Relevant bibliographies by topics / International Center Of Art And Communication

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

Academic literature on the topic 'International Center Of Art And Communication'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "International Center Of Art And Communication"

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Baltaziuk, Iryna. "DEVELOPMENT OF CREATIVITY WITHIN THE CONDITIONS OF CONTEMPORARY ARTMARKET." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 83–89. http://dx.doi.org/10.33838/naoma.28.2019.83-89.

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Article is dedicated to the research of creativity within the conditions of contemporary Ukraine art market. Author have discovered factors, that improve development of current art practice in academic and non academic artistic education. The article explores contemporary education centers, that forms connection between emergency artists and established artmarket, topical Ukraine art, contemporary art galleries and education institutions. As important element of contemporary art, academic education forms process of it’s development in quality, innovative and actual aspects. Such factors as creativity, “unconventional thinking”, intuition, esthetic competence, self development, emotional intellect, idea thinking and project vision improve development of current art practice in academic and non academic artistic education.Contemporary art requires from artist to develop deep vision on period, time and actuality of current events. This means that artist should be active in artistic and social sphere. New art stands for culture as phenomenon.Development of project approach in contemporary art effect appearance of new communication — network communication, when occurs partners and sponsors support. In this context started to develop national and international grant programs, residencies, educational centers, art institutions forming path for emergency artists to contemporary art field.The most popular educational centers in Kyiv, Ukraine: Modern art research institute, Art Arsenal, Pinchuk Art Centre, Kyiv academy of media arts, Art Ukraine Gallery, Port creative hub, Shcherbenko art center etc. The main feature that combine well known educational centers with several years of practice, and those that just opened is openness to the public. No matter of education, social status, or belonging to art school, everyone can gain experience from professionals.
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Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (January 11, 2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.

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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine art status – something that, while no longer questioned in Australia, continues to be precarious overseas. By considering how both political and aesthetic concerns were addressed by Indigenous curators Hetti Perkins and Brenda L. Croft, this discussion sheds light on the ways in which emergent political meanings associated with Indigeneity have driven new kinds of institutional practice and international cultural brokerage.
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राजभण्डारी Rajbhandari, नवीन्द्रमान Nabindraman. "पप आर्ट : बीसौं शताब्दीको एक महत्त्वपूर्ण कला आन्दोलन [Pop art: An Important art Movement of the Twentieth Century]." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 88–97. http://dx.doi.org/10.3126/sirjana.v5i1.39809.

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दोस्रो विश्वयुद्धपश्चात् परिवर्तित आर्थिक एवम् सांस्कृतिक परिवेशसंगै अन्तर्राष्ट्रिय कला जगतमा संयुक्त राज्य अमेरिकाले आफ्नो प्रभुत्व जमाउन थालेको थियो । तदुपरान्त आधुनिक कलाका गतिविधिहरूको केन्द्र अमेरिका बन्न थालेको थियो । आम सञ्चार तथा आम उत्पादनमा प्रयोग हुने आकृति तथा पद्धतिहरूलाई कलामा उपयोग गर्ने प्रवृत्तिसंगै ‘पप आर्ट’ को अभ्युदय भएको थियो । वास्तवमा विश्वयुद्धपश्चात् अकासिएको आर्थिक समुन्नति तथा त्यसबाट जनित ‘पप संस्कृति’ नै पप आर्टको उद्गम थियो । इङ्ग्ल्यान्डबाट थालनी भएको पप आर्ट अमेरिकामा मौलाएको थियो । प्रस्तुत लेखमा पप आर्टको पृष्ठभूमि, यसको प्रवृत्ति तथा यस शैलीका महत्वपूर्ण कलाकारहरूबारे चर्चा गरिएको छ । [With the changing economic and cultural environment after World War II, the United States began to dominate the international art world. Since then, the United States has become the center of modern art activities. Pop art emerged with the tendency to use the forms and methods used in mass communication and mass production in art. In fact, the post-World War II economic boom and the resulting "pop culture" were the origin of pop art. Pop art originated in England]
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Shapley, PhD, Kathy L., Perry F. Flynn, MEd, and Sarah Raven, BS. "Therapeutic riding centers: Unexpected benefits." American Journal of Recreation Therapy 17, no. 3 (July 1, 2018): 9–14. http://dx.doi.org/10.5055/ajrt.2018.0163.

