Relevant bibliographies by topics / Subjectivity in art

Contents

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

Academic literature on the topic 'Subjectivity in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Subjectivity in art"

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Rush, Fred. "Art, Aesthetics and Subjectivity." European Journal of Philosophy 15, no. 2 (August 2007): 283–96. http://dx.doi.org/10.1111/j.1468-0378.2007.00262.x.

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Carrier, David. "Subjectivity and methodology in art history." Konsthistorisk Tidskrift/Journal of Art History 73, no. 1 (February 2004): 36–39. http://dx.doi.org/10.1080/00233600310001948a.

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Dyrness, William. "Subjectivity, the Person, and Modern Art." CrossCurrents 63, no. 1 (March 2013): 92–105. http://dx.doi.org/10.1111/cros.12015.

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Van Gerwen, Rob. "Art and the Vulnerability of Subjectivity." Aesthetic Investigations 1, no. 2 (December 20, 2016): i—ix. http://dx.doi.org/10.58519/aesthinv.v1i2.11988.

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We may compare art with science, but must not understand it as science. In my view, modern science brought subjectivity into trouble, whereas art itself has the subjective as its main motivating force. For one, narrative arts tell stories, and are acclaimed for conveying the subjective aspect of events. Artistic creativity aims at regulating the appreciative experience. Lastly, to assess a work's artistic merit is to look for the artist's achievement, which involves looking for the way they realised their intentions with their audiences. It is thus that one wants to say that art is concerned with the subjective, and that one wants to distinguish it sharply from how sciences treat their subject matters: aiming for quantification and universalisation, applying objectivist methodologies, and conveying the thought that all knowledge hangs together---and that it be objectivist.
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Szempruch, Matylda. "Twórczość feministyczna a kobieca podmiotowość: ujęcie monstrualne." Przegląd Humanistyczny, no. 64/4 (April 20, 2021): 73–83. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.5.

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The article shows the relationship between philosophical thought and feminist art in terms of searching for subjectivity in women’s creations. This is a review of the theories proposed by Luce Irigaray, Hélène Cixous, Julia Kristeva, and by Judith Butler, Donna Haraway, and Rosi Braidotti, which, as this article proves, manifest themselves in the art that defines itself as feminist. Monstrosity is an important prospect here. The author presents écriture féminine and women’s literature, namely Charlotte Roche’s Wet Places and Izabela Filipiak’s Total Amnesia. Moreover, visual arts by Cindy Sherman, Chili Kumari Burman, Jo Spece, as well as a performance by Carolee Schneemann and ORLAN are discussed.
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이수진 and Min Kim. "Suggestions of Lacan’s Subjectivity for Art Therapy." Korean Journal of Art Therapy 15, no. 1 (February 2008): 169–94. http://dx.doi.org/10.35594/kata.2008.15.1.009.

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Soler Gallego, Silvia. "Defining subjectivity in visual art audio description." Meta: Journal des traducteurs 64, no. 3 (2019): 708. http://dx.doi.org/10.7202/1070536ar.

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HEPBURN, RONALD W. "Art, Truth and the Education of Subjectivity." Journal of Philosophy of Education 24, no. 2 (December 1990): 185–98. http://dx.doi.org/10.1111/j.1467-9752.1990.tb00233.x.

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Huacuja, Judith L. "Borderlands Critical Subjectivity in Recent Chicana Art." Frontiers: A Journal of Women Studies 24, no. 2 (2004): 104–21. http://dx.doi.org/10.1353/fro.2004.0017.

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Chepelyk, Oksana. "The Ukrainian projects at the Manifesta 14 and Ars Electronica: the problem of subjectivity in the cultural and political context of the war." CONTEMPORARY ART, no. 18 (November 29, 2022): 65–84. http://dx.doi.org/10.31500/2309-8813.18.2022.269711.

