Relevant bibliographies by topics / Sintez (Group of artists)

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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 'Sintez (Group of artists)'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Sintez (Group of artists)"

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Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (February 15, 2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.

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Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (January 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Butler, Allison. "Earthworks: Visual Artists for the Earth Group." Leonardo 20, no. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.

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Putanov, M. A., M. A. Sokolova, P. I. Lenkin, V. Yu Slastilin, I. G. Baskakova, A. N. Kiriluk, D. N. Kazarinov, et al. "Use of polypeptide neuroprotection for prevention of postoperative cognitive dysfunction after cardiac surgery: a pilot prospective randomized placebo-controlled clinical study." Patologiya krovoobrashcheniya i kardiokhirurgiya 21, no. 4 (December 28, 2017): 69. http://dx.doi.org/10.21688/1681-3472-2017-4-69-78.

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<p><strong>Aim.</strong> The study was designed to evaluate the efficacy of polypeptide neuroprotection using brain protein “Cellex” for prevention of postoperative cognitive dysfunction after cardiac surgery.<br /><strong>Methods.</strong> Our study included 60 patients undergoing elective cardiosurgical operations, who were randomized into two groups. In the “Cellex” group, the patients received 1.0 ml of “Cellex” subcutaneously daily during 8 days, beginning from the preoperative day, while the control group patients were given a saline placebo. The cognitive function was assessed using a Montreal cognitive assessment (MoCA) test on the day before surgery and also at Days 3 and 7 postoperatively. The plasma concentrations of S100b protein were measured before surgery, and at Days 3 and 7. The patients’ gas exchange, hemodynamics and cerebral oxygenation were monitored. In addition, the efficacy of “Cellex” and the severity of cognitive dysfunction were evaluated intraoperatively under cardiopulmonary bypass.<br />Results. The duration of intervention and mechanical ventilation, as well as hemodynamics and cerebral oximetry data did not differ significantly between the groups. There was a transient decline of cognitive functions and an increase in plasma concentration of S100b at Day 3 after surgery in both groups (p&lt;0.05). At Day 7, the MoCA score was still decreased in the control group (p&lt;0.003), but returned to the baseline in the “Cellex” group. These effects became more pronounced after cardiopulmonary bypass. The intraoperative PaCO2 correlated with cerebral oxygenation surgery by the beginning and at the end of surgery (rho = 0.305, p = 0.033 and rho = 0.533; p&lt;0.001). <br />Conclusion. The perioperative use of “Cellex” can attenuate cognitive dysfunction after cardiac surgery, especially when following interventions under cardiopulmonary bypass.</p><p>Received 25 May 2017. Revised 9 November 2017. Accepted 13 November 2017.</p><p><strong>Funding:</strong> The study was carried out with support of the “Farm-Sintez” company’s grant. The money was spent for purchase of the preparation, the authors’ honoraria and purchase of a kit for determining S100b protein concentration. The sponsors’ support had no impact on the study design and data acquisition, analysis and interpretation. The “Farm-Sintez” company’s representatives were not participating in the preparation and publication of the article.</p><p><strong>Conflict of interest:</strong> The study was carried out with support of the “Farm-Sintez” company’s grant.</p><p><strong>Author contributions</strong><br />Conception and study design: M.A. Putanov, M.M. Sokolova, P.I. Lenkin, M.Yu. Kirov <br />Data collection and analysis: M.A. Putanov, M.M. Sokolova, P.I. Lenkin, I.G. Baskakova, A.N. Kiriluk, D.N. Kazarinov, K.M. Checkaya, T.S. Isakova, M.A. Rumyanceva, V.Yu. Slastilin <br />Statistical data analysis: M.M. Sokolova <br />Drafting the article: M.A. Putanov, M.M. Sokolova <br />Critical revision of the article: M.Yu. Kirov <br />Final approval of the version to be published: M.A. Putanov, M.M. Sokolova, P.I. Lenkin, V.Yu. Slastilin, I.G. Baskakova, A.N. Kiriluk, D.N. Kazarinov, K.M. Checkaya, T.S. Isakova, M.A. Rumyanceva, M.Yu. Kirov</p>
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Russell, Will G., and Michelle Hegmon. "Identifying Mimbres Artists." Advances in Archaeological Practice 3, no. 4 (November 2015): 358–77. http://dx.doi.org/10.7183/2326-3768.3.4.358.