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The benefits of therapeutic horseback riding for clients has been shown to improve physical, emotional, and communication skills.1 However, there is no research examining the benefits of owning or operating a therapeutic horseback riding center. The purpose of this study is to understand the benefits of owning/working at a Professional Association of Therapeutic Horsemanship (PATH) International Certified Riding Center. A multisite case study using semistructured interviews was used to complete this study. Fifteen 1-hour interviews were collected from individuals who own or work at a PATH center. Three themes emerged: Rewards, Cultivating Community, and Elements for Success. The outcomes of this study may provide centers who have not sought PATH certification incentive to seek that level of accreditation.
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Beetlestone, John G., Colin H. Johnson, Melanie Quin, and Harry White. "The Science Center Movement: contexts, practice, next challenges." Public Understanding of Science 7, no. 1 (January 1998): 5–22. http://dx.doi.org/10.1177/096366259800700101.

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As the science center movement expands worldwide, the time seems ripe to stimulate an informed debate centered on the purpose, practices, and achievements of science centers, together with the challenges they face in the next decade. The first section of this paper focuses on current practice, drawing dimensions from artifact to education, from didactic to empowering, from tutti-frutti to story line, from museum to Disney. Programs beyond the exhibition, and links with the formal education system and the local community, are also considered. The second section deals with the diversity of contexts within which science centers operate—cultural, political, financial, educational—and coins the acronym ASSET: Alternative Settings for Science, Engineering, and Technology. The final section looks to the future, identifying funding gaps, the need for longitudinal evaluation studies, and the challenge of new information technologies. Finally, in the spirit of international challenge, the authors pose three leading questions: What lies beyond the existing-exhibit clone? Can an Art/Science divide be defined? How can we communicate contemporary science and scientific issues?
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Jacobs, Geert, Liesbeth Opdenacker, and Luuk Van Waes. "A Multilanguage Online Writing Center for Professional Communication: Development and Testing." Business Communication Quarterly 68, no. 1 (March 2005): 8–22. http://dx.doi.org/10.1177/1080569904273330.

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An online writing center developed at the University of Antwerp, Belgium, called Calliope, provides a modular platform aimed at enhancing learners’ professional writing skills in five different languages: Dutch, English, French, German, and Spanish. It supports courses in business and technical communication. The current version includes modules on press releases in English, business letters in French, and minute taking in Dutch. Unlike many online writing centers, it is genre-specific and context-specific, it is highly interactive rather than linear, it uses a process approach to cater to different learning styles, it accommodates different writer profiles, and it is an instructional tool not connected to a physical writing center.
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Thomas, Martha Wetterhall, and Samuel B. Hardy. "Communication Instruction in a Mature Institutional Partnership." Business Communication Quarterly 68, no. 2 (June 2005): 197–208. http://dx.doi.org/10.1177/1080569905276672.

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Since 1994, the University of South Carolina at Columbia and the Wirtschaftsuniversität Wien (Vienna University of Economics and Business Administration) have offered a joint master’s degree in international business. Communication instruction was initially a stable component of the program, with a week-long course at the beginning and a report-writing workshop at the end, followed by individual instruction in preparing deliverables for a consulting field project. Since the field projects were phased out in 2003, students continue to receive the one-week communication course in Vienna; after that, they have voluntary access to individual instruction from the Center for Business Communication at the University of South Carolina and exposure to in-class communication workshops as scheduled by faculty across the business disciplines. Although student feedback is positive, these instructional methods currently lack consistency. To achieve such consistency, a communication center can help to integrate instruction within MBA programs through communication intensive courses, writing studios, or a communication capstone course.
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Romanenkova, Julia V. "The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century." Tekst. Kniga. Knigoizdanie, no. 25 (2021): 122–43. http://dx.doi.org/10.17223/23062061/25/7.

