Relevant bibliographies by topics / Primitivism (art)

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

Academic literature on the topic 'Primitivism (art)'

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Published: 4 June 2021
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Journal articles on the topic "Primitivism (art)"

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Povey, John, Robert Goldwater, and Katia Samaltanos. "Primitivism in Modern Art." African Arts 20, no. 3 (May 1987): 14. http://dx.doi.org/10.2307/3336470.

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Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1994): 30. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00389.x.

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Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1995): 30. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00389.x.

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Minturn, Kent Mitchell. "Dubuffet, Art Brut and "Primitivism"." Critique d’art, no. 53 (November 26, 2019): 165–72. http://dx.doi.org/10.4000/critiquedart.53915.

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Thomas, Nicholas. "Art Against Primitivism: Richard Bell's Post-Aryanism." Anthropology Today 11, no. 5 (October 1995): 15. http://dx.doi.org/10.2307/2783186.

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DOY, G. "The Myth of Primitivism: Perspectives on Art." Journal of Design History 5, no. 1 (January 1, 1992): 95–96. http://dx.doi.org/10.1093/jdh/5.1.95.

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Folland, Thomas. "Readymade Primitivism: Marcel Duchamp, Dada, and African Art." Art History 43, no. 4 (June 13, 2020): 802–26. http://dx.doi.org/10.1111/1467-8365.12518.

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PRICE, SALLY. "“Primitivism” in 20th Century Art . WILLIAM RUBIN, ed." American Ethnologist 13, no. 3 (August 1986): 578a—580. http://dx.doi.org/10.1525/ae.1986.13.3.02a00190.

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Lewthwaite, Stephanie. "Modernism in the Borderlands: The Life and Art of Octavio Medellín." Pacific Historical Review 81, no. 3 (August 1, 2012): 337–70. http://dx.doi.org/10.1525/phr.2012.81.3.337.

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This article examines the life and work of Octavio Medellín, a Mexican-born sculptor based in Texas during the 1930s and 1940s. It argues that Medellín was not simply a Mexican artist operating within the confines of an indigenist and nationalist art; neither was he a modernist primitivist artist committed to the search for pure form. As an emerging Mexican American subject located on the margins of both homeland and host society, Medellín synthesized the categories of Mexican art, regionalism, and modernist primitivism to produce an alternative modernism. Medellín's art reflects the bicultural complexities of becoming Mexican American in the United States—the appropriation and transformation of one's ancestral heritage while seeking cultural and political citizenship in a new land. Medellín's artistic journeying also underscores the multidirectional and transcultural origins of modernism during the 1930s and 1940s.
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Guenther, Mathias. "Contemporary Bushman Art, Identity Politics and the Primitivism Discourse." Anthropologica 45, no. 1 (2003): 95. http://dx.doi.org/10.2307/25606117.

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Dissertations / Theses on the topic "Primitivism (art)"

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Hugues, Henri. "1914-2014, un siècle d’anthropophagie féminine dans l’art brésilien : pertinence et actualité ?" Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0766/document.