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AbstractPast researchers have identified individual styles of painting in Mimbres Black-on-white bowls, leading Steven LeBlanc to recently call for the development of quantitative methods to enable and assess such identifications. We propose such a methodology here. Through a process of pair-wise, micro-stylistic comparisons, bowls painted by a single artist or group of closely cooperating artists are analytically linked in chain-like fashion. Two bowls are attributed to the “same hands” if their similarity measure is at or above 70 percent. Similarity measures are determined by comparing minute details that reflect artistic decisions. The method takes into account diachronic development of artistic skill, subject matter diversity, and the transfer of style across generations. Results can contribute to an understanding of stylistic development, craft specialization, and the role of artists in traditional societies.
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Muckala, Jenny. "Voice Rehabilitation and Resilience Work With the Commercial Singer: A Concept Piece." Perspectives of the ASHA Special Interest Groups 5, no. 1 (February 21, 2020): 102–12. http://dx.doi.org/10.1044/2019_persp-19-00074.

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Purpose This clinical focus article presents a perspective on an approach in scaffolding vocal recovery and rehabilitation for commercial singers. The expectation in vocal performance is sound production that is repeatable, reliable, and relatable. When an artist cannot meet those standards, failure is experienced in three locations: the Body, the Head, and the Heart. Referencing each of these areas of intelligence provides a metalanguage for structuring vocal recovery and rehabilitation that goes beyond physical voice work alone. This clinical focus article discusses standards of voice production specific to commercial music, expectations of use, and what vocal demands look like on and off tour. Indirect and direct voice therapy within this niche group of professional voice users can be better tailored within this context of use and need. They need intervention that is specific to individual voice demands and uses a methodology that cultivates self-efficacy and resilience in singers as athletes. The path to vocal rehabilitation and stability extends beyond work with body mechanics and extends beyond the specific tools the voice pathologist and artist have to choose from to return to performance level production. Cultivating resilience involves intentional accessing of the Body, Head, and Heart in the moments of disintegration with the goal of meeting and bridging physical, emotional, and mental barriers for the commercial artist. The end goal is resilience when the artist returns to performance level production. Conclusions This clinical focus article explores the interplay between these three centers of intelligence for commercial singers within the framework of indirect and direct voice rehabilitation. This Body work can lead to maturation and resilience to support a long career using a feeling that is mechanically efficient, portable, and repeatable. The transfer of gains outside that treatment room may be more consistently realized through the incorporation of Head and Heart in early stages of intervention.
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Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists." Sport Psychologist 18, no. 1 (March 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.
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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (September 30, 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.
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Dissertations / Theses on the topic "Sintez (Group of artists)"

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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

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Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.
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Cass, Jeremy Leeds. "FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.

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Thesis (Ph. D.)--University of Kentucky, 2004.
Title from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).
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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.
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Stokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.

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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.

Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.

Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.

Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.

Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /

This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.

This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.

The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.

The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.


Doctorat en Histoire, art et archéologie
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De, Vries Jetteke. "An investigation of cultural dislocation in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1434.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.
This dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by Stuart Hall (1997), Edward Said (1987), Heidi Armbruster (2010), Chloe Sells (2011), Katheryn Woodward (1997), Michel Foucault (1967), Leora Farber (2012) and Lorin Friesen (2013). An analysis of the selected artists’ work reveals an investigation of cultural dislocation within diverse cultural contexts. Farber investigates her position as a second generation Jewish woman in post- colonial, post-Apartheid South Africa through the use of three protagonists. She does this in an attempt to create a lasting Jewish / South African hybrid identity. She explores not only her Jewish heritage and its connotations, but also the changing notions of white identity in post 1994 South Africa. Sassen, in her photographic depiction of obscured African subjects, challenges the viewer’s perceptions of Africa and positions herself as being ‘in-between’ Africa and the Netherlands, where she “will always be the stranger … and will never be part of the culture” (Sassen in Jaeger 2010). Alamidis’ work explores cultural dislocation in the context of migration, eloquently expressed through the use of the identity cards of 1950s Greek immigrants as visual metaphors for the loss of identity. I explore cultural dislocation through the history of three female protagonists (my grandmother, mother and myself) and their migration between the Netherlands and Southern Africa. The protagonists’ cultural narratives provide an historical context for a discussion of my art practice in the form of an exhibition titled Discovering Home. The conclusion outlines the research findings and identifies possible areas of future research. The main research finding reveals that the formation of a new subject identity, post migration, is dependent on a specific (historical) time and (geographical and psychological) space. An area of possible future research, in the context of cultural dislocation, is the use of Foucault’s (1967) theory of heterotopias to explore the idea of the ‘third space’ functioning as a personal heterotopia.
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Books on the topic "Sintez (Group of artists)"