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The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new roles, inheriting the stages of transformation that took place in other countries. If earlier the book plate mainly served as an identifier of the owner, had mainly an informative function and was hidden from the eyes of the public, now it has become not just a work of graphic art, but an art object that, due to its typological diversity and specific artistic qualities, quickly acquired the status of not only an exhibited work of mini-print, but also a collectible. Ex-libris is more often exhibited, it is collected by artists, graphic artists, bibliophiles, and patrons. It has become a kind of an instrument for intercultural dialogue, promoting international communication. The change in the functional charac-teristics of ex-libris, the expansion of the circle of customers, the rapid growth of inter-est in the bookplate, and the increase in demand for it provoked a change in the status of the bookplate among artists themselves. If earlier the book platewas only one of the pages of the creative biography of a number of artists, now there are many masters who specialize in it, who have turned it into the main object of their professional interest. The commercialization of the phenomenon has developed: EL has become a kind of a pass to the international art space for young artists. The Ukrainian cultural field re-ceived its center of popularization of the bookplate as a self-valuable work of art of small-form graphics in 1993, when the Ukrainian ex-libris club was created in Kyiv. In the winter of 1993/94, the first international exhibition Woman in Ex-Libris” was held in the Ukrainian capital. In 1994, the international ex-libris competition Many Reli-gions – God Is One was organized. Since the beginning of the 1990s, there has been a clear tendency to separate several leading schools. The most original, with characteristic stylistic features, schools of the modern Ukrainian bookplate became Lviv, Odessa, Kyiv, Kharkiv. There are also several hotbeds of ex-libris popularization in Ukraine, with great professionals in the field of mini-print, but they are few to speak about inde-pendent schools: Luhansk, Mukachevo, Severodonetsk, Sumy, Chernihiv, Chernivtsi. In today’s art space of the country, the bookplate owes its survival primarily to collec-tors and patrons, and its main, perhaps, the only, way to preserve it in the art world is to transform it into an instrument of intercultural dialogue, integration into the internation-al field, without losing its national identity.
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Kuiper, Shirley, and Martha W. Thomas. "A Strategic Consultancy Model for Establishing a Center for Business Communication." Business Communication Quarterly 63, no. 2 (June 2000): 52–67. http://dx.doi.org/10.1177/108056990006300204.

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As a result of a major revision of the undergraduate curriculum in the Darla Moore School of Business, University of South Carolina, we were given the task of establishing a center for business communication. Based on this experience, we present our strategic consultancy model for launching such a center. The model employs the strategic management paradigm of identifying the principle players in the process; identifying stakeholders; defining goals; analyzing strengths, weak nesses, opportunities, and threats (SWOT analysis); establishing consultancy relationships; and evaluating results. The model proved successful in writing a proposal for the center, implementing the center, and evaluating the center's work.
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Ghosh, Abhija. "Memories of Action: Tracing Film Society Cinephilia in India." BioScope: South Asian Screen Studies 9, no. 2 (December 2018): 137–64. http://dx.doi.org/10.1177/0974927618814026.

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The inception stories of early film societies in India from the 1940s to the 1960s reveal how these groups initiated an access to international, art and alternative cinemas through a network of circulation and exhibition created separately from mainstream cinema markets thereby forming a parallel network of societies, foreign consulates, embassies, government institutions and the National Film Archive of India (NFAI). This paper navigates the early history and memories of film societies in an attempt to map the cinephiliac energy of the film society movement through their erstwhile network of film travel. Using experiences, criticism and narratives of nostalgia published in film society journals, this paper reimagines the routes traversed by art cinemas and their cinephiles, enumerating specific activities around the film object. Observing urban film societies where film society cultures were initially conceptualized, thrived and whose histories are relatively renowned but also traces some significant small town societies which made the most of these circuits of film travel reaching out to non-metropolitan centers effectively transforming backyards into screening spaces and widening the scope of community participation around art cinemas.
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Dissertations / Theses on the topic "International Center Of Art And Communication"

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Vandason, Dominique Disco. "Communication - The Key To Democracy." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23878.

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This study aims to provide a deeper insight on how the communication is used in capacity building and how it affects the socially constructed power structures using theories of Critical Discourse Analysis and the Public Sphere Theory. Through qualitative research methods, the data collected will position the analyzed material in the theoretical framework mentioned before. The study is conducted in co-operation with the Swedish civil society organization Olof Palme International Center, together with the Kosovar non-governmental organization Syri I Vizionit. It includes observation and analysis of the Active Citizenship project. The project relates to the CDA, as it involves the context of social and communicative structures based on the effects of capacity building on micro level.This work includes a Written Essay, based on scientific research and theories, and a Visual Representation in from of a documentary based on the topic of this essay i.e. communicative processes impact on capacity building (e.g. see appendix 7).
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Song, Jung Eun. "Considering Nation Branding as a Way to Build International Cultural Relations: The Case Study of the Korean Cultural Centers in the United States." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285095439.