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The article raises issues of the subjectivity of Ukrainian art and culture, in particular in its theoretical and practical aspects, which was developed by the artistic projects of Ukrainian authors, implemented abroad during the war within the framework of representative art forums and exhibitions of Manifesta 14, Ars Electronica, EDAF and others. The purpose of the article is the formation of professional awareness of the practices of Ukrainian contemporary art regarding the problem of the subjectivity of Ukraine on the international arena, through the prism of critical thinking and sensitivity in the cultural and political context of the war, for the sake of modern cultural creation, as well as to facilitate further research studies, of the Ukrainian art projects, implemented abroad during the war within the framework of representative art forums and exhibitions, for their full involvement in the national art discourse. The process of struggle for the subjectivity of Ukraine both within the country and on the international arena is explored. The methodology of the study consists in theoretical and field research on the topic of the subjectivity of Ukrainian art and in the author’s experiments development. The main method is a comprehensive and systematic approach to highlighting issues of subjectivity in culture and art, visual and photometric methods, analysis of concepts, of the artistic realizations, of the relationship between content and form, contexts and discourses. The concept of sensitivity was involved, which includes feelings of empathy and solidarity. The peculiarities of the Ukrainian projects’ presentations within the framework of the top forums of contemporary art were explored, including Manifesta Biennale 14 with the theme «It matters what worlds world worlds: how to tell stories otherwise», Festival for Art, Technology and Society Ars Electronica with the theme «Welcome to Planet B: A different life is possible. But how?» and EDAF, which served as a training ground for the formation of the subjectivity of Ukrainian contemporary art. The case studies were researched of projects by such Ukrainian artists: Stanislava Pinchuk, Alevtina Kakhidze, Oksana Chepelyk, Daria Pugacheva, Danyil Revkovskyi, Andriy Rachinskyi, the art group Sviter and Ivan Svitlychnyi, fantastic little splash, Oleksandr Burlaka and DE NE DE, shown within the framework of representative art exhibitions. The role of the curator and the artist as an agent of the subjectivity of Ukrainian contemporary art in the cultural and political context of the war have been analyzed. Given the fact that the basis of the interaction between contemporary art and the audience is discursive, the signs of the blurred subjectivity of Ukraine are revealed and the prospects for the establishment of Ukraine as an independent subject of culture in the system of global forces are outlined.
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Dissertations / Theses on the topic "Subjectivity in art"

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Taplin, Roslyn Ellen. "Climate Change: A Different Subjectivity?" Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365822.

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The issue of the environment first emerged as a focus in contemporary art practice in the 1970s. However, climate change art as a new direction in environmental art has only been an area of significant focus since the early 2000s. As a creative intervention, it is a reaction to the global phenomenon of the build-up of greenhouse gases in the Earth’s atmosphere, the urgent need for greater diplomatic cooperation internationally and sustained domestic policies and programs to mitigate and adapt to climate change. This doctoral research explores the role of visual art in producing new strategies to mediate the urgency of the climate change issue. My studio practice involving drawing, digital imagery, video and installation has been plaited with three lines of inquiry. First, how may contemporary art address speeches and reports associated with negotiations on climate change? Second, how may people living in varying localities and communities across the globe contribute to mitigating climate change impacts via their multiple efforts? Third, is it possible that climate change art may contribute to an altered subjectivity within viewers and some realisation of future implications of climate change and the ethics of inaction?
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Watson, Michael. "Joan of Art : in defence of subjectivity." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7118/.

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This thesis examines the relationship between Adorno's 'shudder' and conceptual art, in the interest of conceiving of an art form resistant to societal and ontological 'objectification', as embodied by scientific pursuit, capitalist endeavour, and recent philosophical innovation (particularly in the work of Ray Brassier's Nihil Unbound, and Quentin Meillassoux's After Finitude). This art form, it will be argued, must necessarily be completely conceptual, devoid of any object which might become sundered to these objectifying forces. Just such a form, might be appealed to in order that the subject can feign an escape from absolute objectivity at the hands of the nihilising influence of science. Can the concept of freedom as an artistic declaration help the human to evade reification, in a way that can co-exist with accepted scientific findings; namely the clear base materiality of the 'subject', and the finitude of subjectivity, as signalled by Brassier and the absolute contingency of Quentin Meillassoux? Examining the implications of Duchamp's 'anything can be art' admixed with Beuys' 'We are all artists,' the study draws, in its latter third, on examinations of Adorno's 'shudder' made in the first chapter, in order to conceive of a means by which the subject may overturn its objectification via the declaration of its own subjectivity even in face of the falsity of this premise. Where, for Adorno, the 'shudder' is felt in face of the artwork, as the subject realises it base objectivity (as a result of the 'truth' which the artwork, as perpetual deceiver in a an untrue world, imparts), this study calls for the shudder, which frees the subject from objectivity, to be auto-designated by the subject, upon itself, for lack of an artwork capable of otherwise invoking it in a thoroughly reified world.
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Throp, Mo. "Trauma, performativity, and subjectivity in art practice." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/2039/.