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Au début du vingtième siècle, une rupture radicale et fondatrice de modernité artistique eut lieu au Brésil. Cette modernité se démarque de celle d’Europe par la prise de conscience des distances géographiques, culturelles et politiques vis à vis de l’Europe et surtout de l’ancienne puissance coloniale, le Portugal, par la recherche de son identité à travers la multiplicité des métissages du Nouveau Monde, ses mythes et son histoire réelle décolonisée. L’avant-garde brésilienne émerge autour de 1928, à travers les Manifestes anthropophages d’Oswald de Andrade (1890-1954) qui est donc le fondateur des anthropophagies, que l’on peut définir comme un indianisme à rebours. Le ″mauvais sauvage″ exerce sa critique contre les impostures du monde. « La ″Descente anthropophagique″ n’est pas une révolution littéraire, ni sociale, ni politique, ni religieuse. Elle est tout cela à la fois ! Sa loi est simple : Ne m’intéresse que ce qui n’est pas à moi ! Loi de l’homme, loi de l’anthropophagie ! » . Elle prescrit donc la dévoration des modèles importés et leur digestion dans l’hybridation au nom de l’identité brésilienne, par déplacement de concepts freudiens : « L’anthropophagie c’est la transformation permanente du Tabou (manger de l’homme) en Totem (de l’identité brésilienne) ! » . Ici l’influence notable de la psychanalyse et de l’anthropologie est à resituer : le déplacement du tabou anthropophage demeure une transgression symbolique, une métaphore, mais la référence anthropophagique ne concerne pas que la période précolombienne, car elle se réactualise. Nous nous proposons d’étudier ce phénomène à travers quatre questions : 1°- Quelles relations existent entre l’anthropophagie, l’histoire, l’esthétique et l’idéologie ? 2°- Quelle est la place des femmes artistes brésiliennes dans l’émergence de ce mouvement, compte tenu de leur présence décisive dès l’origine ?3°- Compte tenu de la résurgence rhizomique de l’anthropophagie dans la 2e moitié du XXe siècle, y compris jusqu’à aujourd’hui, quelle est la place des femmes artistes dans ce phénomène ? Y a-t-il continuité avec l’époque fondatrice ?4°- Etant donné ce qui précède, peut-on déduire qu’il existe un courant spécifiquement féminin dans l’anthropophagie d’hier et d’aujourd’hui ? Quelle est son importance réelle ? Quelles sont ses relations et postures par rapport à la postmodernité et à la mondialisation de l’art contemporain ?
At the beginning of the twentieth century, in Brazil, a radical artistic rupture took place, which marked the beginning of a new era. The resulting modernity differed from its European counterpart by the awareness of geographical, cultural and political distances that alienated Brazil from Europe and more specifically from its former colonial owner, Portugal. Brazilian modernity sought to define its identity through important basic elements that constitute the stuff that the New World is made of: cross-breeding, mythology and post-colonialism. The Brazilian avant-garde emerged around 1928 with the publication of The Anthropophagy Manifesto by Oswald de Andrade (1890-1954), who is thus the founder of the Anthropophagy, that we can define as a backward step into a reinvented form of ″Amerindianness″. The ″bad savage″ voices his criticism against impostures of the world. « Anthropophagy art is not a literary revolution, nor is it a social plea, nor a political pamphlet, nor a religious tract. It is all these things at the same time. Its law is simple: everything that is not me is of interest to me. The law of men is the law of Anthropophagy ». It thus prescribes eating up imported models and digesting them through the process of hybridization in the name of Brazilian identity. By displacing Freudian concepts, «Anthropophagy is the permanent transformation of the Taboo (man-eating) into a Totem (Brazilian identity) ». The permeating influences of psychoanalysis and anthropology need to be put in perspective: the displacement of the anthropophagous taboo remains a symbolic act of transgression, a metaphor, but the anthropophagic reference does not concern the pre-Columbian period, because it is updated. We propose to study this phenomenon through four questions: 1°- What are the relations between Anthropophagy, history, esthetics and ideology? 2°- What is the place of women Brazilian artists in the emergence of this movement, taking into account their decisive presence right from the start? 3°- Taking into account the resurgence of Anthropophagy from the second half of the 20th century onwards, what is the place of women artists in this phenomenon? Are they pursuing the same interests as the founders of the movement?4°- Can we deduce that there exists a specifically female genre within the anthropophagic movement of yesterday and of today? If so, what is its relevance? Where does it stand with respect to the contemporary concepts of post-modernity and globalization in the present-day art world?
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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.

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Hill, Cecilia Fajardo. "In and out of 'the primitive' : postcolonialism and contemporary art practice : Jimmy Durham and Jose Bedia in context." Thesis, University of Essex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272509.

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Rhodes, Colin. "Primitivism reexamined : constructions of the 'primitive' in modernist visual art." Thesis, University of Essex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333521.

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Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.

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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.
The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
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Madden, Deborah. "Pristine purity : primitivism and practical piety in John Wesley's art of physic." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397341.

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Trapani, Roberta. "Patrimoines irréguliers en France et en Italie : origines, artification, regard contemporain." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100087.