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Tan, Lan Yu. "An examination of voice and spaces of appearance in artistic representations of migration experiences: Art practices in a political arena." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23881.

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Denmark has one of the toughest immigration laws in Europe and legislation has become even tighter. Amid this political climate, a gleam of hope in the form of a refugee and asylum-seeker community centre was established. This centre is called Trampoline House and works to provide refugees and asylum-seekers a place of refuge, hope and community. Inside this centre, we find an art gallery, Centre for Art on Migration Politics (CAMP) dedicated to exhibiting artworks discussing questions of displacement, migration, immigration and asylum. The gallery, in partnership with Trampoline House, hosts events, workshops and talks that encourage cultural exchange between artists, users of Trampoline House and others.Focusing on a particular exhibition, Decolonising Appearance, curated by Nicholas Mirzoeff, that deals with migration and decolonialism, this study attempts to unpack the art gallery’s communication approaches in order to identify strategies for transformative dialogue and social change. Issues of how political and artistic practices intersect are discussed within the framework of voice and appearance (Appadurai 2004, Couldry 2010 & Arendt 1958). By focusing on appearance and re-appearance, this paper examines how notions of voice and capacity may inform the gallery’s decolonial artistic practices.The study finds that while CAMP has ambitions to create dialogue through strategies of artistic interventions, art events and an art gallery guide programme where participants are recruited from Trampoline House, there is a disconnect between what it strives to be, and what it is. Although the vision of CAMP is to build bridges and create cultural exchanges these are only successful to varying degrees. In order to succeed in this vision, the approaches must be more inclusionary and embrace a wider segment of society.
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Thomas, Mariette L. "Critical encounters: How some Japanese students understand and adapt to the practice of critique in the U.S. design studio." Scholarly Commons, 2015. https://scholarlycommons.pacific.edu/uop_etds/246.

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Critique, or "crit," is a central feature of instruction in art and design programs. Critique is an event in which students present their work and receive feedback from faculty, visiting professionals, and their classmates. Critique can be formative or summative. In formative critiques, the instructor intervenes in the creative process, reviews drafts of work, and makes recommendations for revision. In summative crits, the instructor evaluates a finished product for a grade. The goal of a summative critique is to evaluate and rate the quality of student work. However, success is not necessarily determined by student work alone. Critique also requires mastery of a number of communication and cultural competencies. Crits can be challenging for students of all cultural backgrounds but may be especially difficult for international students who are adapting to a new culture and academic environment. This study examined the difficulties that some Japanese students experience in summative crits often due to cultural differences and language problems. The purpose of this study was to investigate challenges experienced by Japanese international students and identify types of support that Japanese international students may need in order to be successful in crits. This study had three goals: (1) provide Japanese students with recommendations for success in crits; (2) help faculty learn international perspectives and contribute to their cultural sensitivity in the classroom; and (3) encourage greater institutional support for international students at American design schools. This research aims to contribute to a better understanding of the challenges and needs of international students in the U.S. design classroom.
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Newton, Eric. "Building rapport in mediation| A study of the application of intercultural competencies in a Midwestern mediation center." Thesis, University of the Pacific, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10140628.

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In today’s world, people from various cultures interact on a daily basis on a number of occasions. During these intercultural encounters, conflicts often arise. Intercessors are needed to help people navigate these types of disagreements. Mediators are considered some of these peacekeepers. This thesis engaged with mediators at a mediation center in the Midwestern United States in order to understand what strategies seemed most effective.

I examined the research that scholars have conducted regarding building rapport through utilizing respect and face issues, as well as nonverbal behavior. In addition, I explored the connection between the understanding of these factors and intercultural competence and intercultural conflict competence.

The purpose of this thesis was to see how these mediators understood and valued respect and face issues, including nonverbal behavior, when building rapport with parties in mediations. These mediators were engaged in two manners, via survey and interview questions. The intercultural competence of the mediators in these domains was also explored.

The results of the research in this thesis showed how the mediators were skilled in some areas, such as in rapport building and respect issues. It further revealed that they were in need of some skills for their toolbox, such as training on face issues and nonverbal behavior, including silence, tone of voice, and eye contact. Detailed recommendations for the mediators are provided. Future research is encouraged: A group of mediators that have exhibited intercultural competence should be selected in order to test their intercultural conflict competence.