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Abstract: This is a practice based PhD of predominantly video works/installations which seek to examine, alongside the accompanying reflective writing on these works, a particular dynamic set up between the artwork and the spectator which allows a rethinking of the model of the subject's relation to the 'other'. This investigation which is lead by my ongoing practice (presented as six artworks) is informed and underpinned by feminist theoretical concerns seeking a way out of the deadlock of Lacanian thinking which characterises the feminine as problematic (the other of the other). Though I make reference to psychoanalytic theories (as well as the writings of Deleuze), I will not give accounts of this background (though I will footnote key terms); I am therefore presuming a certain knowledge of these theories by my reader. The thesis (as practice and dissertation) explores more enabling accounts for the construction of identity which move beyond the fixed, traumatic model to propose that the encounter with the artwork enables more positive accounts of the self as fluid and open to change. This shift which now proposes a more productive relation to desire and otherness has been opened up, particularly by Elizabeth Grosz and Rosi Braidotti, through a consideration of Gilles Deleuze's notion of 'becoming' as a creative flow, an active force of connections and relations. This challenge to dominant accounts (both psychoanalytic and philosophical) that characterize desire negatively as a longing for something lost (tragically and impossibly), allows me to propose (theoretically and practically) the artwork as allowing us to 'become' by creating affect, where, immersed in a creative ongoing flow of connections and relations we 'become-hybrid' through an encounter with the other. As my contribution to knowledge and understanding, my thesis explores this affirmation of a new subjectivity through a sense of self as interactive (mobile) in the process of viewing; an inter-subjectivity which allows a freeing of the subject from the impulse to complete the self, allowing an engagement that does not set the subject against itself but produces new possibilities especially in a consideration of sexual difference. My practice argues for an engagement and creative response which allows for a dialogue of difference as non-oppositional; sensuous and expansive, the artwork proposes a new relation to gender, as beyond hierarchical (traumatic and fixed) oppositional accounts of the self. This shifts from an account of sexuality as problematic (or not) to one where the viewer is open to a renegotiation with questions of otherness and difference that underpin any notions of identity) to become productive of fluid accounts of the self.
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Willett, Jonathan. "Soul models : rationalization and the art of subjectivity." Thesis, Nottingham Trent University, 2007. http://irep.ntu.ac.uk/id/eprint/248/.

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In the exchange between theory and practice, art is appropriated as a creative mode of enquiry, a differential form of knowledge and experience in the processes of rationalization. As a differential in knowledge, art is explored as the practice of composition making differences out of established rationales - the discrete disciplines that find stability in economic, pedagogic and scientific discourse. As a differential in experience, art may contain the potential to destabilize social, historical and political constitutions of sense, working as an interference pattern in the production and reproduction of rational subjects. The academic distillation of the artist's know how into the 'art of subjectivity', draws both the subjects and objects of knowledge into this critical space of composition, a dynamic space of contestation in which the artist acquires the capacity to become an agent of cultural change. As a cultural and critical formation, the 'art of subjectivity' reactivates the art historical tradition of institutional critique. Re-evaluated through the critical and philosophical components of the doctoral research, the material rendition of institutional critique is configured as a series of artistic engagements with the procedural and regulatory codes of practice that comprise the info-structure of instrumental reason. Through a gradual synthesis of process and product, the 'art of subjectivity' begins to merge with the arts (techniques) of rationalization, drawing upon rather than resisting the bureaucratic, informational, scientific-technical and semiotic energies of political economy. In the aesthetic merger of productive processes there emerges an affirmative mode of critique, the 'constructive criticism' of the intelligent artist whose purpose in the doctoral research is to interrogate the terms and conditions of knowledge and experience, and in the process open up new possibilities of expression. Constructive criticism foregrounds what art can do in the register of production, as opposed to what it means in the register of comprehension. Artwork is situated on the side of creation, whereby the work of art is conceived as an aesthetic process, an aggregate form of thought and action, which in the doctoral research develops as the 'intelligence key' of the combination-composition. The artwork as intelligence key is designed to unlock the established practices of discrete disciplines in an attempt to realize a more permeable, inquisitive condition of subjectivity, recomposed in a connective fabric of affective and perceptual understanding. In this respect, the 'art of subjectivity' is motivated by the desire to deregulate what limits the potential for expression, questioning how sense becomes restricted as a basis for remaking the thresholds of knowledge and experience. It is envisaged that the doctoral investigation will be of value for artists who wish to develop a critical role for their work in the context of academic research. Through the composition and recomposition of method the 'art of subjectivity' yields a palette of practices, any one of which could be re-appropriated by the critically minded artist. Conversely, the techniques of constructive criticism provide an operating model for the perceptive critical theorist who may wish to utilize art as the practice of least restriction, in the strategic integration of creative thought and action.
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Espezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.

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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work. The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion.
vi, 56 leaves : col. ill. ; 29 cm
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Haden, Heather Jean. "The Aesthetics of Unease: Telepresence Art and Hyper-Subjectivity." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429862881.

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Kassianidou, Marina. "Between marks and surfaces : indiscernibility, subjectivity, and otherness." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8935/.