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Boyens, Piet. Une rare plnitude: Les artistes de Laethem-Saint-Martin 1900-1930. Gent: Ludion, 2002.

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Boyens, Piet. Une rare plénitude: Les artistes de Laethem-Saint-Martin 1900-1930. Gand: Ludion, 2001.

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Boyens, Piet. Une rare plenitude: Les artistes de Laethem-Saint-Martin 1900-1930. Gand: Ludion, 2001.

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Boyens, Piet. Sint-Martens-Latem: Kunstenaarsdorp in Vlaanderen. Tielt: Lannoo, 1998.

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Dingwerth, Shaun Thomas. The Richmond Group artists. Bloomington, Indiana: Indiana University Press, 2014.

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Gallery, Delhi Art, ed. Mumbai modern: Progressive artists' group, 1947-2013. New Delhi: Delhi Art Gallery, 2013.

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International, Ora. Artists 8: Future Legacies : The ORA group of Eight Safed artists. [S.l.]: ORA International, 1990.

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Weber, Nicholas Fox. The Bauhaus group: Six masters of modernism. New Haven [Conn.]: Yale University Press, 2011.

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Mixed metaphors: A group show by 22 artists. Noida, U.P: Artlife Gallery, 2012.

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Konsult, Art, ed. Untitled 2010: A group exhibition of eighteen artists. New Delhi: Art Konsult, 2010.

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Book chapters on the topic "Sintez (Group of artists)"

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Clarke, Paul. "Performing Art History: Non-Linear, Synchronous and Syncopated Times in Performance Re-Enactment Society’s Group Show (Arnolfini, Bristol 2012)." In Artists in the Archive, 116–42. Abingdon, Oxon; New York: Routledge,: Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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de-Miguel-Molina, María, and Virginia Santamarina-Campos. "Conclusions: Music as an Economic, Social, Cultural, Creative and Resilient Activity." In Music as Intangible Cultural Heritage, 139–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_9.

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AbstractMusic, like many cultural and creative industries, can be analysed from symbolic, political and economic dimensions. It is a vibrant, highly resilient sector that has continued to evolve over time from prehistory to the present. Moreover, the music industry has developed in lockstep with technology, creating fascinating business models since the inception of the Internet, forcing companies and artists to adapt continuously to the new environment. This is also related to music customers, who change their preferences as new genres and trends appear. Governments are well aware of the opportunities that music affords to local development and have created public policies that boost the sector. On the other hand, music has also proved its educational role, and its function as an identity builder, especially in local environments where music is present in many festivities in the shape of bands. Mediterranean locations have a rich tradition in this type of musical societies and groups which create a collective identity that is transmitted from one generation to the next. Finally, music has not been immune to the crisis caused by the pandemic, though it has once again shown resilience in this respect, adapting rapidly to the new economic, societal and educational challenges that are currently affecting the entire world.
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Bull, Hank. "Dictation: A Canadian Perspective on the History of Telematic Art." In Social Media Archeology and Poetics. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262034654.003.0007.