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Kottová, Kristýna. "Výtvarné umění jako nástroj české kulturní diplomacie." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-201961.

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For centuries, art has played an important role as a tool of cultural diplomacy and even now represents an integral part of foreign cultural policy of different countries. Modern and contemporary fine art often reflects the current social and political issues, at both national and international levels. This thesis aims to prove that art, as a means of expression, has its place in international relations, in the context of cultural diplomacy. The intention of this thesis is to explore the many ways that fine art is applied as an instrument of cultural diplomacy and how the use of visual arts contributes to positive relations between nations and to the process of building a positive image of the state abroad. In the context of Czech cultural-diplomatic practice, the art and its employment is analysed on two levels - historical, that examines the use of art in the process of building the Czechoslovak state, and institutional, that introduces both state and private actors, who contribute greatly to the cultural diplomacy of the Czech Republic via the promotion of Czech fine arts. The final chapter focuses on the environment of New York as a world cultural and art center, and engages in representative Czech projects, activities, organizations and individuals who are successful advocates of Czech visual arts in the international context. The main contribution of this thesis is its aim to address an uncommonly debated topic - a specific area of artistic creation, its role and position in international relations and cultural diplomacy of the Czech Republic.
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Fetnan, Rime. "La fabrique des imaginaires de l’altérité dans les biennales internationales d’art contemporain depuis 1989." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30013.

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Cette thèse vise à interroger la façon dont les biennales internationales d’art contemporain, en tant qu’événements culturels et premiers temps d’historicisation des oeuvres et des artistes, contribuent à la fabrique des imaginaires de l’altérité. Le cadrage chronologique de notre recherche s’ancre à partir de 1989, date qui correspond à un « tournant global », un changement de paradigme qui aurait eu pour effet de repenser les rapports de domination et les logiques de centre/périphérie, notamment dans le champ de l’art contemporain. L’internationalisation de l’art contemporain et le renouvellement des cadres de pensées que l’on rattache au « tournant global » ont donné lieu à l’émergence d’un processus de labellisation de la différence, dont témoignent des catégories artistiques et esthétiques telles que « art non-occidental » ou « art global », porteuses d’imaginaires renouvelés que ce travail de recherche entend analyser. Notre démarche, qui s’appuie sur un corpus de six expositions ayant marqué le champ des événements culturels internationaux, est volontairement pluridisciplinaire et vise à considérer l’hétérogénéité du matériel qui compose ces expositions. En premier lieu, la mise en lumière des discours expographique résulte de l’analyse conjointe de trois composantes : les écrits, à partir desquels nous proposons une typologie spécifique qui considère la fois les intentions qui président à leur production et les usages qui en sont faits ; les pratiques artistiques, qui dans le cadre des biennales sont au service du discours expographique ; et les gestes de mise en exposition qui sont propres au dispositif médiatique spécifique des biennales. En deuxième lieu, la réalisation d’entretiens et la collecte d’archives ont permis de circonscrire le contexte d’énonciation et l’intentionnalité des événements. En tant que dispositif médiatique à part entière, le catalogue d’exposition a également donné lieu à une méthodologie adaptée à l’ensemble des éléments (discursifs et non discursifs) qui le caractérise. Plus particulièrement, les écrits de connaissances que l’on y trouve ont fait l’objet d’une analyse sémiolinguistique permettant de mettre en lumière les processus de concrétisation des concepts, et donc de saisir les imaginaires et valeurs qui sont attachés. L’approche privilégiée pour analyser ce corpus permet ainsi d’articuler à la fois les spécificités de chaque exposition (c'est-à-dire leur individuation à travers l’articulation de leur concept et de leur dispositif) et leur inscription dans un réseau (en tant que résultat d’un processus de réécriture), vis-à-vis du thème de l’altérité
This research aims to examine how contemporary international art biennials, considered as cultural events and as first step in the historicization process of works and artists, contribute to the making of « otherness » as an imagined community. The chronologic frame of our research is anchored in 1989, which correspond to the « global turn », a shift of paradigm that would have led to the rethinking of domination relationship and the logic center/periphery, especially in the field of contemporary art. The internationalization of contemporary art and the renewal of the frameworks of thought that are often connected with the global turn have led to a process of labeling the difference, as evidenced by artistic and aesthetic categories such as « non-western art » or « global art » that carry renewed representations that this research intends to analyze. Our approach, which is based on a corpus of six exhibitions that have marked the field of international cultural events, is deliberately multidisciplinary and aims to consider the heterogeneity of the material that composes these exhibitions. First, we highlight the expographic discourses from the analysis of three components : the writings, from which we propose a specific typology that considers both the intentions that preside over their production and the uses that are made of them ; artistic practices, which in the context of biennials are at the service of the expographic discourse ; and the gestures of exhibitions which are characteristics of the specific media device of the biennials. Secondly, interviews and the collect of archival documents have led us to circumscribe the context of enunciation and the intentionality of the events. As a media device in its own right, the exhibition catalog also gave rise to a metholody adapted to all the elements (discursive and non-discursive) that characterize it. More particularly, the writings of knowledge have been the subject of semiolinguistic analysis to highlight the processes of concretization of concepts, and thus have led us to grasp the artistic values that are attached to the imagined otherness. The preferred approach to analyze this corpus thus makes it possible to articulate the specificities of each exhibition (i.e their individuation through the articulation of their concept and their device), and their inscription in a network (as a result of a process of rewriting) at the same time
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Castro, Jennifer de. "Le Festival de Cannes et la promotion du cinéma (1946-1972) : le 7ème art, un objet culturel protéiforme au service du prestige national." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA015.