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This practice-based research examines the notion of the in-between of mark and surface within visual art. Drawing on Bracha L. Ettinger’s Matrixial theory, I approach the in-between as a non-oppositional state that has the potential to redefine relationships between self and other in art practice. The questions I focus on are: How can the relationship between the artist’s marks and the surface move beyond an opposition or clear overlay such that an in-between state may be accessed? How can the relationship between work and space shift in a similar manner? How does accessing this in-between change the relationships between subject and object and self and other (understood, initially, in terms of mark and surface and artist and materials)? What are the implications for the artist when her marks become nearly indiscernible from the surface (as a result of approaching an in-between state)? Finally, what are some implications for the audience when they cannot immediately see or identify a work of art? The methodological framework, which emerged through the research, involves the interweaving of three spaces: my own practice, other artists’ practices, and theory. Through my practice, I looked for marks that approached each surface I worked with. This approaching occurred on several levels: visual, material, and conceptual. The marking methods I developed are juxtaposed with theoretical concepts, mainly from Bracha L. Ettinger, Gilles Deleuze and Félix Guattari, Jacques Derrida, and C. S. Peirce, and with works by artists Susan Collis, Louise Hopkins, and Bracha L. Ettinger. Through these juxtapositions, I investigate the operations of the resulting marks, their relationships with the surface, and how those relationships tend towards an in-between. I argue that the destabilisation of a clear distinction between mark and surface and work and space may lead to visual and conceptual indiscernibility. This, in turn, leads to a rethinking of the relationship between subject and object and self and other on several levels. The contribution of the research lies in adding to the discussion surrounding the relationship between mark and surface by specifically focusing on the in-between and indiscernibility. This addition occurs through practice as well as through this text, which attempts to activate concepts that enable the conceptualisation of an in-between state/space.
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Kelly, Susan. "Micropolitics and transversality : language, subjectivity, organisation and contemporary art practice." Thesis, Goldsmiths College (University of London), 2009. http://research.gold.ac.uk/6496/.

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Litvak, Violetta. "In the Theater of Subjectivity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1392.

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This thesis tracks the formal and conceptual development of my work during the two years of graduate study at the VCU Photography and Film Department. It describes the influence of photography on my evolution as an artist and contextualizes my desire to expand the practice beyond the traditional limitations of the medium. It recounts my experimentations with assemblage, video and installation and their contribution to my understanding of spatial and temporal dimensions in the formal construction of my work.In part, the thesis is also a statement of my convictions about art making. It discusses theimportance of perception and subjective experience, as well as the role of personal history in my work.
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Ochrach-Konradi, Tirza Jo. "Classically Formal, Biotic Subjectivity: Moderating Plastic's Relation to the Viewer." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1323.

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Due to its cheap, pervasive, and disposable nature, post-consumer plastic has no subjectivity in its relation to the consumer. My thesis project examines the material’s inherent destructive narrative and question its ability to have extrinsic value beyond the assumptions of trash. In my research, I found that humans instinctually seek to conserve and treat biotic material with care. This fact has become a catalyst for the works in this project, which aim to not only increase the material’s value through animate biomorphic transformation, but also counter our disposable tendencies. At the onset of this project, I was fixated solely on the physical potential of plastic, but in researching cultural narratives, I became more aware of the social significance that post-disposal plastic material holds. Artistic works by Mark Bradford and El Anatsui helped me understand the potential for re-inscribing new meaning into materials that have had a prior existence, and the art of Lynda Benglis and Tim Hawkinson inspired my technical application. From there, I applied the aesthetics of biomorphism, which resulted in a culminating piece that utilizes melted and deformed bubble wrap to evoke reptilian skin or a micro-biotic cell community.
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Books on the topic "Subjectivity in art"

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Breeur, Roland, and Ullrich Melle, eds. Life, Subjectivity & Art. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-2211-8.

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Houle, Robert. Robert Houle: Sovereignty over subjectivity. Winnipeg: Winnipeg Art Gallery, 1999.

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Lomas, David. The haunted self: Surrealism, psychoanalysis, subjectivity. New Haven [Conn.]: Yale University Press, 2000.

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artist, Shuvo Rafiqul 1982, Shuvo Rafiqul 1982-, and Bengal Art Lounge (Dhaka, Bangladesh), eds. Automated subjectivity: 22 Aug - 2 Sep 2013. Dhaka: Bengal Art Lounge, 2013.

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Hatem, Jad. L'art comme autobiographie de la subjectivité absolue: Schelling, Balzac, Henry. Paris: Orizons, 2009.

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Koh, Jay. Art-led participative processes: Dialogue and subjectivity within performances in the everyday. Petaling Jaya, Malaysia: Strategic Information and Research Development Centre, 2016.

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Breeur, Roland. Life, Subjectivity & Art: Essays in Honor of Rudolf Bernet. Dordrecht: Springer Netherlands, 2012.

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Lewandowski, Roman. Efekt pasażu: Konfrontacje i negocjacje tożsamości we współczesnych praktykach artystycznych. Katowice: Akademia Sztuk Pięknych w Katowicach, 2018.

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Houle, Robert. Robert Houle: Sovereignty over subjectivity : March 7-September 6, 1999. Winnipeg: Winnipeg Art Gallery, 1999.

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Llull, Ramon. Über die Wirklichkeit: [anlässlich der Ausstellung 'Über die Wirklichkeit,' Wiederbegegnung mit Unbekanntem--Teil 15, 14. April-25. Oktober 2000]. Köln: Erzbischöfliches Diözesanmuseum, 2000.

