parties); the different approaches were taken; the efficacy of different approaches; and the interface between international and local approaches to heritage protection.
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