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Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiés
This thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.

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Berrios-Ayala, Mark. "Brave New World Reloaded: Advocating for Basic Constitutional Search Protections to Apply to Cell Phones from Eavesdropping and Tracking by Government and Corporate Entities." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1547.

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Imagine a world where someone’s personal information is constantly compromised, where federal government entities AKA Big Brother always knows what anyone is Googling, who an individual is texting, and their emoticons on Twitter. Government entities have been doing this for years; they never cared if they were breaking the law or their moral compass of human dignity. Every day the Federal government blatantly siphons data with programs from the original ECHELON to the new series like PRISM and Xkeyscore so they can keep their tabs on issues that are none of their business; namely, the personal lives of millions. Our allies are taking note; some are learning our bad habits, from Government Communications Headquarters’ (GCHQ) mass shadowing sharing plan to America’s Russian inspiration, SORM. Some countries are following the United States’ poster child pose of a Brave New World like order of global events. Others like Germany are showing their resolve in their disdain for the rise of tyranny. Soon, these new found surveillance troubles will test the resolve of the American Constitution and its nation’s strong love and tradition of liberty. Courts are currently at work to resolve how current concepts of liberty and privacy apply to the current conditions facing the privacy of society. It remains to be determined how liberty will be affected as well; liberty for the United States of America, for the European Union, the Russian Federation and for the people of the World in regards to the extent of privacy in today’s blurred privacy expectations.
B.S.
Bachelors
Health and Public Affairs
Legal Studies
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Books on the topic "International Center Of Art And Communication"

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International Symposium on VLSI Technology, Systems, and Applications (1999 Taipei, Taiwan). 1999 International Symposium on VLSI Technology, Systems, and Applications: Proceedings of technical papers, June 8-10, 1999, Taipei International Convention Center, Taipei, Taiwan, R.O.C. Chutung, Hsinchu, Taiwan: ERSO, ITRI, 1999.

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IEEE International Conference on Acoustics, Speech and Signal Processing (1998 Seattle). Proceedings of the 1998 IEEE International Conference on Acoustics, Speech and Signal Processing: May 12-15, 1998, Washington State Convention and Trade Center, Seattle, WA. Piscataway, NJ: IEEE, 1998.

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TENCON, (1993 Beijing China). Proceedings: TENCON '93, 1993 IEEE Region 10 Conference on "Computer, Communication, Control, and Power Engineering", October 19-21, 1993, Beijing, Beijing International Convention Center, Beijing Continental Grand Hotel. Beijing, the People's Republic of China: International Academic Publishers, 1993.

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Persuasion and power: The art of strategic communication. Washington, DC: Georgetown University Press, 2012.

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International Exchange Exhibition Textile Design (2001 Daegu, Korea). Textile design: International Exchange Exhibition Textile Design 2001, 2001.4.24-4.29, Daegu Culture & Art Center, Art Hall. [Daegu]: Daegu Textile Design Federation, 2001.