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Book chapters on the topic "Subjectivity in art"

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Rajczi, Alex. "Subjectivity and Objectivity." In The Art Experience, 199–231. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781032693712-16.

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Wallace, Isabelle Loring. "Voice, Vivification, and Subjectivity." In Ventriloquism, Performance, and Contemporary Art, 25–41. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003303978-3.

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Tateo, Luca. "Caravaggio’s The Seven Works of Mercy and the Art of Generalization." In Subjectivity and Knowledge, 141–56. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29977-4_8.

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Garlick, Mark. "Balancing Science, Size, and Subjectivity." In The Beauty of Space Art, 241–59. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49359-2_14.

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Howells, Coral. "Cat’s Eye: Elaine Risley’s Retrospective Art." In Margaret Atwood: Writing and Subjectivity, 204–18. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23282-6_11.

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Ettinger, Bracha L. "Chapter 7 ART AS THE TRANSPORT-STATION OF TRAUMA ([1999] 2000)." In Matrixial Subjectivity, Aesthetics, Ethics, 325–45. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-34516-5_8.

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Ettinger, Bracha L. "Chapter 4 WOMAN AS objet a BETWEEN PHANTASY AND ART ([1993] 1995)." In Matrixial Subjectivity, Aesthetics, Ethics, 197–240. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-34516-5_5.

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Blond, Simon. "Art and Subjectivity in Post-Kantian Germany." In Art, Agency and the Continued Assault on Authorship, 30–51. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003124191-3.

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Cagnoletta, Mimma Della. "Between Subjectivity and Objectivity: Art Therapy’s Challenge." In Arts Therapies in Psychiatric Rehabilitation, 21–23. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76208-7_2.

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Tremlett, Sarah. "Matternal Philosophy, Female Subjectivity and Text in Art." In New Realities: Being Syncretic, 292–96. Vienna: Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-78891-2_68.

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Conference papers on the topic "Subjectivity in art"

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Fadeeva, Tatiana, and Alexandra Staruseva-Persheeva. "Re-subjectivity: Media Art as a Practice of Identity." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.81.

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Hong, Sihui. "The Call of Subjectivity: Audience-oriented Musical Drama qLes Miserablesq." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.7.

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Jørgensen, Jonas, and Mads Bering Christiansen. "Sounding Softness and the (Artificial) Subject." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-15-short-jorgensen-et-al-sounding-softness.

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SHORT PAPER. The paper discusses the authors’ artwork SONŌ, its artistic motivations, the artistic research practice underlying its development, and its technical realization. SONŌ is a soft robotics installation that interrogates the interconnections of soft materiality, sound, and subjectivity. It features a sessile soft artificial entity capable of expansive movement, which is ceaselessly sounding itself and various environments using real-time generated audio.
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Barnes, Jeremy, Roman Klinger, and Sabine Schulte im Walde. "Assessing State-of-the-Art Sentiment Models on State-of-the-Art Sentiment Datasets." In Proceedings of the 8th Workshop on Computational Approaches to Subjectivity, Sentiment and Social Media Analysis. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-5202.

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Wang, Jian. "On the Subjectivity of Chinese in Li Rui’s Novels." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.474.

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Hu, Yingying. "A Probe into Absence of Students' Subjectivity in Maker Space in Art Colleges." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.264.

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Meskova, Sandra. "Subjectivity-in-Dialogue: the Use of Epistolary Narrative in Contemporary Women�s Life Writing." In 7th SWS International Scientific Conferences on ART and HUMANITIES ISCAH 2020. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.f2020.7.2/s09.15.

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Huang, Miao. "Study on the Dissemination of Gannan Hakka Folk Songs from the Perspective of Inter-subjectivity." 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-17.2017.143.

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Ma, Xuyan. "A Study of the Boom of Open Course Translation. From the Perspective of Translator's Subjectivity." 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-16.2017.84.

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Cicoria, Massimiliano. "Legal Subjectivity and Absolute Rights of Nature." In The 8th International Scientific Conference of the Faculty of Law of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/iscflul.8.2.06.