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Depuis les années 1930, un lent processus d’« artification » investit des lieux de vieembellis par leurs propres habitants avec des techniques improvisées. Considérés àl’origine comme des curiosités locales, ces sites sont révélés au monde de l’art par lessurréalistes, qui amorcent leur documentation. Dans l’après-guerre, ils connaissent uneréception de plus en plus enthousiaste au sein de certains milieux artistiques et serontannexés successivement à l’art médiumnique, à l’art naïf, à l’art brut, à l’outsider art, àl’architecture fantastique, entre autres, donnant lieu à une pléthore de définitions. Cesenvironnements irréguliers seront alors considérés souvent comme l’expressionspontanée d’impulsions intérieures, sans influences ni tradition. Cette thèse propose derevenir aux origines de cette forme artistique, en révélant le mouvement circulaire qui larelie, d’une part, aux cultures populaires et, d’autre part, aux courants officiels del’histoire de l’art contemporaine. Elle examine également les conditions de sa réceptions,dans un contexte dominé jusque dans les années 1970 par le paradigme primitiviste,avant de se concentrer sur la multiplication des initiatives qui, depuis la fin des années1970, marquent un renouvellement du regard. Tout au long, les environnementsirréguliers sont questionnés dans leur faculté à associer des notions fondamentales –art, culture, marginalité, architecture, grotesque, baroque, ornemental, entre autres – età être saisis comme un outil opératoire désignant une forme d’authenticité artistique ouculturelle
Since the 1930s, a slow process of « artification » invested living spaces decorated bytheir own inhabitants with improvised techniques. Originally regarded as localcuriosities, these sites have been introduced to the artistic world by the Surrealists, whobegan their documentation. In the post war period, they have been seen with increasingenthusiasm in some artistic circles and then have been linked to mediumistic art, naiveart, art brut, outsider art, fantastic architecture, among others, creating a plethora ofdefinitions. Irregular environments have often been considered as the spontaneousexpression of inner impulses, without influence or tradition. This thesis proposes toreturn to the origins of this form of art, revealing the circular movement that connects it,on one hand, to the popular cultures and, on the other hand, to the officials movementsof the history of contemporary art. It also examines the conditions of its own reception,in a context dominated until the 1970s by the primitivist paradigm, before of focusing onthe many initiatives that, since the late 1970s, brought a renewed look. All along,irregular environments have been questioned in their ability to combine fundamentalconcepts - art, architecture, culture, marginality, ornamental, among others - and to betaken as an operational tool for a form of artistic or cultural authenticity
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Brun, Baptiste. "De l’homme du commun à l’art brut : « mise au pire » du primitivisme dans l’œuvre de Jean Dubuffet : Jean Dubuffet et le paradigme primitiviste dans l'immédiat après-guerre (1944-1951)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100084.

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L’œuvre de Jean Dubuffet dans l'immédiat après-guerre est le moment paradoxal d'un refus radical du peintre de toute critique primitiviste à l'endroit de son œuvre. Or d'un point de vue formel, il pousse à l'excès des moyens jugés alors comme caractéristiques de l'art primitif et d'un point de vue conceptuel, il se réclame d'une forme d'animisme qui trahit une conception agissante de la matière. Enfin, il emprunte largement aux procédures propres à la science ethnographique alors en plein développement dans le cadre des prospections relevant de ce qu'il nomme, à l'été 1945, l'Art Brut. Afin de dépasser ce paradoxe, en considérant tour à tour sa pratique picturale, les écrits qui relaient sa pensée et son travail autour de l'Art Brut, nous montrons comment Dubuffet, en procédant à un déplacement systématique d'un regard a priori primitiviste, engage à une critique systématique de ce dernier.L'Art Brut, envisagé comme un opérateur critique dérivant de l'informe bataillien, se constitue alors comme le levier d'une remise en cause des manières consensuelles de penser l'art. Il lui permet de dépasser l'esthétique pour ouvrir le champ d'une interrogation proprement anthropologique de ce qu'il nomme l'opération artistique
Immediately following the conclusion of the Second World War, Jean Dubuffet categorically refused the qualification of his work as part of Primitivism. But Paradoxically, the means by which this painter expressed himself were none other than those identified in so-called primitive art, and he often claimed himself as an animist what in a way betrayed an active conception of matter. Furthermore, Dubuffet drew from ethnographic research processes to finetune his method which would be baptized as Art Brut in the summer of 1945. In order to move beyond this paradox, and by using Dubuffet's paintings, writings and other work, this paper will demonstrate how Art Brut shifted the original perception of primitive art, and in thus doing so, became its unconditional critic. Art Brut, which was considered to be a means of critique as a derivative of George Bataille's « informe », emerged as a concept leading to think art differently. Esthetics could finally be pushed aside to make way for an anthropological interrogation of what the painter named the « artistic operation »
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Nicoletti, Martino. "Submerged landscapes : aesthetics of visual primitivism." Thesis, University of the West of Scotland, 2012. http://hdl.handle.net/10545/303736.