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Canada, with its vast distances, was an early adopter of communications technologies. Starting in the 1970s, Canadian artists pursued the aesthetic strategies of correspondence art, video, telecommunications, and artist-run centers. Beginning with Bill Bartlett's Brechtian credo that real communication must be interactive, and noting Robert Filliou's influential concept of the “Eternal Network,” Hank Bull tells the story of a small group of artists who tested the potentials and implications of telecommunications art. He discusses radio, slowscan video, electronic mail and fax art, referring to specific projects produced for Ars Electronica (1983), Electra (Paris, 1983) and the Venice Biennale (1986). More recently, Shanghai Fax (1996), staged by Bull, with artists Shen Fan, Ding Yi, and Shi Yong, was one of the first international group exhibitions to take place in China since the revolution. In conclusion Bull emphasizes sympathetic listening in this new territory, where unfamiliar noises clash as new rhythms sound.
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Ionita, Codrina Laura. "Religious Themes in Contemporary Art." In Research Anthology on Religious Impacts on Society, 242–72. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3435-9.ch012.

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The relationship between art and religion, evident throughout the entire history of art, can be deciphered at two levels – that of the essence of art, and that of the actual theme the artist approaches. The mystical view on the essence of art, encountered from Orphic and Pythagorean thinkers to Heidegger and Gadamer, believes that art is a divine gift and the artist – a messenger of heavenly thoughts. But the issue of religious themes' presence in art arises especially since modern times, after the eighteenth century, when religion starts to be constantly and vehemently attacked (from the Enlightenment and the French or the Bolshevik Revolution to the “political correctness” nowadays). Art is no longer just the material transposition of a religious content; instead, religion itself becomes a theme in art, which allows artists to relate to it in different ways – from veneration to disapproval and blasphemy. However, there have always been artists to see art in its genuine meaning, in close connection with the religious sentiment. An case in point is the work of Bill Viola. In Romanian art, a good example is the art group Prolog, but also individual artists like Onisim Colta or Marin Gherasim, who understand art in its true spiritual sense of openness to the absolute.
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Puig, Stève. "Redefining Frenchness through Urban Music and Literature: The Case of Rapper-Writers Abd Al Malik and Disiz." In Post-Migratory Cultures in Postcolonial France, 131–46. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0008.

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An essential element of urban culture is rap, which has grown progressively in importance to and for post-migratory postcolonial minorities since the mid-1980s. One interesting development in the last decade is the emergence of a group of rapper-writers, including Abd Al Malik or Disiz, who use various platforms to offer a counter-narrative to dominant discourse on the banlieues. Both artists, who draw on similar influences, move across and fuse genres to redefine Frenchness in the 21st century and to imagine what it is to be an artist in the instance of what Marie-Claude Smouts has called ‘the postcolonial situation’.
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"Ottoline Morrell: Artists Revels." In The Bloomsbury Group, edited by S. P. Rosenbaum, 312–16. Toronto: University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487573768-057.

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"The Black Artists’ Group." In Flyboy 2, 50–55. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.

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"The Black Artists’ Group." In Flyboy 2, 50–55. Duke University Press, 2016. http://dx.doi.org/10.1215/9780822373995-014.

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Blatt, Ari J. "Picturing a Nation of Local Places in the Observatoire photographique du paysage and France(s) territoire liquide." In France in Flux, 186–216. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941787.003.0011.

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The history of French photography has been marked by the preponderance of photographic ‘missions’, whereby a collective of artists charged with documenting the nation’s shared common spaces traverse the territory with cameras in tow. From the Mission héliographique (1851) to the Mission photographique de la DATAR (1983-89), these projects have much to tell us about the place that landscape occupies in the national imaginary. This chapter surveys two of the most recent and most compelling photographic missions that set out to render the contours of the nation intelligible. While the Observatoire photographique du paysage, inaugurated in 1991, mobilizes a rigorously implemented procedure of rephotography to sensitize the public to the evolution of the French landscape, the group of photographers united since 2011 under the moniker France(s) territoire liquide has produced a decidedly more personal and subjective view of a territory in flux. Though they differ greatly in the way they envision space, this chapter suggests that both groups privilege the lesser seen, the interstitial, and the vernacular to provide a nuanced vision of France that challenges the most dominant conceptions and clichés—in the rhetorical and graphic sense of the word—of the nation as a whole.
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"Problems of Deranged Minds, Artists, and Psychiatrists." In The Cybernetics Group. The MIT Press, 1991. http://dx.doi.org/10.7551/mitpress/2260.003.0008.

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Conference papers on the topic "Sintez (Group of artists)"

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Reiser, Susan, and Phill Conrad. "A processing primer for artists." In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084863.3107579.