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The anthropocentric approach that characterizes all human knowledge has led to a distortion of the relationship with Nature and a view of it as a mere object of law. This approach, presumably originating with Socrates, had solid support in Plato, Aristotle, Ptolemy, and finally, in Catholic patristics, hinging on all disciplines starting from philosophy, psychology, economics, up to law. Dwelling on the latter, examples of legislation that qualify Nature as an object of law are, increasingly over time, the Forest Charter of 1217, the Italian Law No. 1766 of 1927 on civic uses, and furthermore – Art. 812 of the Italian Civil Code, and finally – the cd. Consolidated Environmental Law. This view is, however, changing in some states such as Bolivia, New Zealand, India, Ecuador, Uganda, – the states that through either legislative acts or rulings of supreme courts have begun the process of granting both to Mother Earth in general, and rivers in particular, the status of juridical persons which are endowed with series of very personal rights, which are recognized. This is not the case in Europe, where the relevant legislation continues to consider Nature (or, better, the Environment) as an object of law, therefore as a “thing” from which to draw, albeit within certain limits, utilities of all kinds. By analysing legal instruments potentially useful for a Copernican revolution on this point – in particular, the Kelsenian concept of “legal person”, the meaning of “company” and the European provisions on Artificial Intelligence – the first conclusion is reached: in a relationship that is not only theoretical, but also practical and utilitarian, it would be opportune to start considering, also through acknowledgments in constitutional sources, the Nature as a subject and no longer an object of rights. In this regard, following the general theories of people’s rights, it could be granted certain absolute rights, of which the right to water, restoration and biodiversity are examined in the current article. Hence, we come to the second conclusion, namely, the contrasts that, in Western law, such an approach could suffer, analysing in particular the problems of neo-naturalism and representation.
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Reports on the topic "Subjectivity in art"

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Sinclair, Samantha, and Sandra LeGrand. Reproducibility assessment and uncertainty quantification in subjective dust source mapping. Engineer Research and Development Center (U.S.), August 2021. http://dx.doi.org/10.21079/11681/41523.

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Accurate dust-source characterizations are critical for effectively modeling dust storms. A previous study developed an approach to manually map dust plume-head point sources in a geographic information system (GIS) framework using Moderate Resolution Imaging Spectroradiometer (MODIS) imagery processed through dust-enhancement algorithms. With this technique, the location of a dust source is digitized and recorded if an analyst observes an unobscured plume head in the imagery. Because airborne dust must be sufficiently elevated for overland dust-enhancement algorithms to work, this technique may include up to 10 km in digitized dust-source location error due to downwind advection. However, the potential for error in this method due to analyst subjectivity has never been formally quantified. In this study, we evaluate a version of the methodology adapted to better enable reproducibility assessments amongst multiple analysts to determine the role of analyst subjectivity on recorded dust source location error. Four analysts individually mapped dust plumes in Southwest Asia and Northwest Africa using five years of MODIS imagery collected from 15 May to 31 August. A plume-source location is considered reproducible if the maximum distance between the analyst point-source markers for a single plume is ≤10 km. Results suggest analyst marker placement is reproducible; however, additional analyst subjectivity-induced error (7 km determined in this study) should be considered to fully characterize locational uncertainty. Additionally, most of the identified plume heads (> 90%) were not marked by all participating analysts, which indicates dust source maps generated using this technique may differ substantially between users.
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Sinclair, Samantha, and Sandra LeGrand. Reproducibility assessment and uncertainty quantification in subjective dust source mapping. Engineer Research and Development Center (U.S.), August 2021. http://dx.doi.org/10.21079/11681/41542.

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Accurate dust-source characterizations are critical for effectively modeling dust storms. A previous study developed an approach to manually map dust plume-head point sources in a geographic information system (GIS) framework using Moderate Resolution Imaging Spectroradiometer (MODIS) imagery processed through dust-enhancement algorithms. With this technique, the location of a dust source is digitized and recorded if an analyst observes an unobscured plume head in the imagery. Because airborne dust must be sufficiently elevated for overland dust-enhancement algorithms to work, this technique may include up to 10 km in digitized dust-source location error due to downwind advection. However, the potential for error in this method due to analyst subjectivity has never been formally quantified. In this study, we evaluate a version of the methodology adapted to better enable reproducibility assessments amongst multiple analysts to determine the role of analyst subjectivity on recorded dust source location error. Four analysts individually mapped dust plumes in Southwest Asia and Northwest Africa using five years of MODIS imagery collected from 15 May to 31 August. A plume-source location is considered reproducible if the maximum distance between the analyst point-source markers for a single plume is ≤10 km. Results suggest analyst marker placement is reproducible; however, additional analyst subjectivity-induced error (7 km determined in this study) should be considered to fully characterize locational uncertainty. Additionally, most of the identified plume heads (> 90%) were not marked by all participating analysts, which indicates dust source maps generated using this technique may differ substantially between users.
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Seddon Wallack, Jessica, Alejandro Gaviria, Ugo Panizza, and Ernesto H. Stein. Political Institutions and Growth Collapses. Inter-American Development Bank, May 2000. http://dx.doi.org/10.18235/0010779.

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This paper tests whether Rodrik's (1999) results that institutions for conflict management are associated with the ability to react to economic shocks are robust to different ways of defining the quality of such institutions. We measure the quality of conflict management institutions with two different indices. The first is an index of political constraints on the ability of the executive to impose its will. These constraints limit the ability of the government to arbitrarily change the rules of the game and therefore may reduce redistributive struggles. The second index measures the degree of political particularism. We define political particularism as the policymakers' ability to further their career by catering to narrow interests rather than broader national platforms. The indices used in this paper solve the endogeneity and subjectivity biases that affect Rodrik's measure of institutional quality. We find strong support for the idea that high levels of political constraints and intermediate levels of political particularism are associated with a quick recovery from economic shocks.
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Dickson, Chelsee, and Christina Holm. Open Access Publishing Biases OER. Digital Commons@Kennesaw State University, August 2022. http://dx.doi.org/10.32727/27.2022.2.