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This practice-based thesis presents the results of experimental research devoted to ethnic tourism among the Kayan minority and has involved the interconnection of artistic and anthropological languages. Known worldwide for the traditional female custom of wearing a long coiled brass necklace aimed at causing a considerable extension to the neck, the Kayan are a Tibeto-Burman ethnic group originally from Burma. Due to the prolonged civil war in their own homeland, a large number of Kayan recently fled from Burma to refuge in neighbouring Thailand. Here, over the past years, in response to the “incisive” tourism policy promoted by the Thai government in the northern areas of the country, some families, abandoning the refugee camps where they were hosted, have been resettled in several new villages open to tourists, on payment of a modest entrance fee. Here the Kayan, their culture and their daily life, have been transformed into an authentic tourist attraction capable of drawing about 10,000 visitors a year. Founded on a strictly “visual media primitivist” approach and inspired by its peculiar aesthetics – as systematically presented in the first, theoretical, section of the thesis –, the enquiry involves a multimedia perspective. In such a context, analogue photography and filmmaking, creative writing and sound composition have been combined to give concrete shape to an original artwork firmly grounded in ethnographic practice. The choice, far from being a solely arbitrary and subjective option, has indeed been motivated by the critical employment of specific theoretical assumptions of some of the most recent streams of anthropology and epistemology of the human sciences. The multidisciplinary methodology adopted to develop the research, as well as the multifaceted language employed to display its results, represent an innovative and experimental way of approaching the complex theme of cultural identity in present-day Asian contexts, as well as of highlighting the most aesthetic and philosophic implications connected to the revival of analogue vintage media in contemporary artistic practice.
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Mitrani, Alex. "Joan Brotat y los avatares de la figuración primitivista en la segunda vanguardia en Cataluña." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/97287.