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Tug of war: The tension concept and the art of international negotiation. [Champaign, IL]: Common Ground, 2010.

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Ceramics, International Academy of. Exhibition of contemporary tokai ceramic art: September 15-26, 1996, Nagoya Congress Center. [Saga-ken]: IAC Nihon Kaigi '96 Saga-ken Jikkō Iinkai, 1996.

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IEEE International Symposium on Personal, Indoor, and Mobile Radio Communications (7th 1996 Taipei, Taiwan). The Seventh IEEE International Symposium on Personal, Indoor and Mobile Radio Communications, PIMRC'96: Taipei International Convention Center, Taipei, Taiwan, ROC, October 15-18, 1996. [New York, N.Y.]: Institute of Electrical and Electronics Engineers, 1996.

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Engineers, Institution of Electrical, ed. 2002 International Topical Meeting on Microwave Photonics: MWP 2002 : Technical digest : November 5-8, 2002, Awaji Yumebutai International Conference Center, Awaji, Japan. Tokyo, Japan: Institute of Electronics, Information and Communication Engineers, 2002.

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Freundschaftsspiel: Zeitgenössische Kunst im interkulturellen Dialog = Dostluk maçi : çağdaş sanatta uluslar arası diyalog = Friendly game : contemporary art in international dialogue. Münster: Kunstakademie, 2005.

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Book chapters on the topic "International Center Of Art And Communication"

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Chandra, Kamlendra, Amit Prakash Jagtap, and Sangeeta Srivastava. "Evolvable Hardware State of the Art." In Proceedings of the International Conference on Computing and Communication Systems, 683–95. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4084-8_66.

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Garcia, Camino López, and Nesrin Ouis. "Art, Education and Intercultural Dialogue Mediated by the Information and Communication Technologies." In Comparative and International Education, 49–51. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-423-7_3.

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Tong, Xinshun, and Lihua Yang. "Research on Inventory Optimization Model for Cigarette Distribution Center in Random Demand Environment." In 2011 International Conference in Electrics, Communication and Automatic Control Proceedings, 1283–92. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-8849-2_165.

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Chaintoutis, Charidimos, Adonis Bogris, and Dimitris Syvridis. "3D P-Torus: Wavelength-Based Switching in Packet Granularity for Edge Data Center Networks." In Proceedings of Sixth International Congress on Information and Communication Technology, 261–72. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1781-2_25.

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Cofta, Claudette. "State-of-the-Art Emergency Information Management and Communication at the Chemical Transportation Emergency Center." In Chemical Spills and Emergency Management at Sea, 269–73. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-011-7790-0_23.

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Cofta, Claudette. "State-of-the-Art Emergency Information Management and Communication at the Chemical Transportation Emergency Center." In Chemical Spills and Emergency Management at Sea, 269–73. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-0887-1_23.

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Girthana, K., and S. Swamynathan. "Efficient Prior-Art Retrieval of Patent Documents Using MapReduce Paradigm." In Proceedings of the International Conference on Computing and Communication Systems, 735–44. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6890-4_70.

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Jaafar, Fazlina, Farrah Hanani Ahmad Fauzi, and Wan Nor Raihan Wan Ramli. "Enhancement on Visual Communication for Preschool Education Using Transmedia Approach." In International Colloquium of Art and Design Education Research (i-CADER 2014), 437–46. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-332-3_46.

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Rekha and Ritu Garg. "Energy Management in Wireless Sensor Networks: A State of Art." In International Conference on Intelligent Data Communication Technologies and Internet of Things (ICICI) 2018, 492–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03146-6_54.

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Wahidiyat, Mita Purbasari, and Anita Rahardja. "The Journey of Jakarta’s Icon, Ondel-Ondel to Become Communication Media and Identity of Its People." In Proceedings of the Art and Design International Conference (AnDIC 2016), 537–44. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_59.

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Conference papers on the topic "International Center Of Art And Communication"

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Wang, Juan. "Reality and Retrospect On the Application of Context Continuation in Leisure Center Design." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.119.

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Wang, Shunling. "A Study of English Writing Center in Canadian Higher Education and Its Implications on College English Writing Teaching." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.89.

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Hua, Xun. "Computer Control of Turning Center and Industrial Robot." In ASME 1992 International Computers in Engineering Conference and Exposition. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/cie1992-0132.