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Mokhov, Serguei A., Miao Song, Sudhir P. Mudur, and Peter Grogono. "Dataflow VFX Programming and Processing for Artists and OpenISS." In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3388763.3407760.

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Eales, R. T. Jim, and Dharani Perera. "Creativity Support: Insights from the Practices of Digital-Atomic Artists." In Proceedings of HCI 2007 The 21st British HCI Group Annual Conference University of Lancaster, UK. BCS Learning & Development, 2007. http://dx.doi.org/10.14236/ewic/hci2007.3.

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O'Leary, Ceara, and Tadd Heidgerken. "Avis + Elsmere: A Collaborative Community Design Precedent." In AIA/ACSA Intersections Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.aia.inter.19.4.

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"Vibrant neighborhood spaces pave the way for more resilient and inclusive communities. This paper showcases a neighborhood space resulting from a collaborative, community-led design process that honors local knowledge and responds to contextual challenges. Avis + Elsmere, a project in Detroit, offers a model for collaborative practice as the product of a robust relationship between the client-collaborator – grassroots organization Inside Southwest Detroit – a diverse stakeholder group of neighbors and artists, the Detroit Collaborative Design Center (DCDC) at the University of Detroit Mercy (UDM), and the architecture office Et al. Collaborative"
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Malysheva, Olga Adolfovna. "Features of work on a fairy tale in primary classes in the framework of project activities." In International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-53625.

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The article is devoted to the problem of introducing the subject “Literary reading in the native language (Russian)”, including the formation of reading literacy among younger students, and interest in reading based on project activities. The features of the organization of research projects based on a comparison of Russian folk tales and cartoons created based on their motives are considered. As an example, the work on a project on the theme “Baba Yaga: good or evil?”, During which students performed tasks in accordance with the characteristics of their group: moviegoers, book lovers, sages, artists, is shown.
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Morik, Marco, Ashudeep Singh, Jessica Hong, and Thorsten Joachims. "Controlling Fairness and Bias in Dynamic Learning-to-Rank (Extended Abstract)." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/655.

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Rankings are the primary interface through which many online platforms match users to items (e.g. news, products, music, video). In these two-sided markets, not only do the users draw utility from the rankings, but the rankings also determine the utility (e.g. exposure, revenue) for the item providers (e.g. publishers, sellers, artists, studios). It has already been noted that myopically optimizing utility to the users -- as done by virtually all learning-to-rank algorithms -- can be unfair to the item providers. We, therefore, present a learning-to-rank approach for explicitly enforcing merit-based fairness guarantees to groups of items (e.g. articles by the same publisher, tracks by the same artist). In particular, we propose a learning algorithm that ensures notions of amortized group fairness, while simultaneously learning the ranking function from implicit feedback data. The algorithm takes the form of a controller that integrates unbiased estimators for both fairness and utility, dynamically adapting both as more data becomes available. In addition to its rigorous theoretical foundation and convergence guarantees, we find empirically that the algorithm is highly practical and robust.
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Abbas, Naqaa, and Hend Taher. "Celebrating Culture - Literary Communities of Practice in Doha." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0264.

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Our paper focuses on the role of arts and culture in Doha. More specifically, we examine literary circles in Doha (both Arab and English speaking) and regard them as ‘communities of practice.’ According to Etienne Wenger, communities of practice are “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Moreover, such communities are seen as promoting innovation, developing social capital, facilitating and spreading knowledge within a group, and spreading existing knowledge. Recently, there has been a surge of active literary communities presenting their creative work in both English and Arabic attracting a variety of audiences and fans. For instance, young authors such as Kumam Al Maadeed, Eissa Abdullah, Buthaina Al-Janahi and Abdullah Fakhro not only have a huge online following, but they also have a significant fan base attending their events throughout the city. Besides these communities, there are also numerous organizations with which these celebrity authors are associated such as Qalam Hebr, Qatari Forum for Authors, and Outspoken Doha – we argue that such organizations can also be regarded as communities of practice. Our contention is that these ever-growing communities provide a performative space in which poets, singers, authors and artists can experiment with the fluidity of their assigned identities, cultures and traditions.
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Reports on the topic "Sintez (Group of artists)"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.
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