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Joan Brotat (Barcelona, 1920-1990) fue un artista destacado en el proceso de recuperación de la modernidad pictórica durante los años de la postguerra española, aunque luego cayó progresivamente en el olvido. Esta tesis estudia y establece su trayectoria profesional vinculada a su biografía personal (contexto familiar y social), a los factores inducidos por el sistema artístico local y en relación con en el contexto nacional e internacional (fortuna crítica, evolución artística y comercial). Brotat fue uno de los máximos exponentes de una tendencia que podríamos denominar como figuración primitivista. Definimos aquí las características de esta tendencia, su lugar frente a otras opciones de vanguardia de la época como la abstracción y apuntamos sus variantes y principales representantes. Abordamos también las razones de su declive a partir del análisis de la carrera profesional de Brotat. Descubrimos, gracias al estudio de su archivo familiar, la participación de Brotat en la guerra civil como parte de la Quinta del biberón republicana, hecho que escondió toda su vida y cuyo trauma influyó de toda evidencia en su obra. El análisis iconográfico y evolutivo del ingenuismo nos muestra una dimensión trágica y existencial. Así, su etapa expresionista, singular síntesis entre ingenuismo e informalismo, parece responder a una genuina necesidad psicológica. La comparación de su obra artística son sus proyectos profesionales en el campo de la ilustración infantil nos permiten hacer la diferencia entre naif el ingenuismo, que tanto preocupó a la crítica de la época. Un aspecto fundamental es el descubrimiento de una etapa abstracta a finales de los años cuarenta que contradice la jerarquía evolucionista que explica la figuración esquemática como un paso previo a la abstracción. El primitivismo ingenuista fue una opción consciente y deliberada. En su período de madurez, la obra de Brotat muestra una tendencia al amaneramiento y entra en decadencia, que se puede describir por la perdida de refinamiento y el estancamiento de los argumentos críticos que la apoyaron. La relación con los marchantes (Maurice Bonnefoy y Agustín Rodríguez Sahagún particularmente) se revela ambivalente en sus resultados. Lo mismo sucede con el aprovechamiento de la política artística franquista, dirigida por Luis González Robles. El primitivismo figurativo catalán de postguerra es una combinación coherente (aunque intuitiva y sin programa militante) de medievalismo e ingenuismo. El ingenuismo de vanguardia de postguerra tiene dos manifestaciones, a veces coincidentes y otras divergentes: la radical y la nostálgica. El primitivismo se apoyó en un discurso crítico específico y ocupó un lugar, móvil, en el debate artístico. Estudiamos las diversas fuentes de este primitivismo y constatamos la influencia fundamental de Joan Miró. De entre los referentes internacionales destaca Massimo Campigli. Asimismo, se encuentran paralelos y vínculos con artistas españoles como Rafael Zabaleta, Benjamín Palencia y el núcleo valenciano con Manuel Gil y Salvador Faus. Un caso especialmente interesante es el de Manolo Millares, quien tuvo una relación significativa con Cataluña en esos años. Entre los artistas catalanes, el primitivismo tuvo gran protagonismo y adoptó diversas formas. De Sucre o Joan Ponç representan la vertiente más radical y atormentada, Albert Ràfols Casamada o Joan Vilacasas la opción más ingenua y afrancesada. Se observa una clara tendencia a la politización (Francesc Todó, Josep Guinovart, Estampa Popular). La opción lírica o poética, representada especialmente por Brotat, fue dejada progresivamente de lado. A menudo teñido de nostalgia y religiosidad, coincidente con cierta moda franciscanista, el discurso teórico al respecto del primitivismo fue ambivalente y pasó de la modernidad al conservadurismo. La constatación de una corriente primitivista, de la cual Brotat sería la figura paradigmática en su éxito y su fracaso, obliga a repensar el canon del arte catalán de postguerra. El primitivismo no fue un estadio inmaduro de la modernidad en el camino hacia la abstracción sino que responde al contexto histórico particular de la España de postguerra con soluciones originales.
Joan Brotat (Barcelona, 1920-1990) was a prominente artist in the process of recovery of pictorial modernity in Spain after the Civil War, but then his work gradually fell into oblivion. This thesis studies his professional career, in relation to his personal biography (family and social context), the local art system, and the national and international context (critical fortune, artistic and commercial development). The thesis proposes that Brotat was in fact a paradigmatic figure of a primitivist tendency. Primitivism was not an immature stage of modernity on the way toward abstraction, but responded to the particular historical context of Postwar Spain with original solutions. The success and then failure of Brotat and Primitivism invites to reconsider the canon of Postwar Catalan art. Untill his death, Brotat did hide his involvement in the Civil War, a trauma that marked his work and existence. The iconographic analysis and the evolution of his modern naif style shows a tragic and existential undertones. A key aspect is the discovery of an abstract stage in the late forties contradicting the evolutionary hierarchy that explains schematic figuration as a step toward abstraction. On the contrary, naive primitivism was a conscious and deliberate option. Postwar Catalan Figurative Primitivism was a coherent mix of medievalism and naiveté(although without a declarated program). The naiveté of postwar art has two aspects : the radical and nostalgic, which sometimes appear together and sometimes separately. Among Catalan artists, primitivism had great prominence and took various forms. De Sucre or Joan Ponç represent the more radical and tormented side, Albert Rafols Casamada or Joan Vilacasas the most naive and influenced by French modernism. There is, later, a clear trend towards politization (Francesc Todó Josep Guinovart, Estampa Popular). We studied the various sources of this primitivism and found the fundamental influence of Joan Miró and Massimo Campigli. Likewise, there are links to Spanish artists such as Rafael Zabaleta, Benjamín Palencia, the valencians Manuel Gil and Salvador Faus or Manuel Millares. Often tinged with nostalgia and religiosity, in sinthony with a Franciscan fashion, the theoretical discourse about primitivism was ambivalent and evolved from modernity to conservatism.
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Books on the topic "Primitivism (art)"

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Primitivism in modern art. Cambridge, Mass: Belknap Press, 1986.

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Primitivism and modern art. New York: Thames and Hudson, 1994.

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Goldwater, Robert. Primitivism in modern art. Cambridge, Mass: Harvard University Press, 1986.

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German expressionism: Primitivism and modernity. New Haven, Conn: Yale University Press, 1991.

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Schaettel, Charles. L' Art naïf. Paris: Presses universitaires de France, 1994.

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Thang, Ruoh Shan. Oceanic "primitivism"in early twentieth-century art. Birmingham: University of Birmingham, 2001.

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Francis, Frascina, and Perry Gillian, eds. Primitivism, cubism, abstraction: The early twentieth century. New Haven: Yale University Press, in association with the Open University, 1993.

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missing], [name. Primitivism and twentieth-century art: A documentary history. Berkeley, CA: University of California Press, 2002.