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Academic publishing processes are shaped by the ways in which scholars within the field review and evaluate the work of their peers. In an ideal world, these methods would simply promote the publication of the best forms of research without prejudice or subjectivity. In reality, issues such as Knobloch-Westerwick, Glynn, and Huge’s Matilda effect, Merton’s Matthew effect, Blank’s institution bias, and Robert’s and Verhoef’s gender bias shape the ways that scholarly inquiry are evaluated. Knowing that the peer review process can introduce issues of bias, what then of other aspects of the publishing cycle? For example, what of the subvention funding provided by some institutions to support their faculty in pursuing dissemination of research in Open Access (OA) journals? This Open Educational Resource (OER) will present an overview of the OA landscape and provide learners with tools to develop their own inquiries into the inequities present within the OA publishing industry. All assignments include suggested grading rubrics and build upon one another in a cumulative manner.
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Hamill, Daniel D., Jeremy J. Giovando, Chandler S. Engel, Travis A. Dahl, and Michael D. Bartles. Application of a Radiation-Derived Temperature Index Model to the Willow Creek Watershed in Idaho, USA. U.S. Army Engineer Research and Development Center, August 2021. http://dx.doi.org/10.21079/11681/41360.

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The ability to simulate snow accumulation and melting processes is fundamental to developing real-time hydrological models in watersheds with a snowmelt-dominated flow regime. A primary source of uncertainty with this model development approach is the subjectivity related to which historical periods to use and how to combine parameters from multiple calibration events. The Hydrologic Engineering Center, Hydrological Modeling System, has recently implemented a hybrid temperature index (TI) snow module that has not been extensively tested. This study evaluates a radiatative temperature index (RTI) model’s performance relative to the traditional air TI model. The TI model for Willow Creek performed reasonably well in both the calibration and validation years. The results of the RTI calibration and validation simulations resulted in additional questions related to how best to parameterize this snow model. An RTI parameter sensitivity analysis indicates that the choice of calibration years will have a substantial impact on the parameters and thus the streamflow results. Based on the analysis completed in this study, further refinement and verification of the RTI model calculations are required before an objective comparison with the TI model can be completed.
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Striessnig, Erich, Claudia Reiter, and Anna Dimitrova. Global improvements in Years of Good Life since 1950. Verlag der Österreichischen Akademie der Wissenschaften, June 2021. http://dx.doi.org/10.1553/populationyearbook2021.res1.2.

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Human well-being at the national aggregate level is typically measured by GDP per capita, life expectancy or a composite index such as the HDI. A more recent alternative is the Years of Good Life (YoGL) indicator presented by Lutz et al. (2018; 2021). YoGL represents a refinement of life expectancy in which only those person-years in a life table are counted that are spent free from material (1), physical (2) or cognitive limitations (3), while being subjectively perceived as satisfying (4). In this article, we present the reconstruction of YoGL to 1950 for 140 countries. Since life expectancy – as reported by the UN World Population Prospects in fiveyearly steps – forms the basis of our reconstruction, the presented dataset is also available on a five-yearly basis. In addition, like life expectancy, YoGL can be flexibly calculated for different sub-populations. Hence, we present separate YoGL estimates for women and men. Due to a lack of data, only the material dimension can be reconstructed based directly on empirical inputs since 1950. The remaining dimensions are modelled based on information from the more recent past.
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Paule, Bernard, Flourentzos Flourentzou, Tristan de KERCHOVE d’EXAERDE, Julien BOUTILLIER, and Nicolo Ferrari. PRELUDE Roadmap for Building Renovation: set of rules for renovation actions to optimize building energy performance. Department of the Built Environment, 2023. http://dx.doi.org/10.54337/aau541614638.