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Abstract This presents a computer control system for a turning center workstation in Computer-integrated Manufacturing Systems (CIMS) environment. The system structure is first introduced. Then, an information exchange between different devices inside the workstation is studied. These devices are made by different manufacturers so that the communication between them becomes a problem. The principle of developing a software to implement the communications is presented, which includes the use of a software platform, the development of data acquisition system (DAS) for robots, and the writing of an information request. Finally, the operations of the system is presented.
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Kalouskova, Svetlana, and Natalia A. Bondarenko. "Educational Activity of Cultural Centres as Means for Intercultural Communication." 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.201215.354.

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Delplancq, Véronique, Ana Maria Costa, Cristina Amaro Costa, Emília Coutinho, Isabel Oliveira, José Pereira, Patricia Lopez Garcia, et al. "STORYTELLING AND DIGITAL ART AS A MEANS TO IMPROVE MULTILINGUAL SKILLS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end073.

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The use of storytelling and digital art as tools to understand a migrant family’s life path will be in the center of an innovative methodology that will ensure the acquisition of multilingual skills and the development of plurilingual awareness, reinforcing the various dimensions of language (aesthetic and emotional, in addition to cognitive), in a creative, collaborative and interdisciplinary work environment. This is especially important among students who are not likely to receive further language training. It is not yet clear how teachers can explore multilingual experiences of learners, both in terms of language learning dimensions but also related with the multiple cognitive connections and representations, as well as to the awareness of language diversity. The JASM (Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior) project involves a group of students of the 1st cycle in Media Studies, from the School of Education of Viseu, who will work using photography, digital art and cultural communication, collecting information pertaining to diversified cultural and linguistic contexts of the city of Viseu (Beira Alta, Portugal), both in French and English, centered on a tradition or ritual of a migrant family. Based on an interview, students write the story (in French and English) of the life of migrants and use photography to highlight the most relevant aspect of the migrant’s family life. Using as a starting point an object associated with religion, tradition or a ritual, students create an animated film, in both languages. This approach will allow the exploration of culture and digital scenography, integrating in an innovative interdisciplinary pathway, digital art, multilingual skills and multicultural awareness. Students’ learning progress and teacher roles are assessed during this process, using tests from the beginning to the end of the project.
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Lisovetc, Irina. "The Modern Multi-Functional Cultural Center (Yeltsin Center) as a Platform for Dialogue Both Public & Private." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-11.

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The article covers the modern multi-functional cultural centre as an institution of Russian culture of the 21st Century in the terms of the interaction of publicity and privacy. On the basis of the institutional approach in cultural theory and the philosophical and aesthetic analysis of the space of the cultural centre, the most important role of this institution in individual and personal assimilation of sociocultural values is substantiated. The objectives (programme) of such an institution, its chronotope and functionality are directed at the involvement of contemporaries into various forms and levels of the culture of the past, and its emotional-sensual assimilation via media-communication technologies. The ‘Yeltsin-Center’ in the city of Yekaterinburg was taken as the example not only for being orientated on the familiarisation of its visitors with the history of the Russian state and its culture of the late 20th century and the early 21st century, but also for the subjective experience of turning points of those times and the city where the personality and activities of the first Russian president were shaped and began. The calibre of the President’s personality, in this case, is diversely represented within the space of the Centre, and becomes crucial for understanding what was going on at that time. The ‘Yeltsin-Center’ is a principally new cultural complex, each component of which, and above all its central part - the Museum of the First President - is structured to show the turning point in Russian history as the President’s life journey and to encourage citizens to understand the past and present. The use of modern information technologies in this cultural complex, and primarily in its museum exhibition having been arranged as an artistic artefact, becomes crucial to the dialogue of publicity and privacy.
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Malinovskaya, Elizaveta. "National Schools of the 20th Century: Cultural Identity or Conceptual Choice." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.128.

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Merunka, Vojtech, and Martin Molhanec. "Neoslavonic Language Zonal Language Constructing: Challenge, Experience, Opportunity to the 21st Century." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.60.

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Bondarenko, Natalia. "Echo of Russian Literature Following Works of Slavic Writers of the 19th Century." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.203.

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Tsvyk, Vladimir, and Irina Tsvyk. "Philosophical Technologies in Educational Process in the XXI Century." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.35.

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Reports on the topic "International Center Of Art And Communication"

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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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