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Brodskai︠a︡, N. V. Naïve art. New York, NY: Parkstone Press USA, 2000.

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Schott-Billmann, France. Le primitivisme en danse: Art et thérapie. Paris: Chiron, 1989.

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Book chapters on the topic "Primitivism (art)"

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Price, Sally. "The Enduring Power of Primitivism." In A Companion to Modern African Art, 445–65. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch23.

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von Beyme, Klaus. "Historical Memory and the Arts in the Era of the Avant-Garde: Archaism and Neo-Primitivism as a ‘Passéisme for the Future’." In On Political Culture, Cultural Policy, Art and Politics, 117–39. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01559-0_8.

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Birtwistle, Graham. "Whatever Happened to Primitivism? A Case Study in the Cultural Politics of Art History and Intellectual History." In The Arts, Community and Cultural Democracy, 201–13. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62374-7_11.

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Preneel, Bart. "Cryptographic Primitives for Information Authentication — State of the Art." In State of the Art in Applied Cryptography, 49–104. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/3-540-49248-8_3.

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Latham, William. "Form Synth: The Rule-based Evolution of Complex Forms from Geometric Primitives." In Computers in Art, Design and Animation, 80–108. New York, NY: Springer New York, 1989. http://dx.doi.org/10.1007/978-1-4612-4538-4_7.

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Duvall, John N. "“Why are you so Black?” Faulkner's Whiteface Minstrels, Primitivism, and Perversion." In A Companion to William Faulkner, 148–64. Malden, MA, USA: Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470996881.ch10.

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Boston, Brett, Samuel Breese, Joey Dodds, Mike Dodds, Brian Huffman, Adam Petcher, and Andrei Stefanescu. "Verified Cryptographic Code for Everybody." In Computer Aided Verification, 645–68. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81685-8_31.

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Abstract We have completed machine-assisted proofs of two highly-optimized cryptographic primitives, AES-256-GCM and SHA-384. We have verified that the implementations of these primitives, written in a mix of C and x86 assembly, are memory safe and functionally correct, by which we mean input-output equivalent to their algorithmic specifications. Our proofs were completed using SAW, a bounded cryptographic verification tool which we have extended to handle embedded x86. The code we have verified comes from AWS LibCrypto. This code is identical to BoringSSL and very similar to OpenSSL, from which it ultimately derives. We believe we are the first to formally verify these implementations, which protect the security of nearly everybody on the internet.
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Carboni, Roberto. "Characterization and Modeling of Spin-Transfer Torque (STT) Magnetic Memory for Computing Applications." In Special Topics in Information Technology, 51–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62476-7_5.

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AbstractWith the ubiquitous diffusion of mobile computing and Internet of Things (IoT), the amount of data exchanged and processed over the internet is increasing every day, demanding secure data communication/storage and new computing primitives. Although computing systems based on microelectronics steadily improved over the past 50 years thanks to the aggressive technological scaling, their improvement is now hindered by excessive power consumption and inherent performance limitation associated to the conventional computer architecture (von Neumann bottleneck). In this scenario, emerging memory technologies are gaining interest thanks to their non-volatility and low power/fast operation. In this chapter, experimental characterization and modeling of spin-transfer torque magnetic memory (STT-MRAM) are presented, with particular focus on cycling endurance and switching variability, which both present a challenge towards STT-based memory applications. Then, the switching variability in STT-MRAM is exploited for hardware security and computing primitives, such as true-random number generator (TRNG) and stochastic spiking neuron for neuromorphic and stochastic computing.
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Kokologiannakis, Michalis, and Viktor Vafeiadis. "GenMC: A Model Checker for Weak Memory Models." In Computer Aided Verification, 427–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81685-8_20.

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AbstractGenMC is an LLVM-based state-of-the-art stateless model checker for concurrent C/C++ programs. Its modular infrastructure allows it to support complex memory models, such as RC11 and IMM, and makes it easy to extend to support further axiomatic memory models.In this paper, we discuss the overall architecture of the tool and how it can be extended to support additional memory models, programming languages, and/or synchronization primitives. To demonstrate the point, we have extended the tool with support for the Linux kernel memory model (LKMM), synchronization barriers, POSIX I/O system calls, and better error detection capabilities.
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"Primitivism." In The Artist's Reality: Philosophies of Art. Yale University Press, 2004. http://dx.doi.org/10.37862/aaeportal.00129.022.

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Conference papers on the topic "Primitivism (art)"

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Andriolo, Arley. "A questão da alteridade no “primitivismo artístico”." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3558.

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Desde 1938, com a publicação do livro de Robert Goldwater, a noção de “primitivismo artístico” evidenciava a visada do artista europeu para as obras plásticas africanas. Em 1984, essa relação foi reforçada com a exposição Primitivism in XXth century art, organizada por William Rubin. Alguns críticos dessa associação mostram que o campo perceptivo daqueles artistas não se dirigia apenas para os habitantes da África, mas para uma série de personagens, dentre os quais, ciganos, prostitutas, loucos e camponeses. Meu objetivo será o de rever essa problemática para propor uma reflexão metodológica que considere a questão da alteridade, particularmente, enfocando a emergência diante do artista de uma multiplicidade de outros a solicitar o seu olhar.
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Liu, Siru. "The Review of Primitivism and Approve of Imagination: Research on the Art Criticism of Roger Fry." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.112.

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Lauzier, Nicolas, and Cle´ment Gosselin. "Towards Whole-Arm Statics." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47666.

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In this paper, a novel approach is proposed to compute the maximum contact force that can be applied by a manipulator at any point on its external surface. The approach consists in the approximation of the robot’s external surface by simple primitives for which the position and normal direction can easily be expressed analytically for any point on the surface. This approach is also used to compute analytically the boundaries of the zones on the external surface where the achievable force exceeds a predetermined threshold. A method is developed for determining the limit joint torques which ensure that the achievable force cannot exceed a predetermined magnitude for any point on the primitives. Specific equations are developed for two types of primitives (parallelogram and cylinder) along with generic procedures applicable to any shape. An example is presented to illustrate how the proposed procedures can be applied for the solution of a typical problem. Finally, the applicability and limitations of this approach are discussed. A potential application for this work is to provide information on a robot’s dangerousness to its controller in order to improve safety.
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Smith, Derek J. "On Cognitive Primitives and Trick Photography." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.60.

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Rogers, David M. "Efficient Primitives for Standard Tensor Linear Algebra." In XSEDE16: Diversity, Big Data, and Science at Scale. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2949550.2949580.

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Takano, Wataru, and Yoshihiko Nakamura. "Motion synthesis from stochastically encoded motion primitives for anthropomorphic robotic arm." In 2014 11th International Conference on Ubiquitous Robots and Ambient Intelligence (URAI). IEEE, 2014. http://dx.doi.org/10.1109/urai.2014.7057368.

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Ding, Xilun, and Cheng Fang. "A motion planning method for an anthropomorphic arm based on movement primitives of human arm triangle." In 2012 IEEE International Conference on Mechatronics and Automation (ICMA). IEEE, 2012. http://dx.doi.org/10.1109/icma.2012.6282859.

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Gams, Andrej, Alew Ude, and Jun Morimoto. "Accelerating synchronization of movement primitives: Dual-arm discrete-periodic motion of a humanoid robot." In 2015 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS). IEEE, 2015. http://dx.doi.org/10.1109/iros.2015.7353755.

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"PERCEPTUAL ORGANIZATION OF DIRECTIONAL PRIMITIVES USING A PSEUDOCOLOR FUZZY HOUGH TRANSFORM FOR ARC DETECTION." In International Conference on Computer Vision Theory and Applications. SciTePress - Science and and Technology Publications, 2006. http://dx.doi.org/10.5220/0001363004340439.

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Binnard, Mike, and Mark R. Cutkosky. "Building Block Design for Layered Shape Manufacturing." In ASME 1998 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/detc98/dfm-5725.

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Abstract We are interested in designing complex mechatronic systems which closely integrate electronics, actuators, and sensors with mechanical structures. Rapid prototyping techniques open new design possibilities for these systems, such as the ability to fabricate pre-assembled mechanisms. This paper presents a design approach that should encourage exploration of these new possibilities and thereby facilitate robot design. In the described approach, engineers build designs using a library of three dimensional primitives and aggregations of primitives. Associated with each primitive is enough manufacturing process information to enable immediate manufacturability analysis. An algorithm is presented which automatically combines the process information from multiple primitives. A prototype system using this algorithm has been implemented with AutoCAD and the ObjectARX programming interface.
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