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In the context of climate change and the environmental and energy constraints we face, it is essential to develop methods to encourage the implementation of efficient solutions for building renovation. One of the objectives of the European PRELUDE project [1] is to develop a "Building Renovation Roadmap"(BRR) aimed at facilitating decision-making to foster the most efficient refurbishment actions, the implementation of innovative solutions and the promotion of renewable energy sources in the renovation process of existing buildings. In this context, Estia is working on the development of inference rules that will make it possible. On the basis of a diagnosis such as the Energy Performance Certificate, it will help establishing a list of priority actions. The dynamics that drive this project permit to decrease the subjectivity of a human decisions making scheme. While simulation generates digital technical data, interpretation requires the translation of this data into natural language. The purpose is to automate the translation of the results to provide advice and facilitate decision-making. In medicine, the diagnostic phase is a process by which a disease is identified by its symptoms. Similarly, the idea of the process is to target the faulty elements potentially responsible for poor performance and to propose remedial solutions. The system is based on the development of fuzzy logic rules [2],[3]. This choice was made to be able to manipulate notions of membership with truth levels between 0 and 1, and to deliver messages in a linguistic form, understandable by non-specialist users. For example, if performance is low and parameter x is unfavourable, the algorithm can gives an incentive to improve the parameter such as: "you COULD, SHOULD or MUST change parameter x". Regarding energy performance analysis, the following domains are addressed: heating, domestic hot water, cooling, lighting. Regarding the parameters, the analysis covers the following topics: Characteristics of the building envelope. and of the technical installations (heat production-distribution, ventilation system, electric lighting, etc.). This paper describes the methodology used, lists the fields studied and outlines the expected outcomes of the project.
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Guppy, Lisa, Paula Uyttendaele, Karen Villholth, and Vladimir Smakhtin. Groundwater and Sustainable Development Goals: Analysis of Interlinkages. United Nations University Institute for Water, Environment and Health, December 2018. http://dx.doi.org/10.53328/jrlh1810.

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Groundwater represents 97% of the world’s available freshwater resources and is extensively abstracted throughout the world. While abundant in a global context, it can only de developed to a certain extent without causing environmental impacts. Also, it is highly variable across the globe, and where it is heavily relied on, it is less renewable. Hence, it is critically important that this resource is managed sustainably. However, the Sustainable Development Goals (SDGs) of the 2030 Development Agenda do not, as a rule, account explicitly for the significant role that groundwater plays and will continue to play in sustainable development. This report aims to unpack and highlight this role through consistent analysis of the interlinkages between groundwater and the targets of the SDGs. The key features of groundwater relevant to the SDGs are its use, management and sustainability. The methodology used to analyse groundwater interlinkages with SDG targets includes, first, identification of ‘evidence-based’ and ‘logical’ interlinkages. The first type of interlinkages is supported by existing data, while the second is by information and logic that needs to be drawn from existing bodies of relevant research. While only a few interlinkages may be seen at present as “evidence-based”, more data are continuously emerging to make more interlinkages supported by hard-core evidence. Subsequently, the interlinkages are classified into either ‘reinforcing’, ‘conflicting’ or ‘mixed’ – depending on whether achievement of a target will have predominantly positive, negative, or mixed impact on groundwater. The interlinkages are also classified into ‘primary’ and ‘secondary’, depending on how strong and direct the impacts on groundwater from achieving the targets may be. The report presents a summary of key interlinkages, and subsequently provides the narrative of all ‘primary’ ones. The analysis suggests that more than half of interlinkages are ‘reinforcing’, while only a few are ‘conflicting’. From a policy perspective i) conflicting interlinkages are the most critical and difficult ones to manage, and ii) it is important to draw synergies between SDG initiatives and groundwater to allow reinforcing interlinkages to materialise. Nearly a third of all identified interlinkages were classified as ‘mixed’. This means that when target activities are planned, careful consideration must be given to possible impacts on groundwater to avoid unintended negative outcomes that may not be evident at first. Primary interlinkages that constitute 43% of all may be the easiest to understand and the most important to plan for. However, there are even more secondary interlinkages. This means that groundwater experts need to be able to share knowledge to a range of actors involved in addressing the targets with secondary interlinkages to groundwater, and vice versa. It is also shown that i) the importance of groundwater to sustainable development is poorly recognised and captured at the SDG target level; ii) there is a lack of globally useful, up-to-date and SDG-relevant groundwater data available, which makes it difficult to make globally, and even locally, relevant recommendations for groundwater use, management and sustainability in the SDG era, and iii) there are often poor links between targets and their indicators. This may signal that all groundwater-related and groundwater-relevant aspirations may not be translated into real, let alone, measurable action. This report is not a comprehensive analysis and involves an element of subjectivity, associated primarily with the data and information paucity on one hand, and with the imperfection of the SDG target and indicator system itself – on another. However, even with these limitations, the report shows how significant groundwater is in sustainable development, even if the current SDG framework is implicit about this. Furthermore, it suggests a structured way to improve the visibility of groundwater in the SDG framework as it continues to develop.
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STATEMENT OF THE NATIONAL ACADEMY OF EDUCATIONAL SCIENCES OF UKRAINE. National Academy of Educational Sciences of Ukraine, February 2022. http://dx.doi.org/10.37472/saveukraine.

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We consider it criminal and strongly condemn the violation of the territorial integrity and borders of Ukraine by the Russian Federation. We also consider inadmissible the statements of the leadership of the Russian Federation regarding our state, interference in the internal affairs of Ukraine by denying its civilizational subjectivity and demanding the abandonment of its own path of development. With great gratitude and confidence in the victory, we turn to the defenders of Ukraine: we are together, we are convinced of the strength and steadfastness of those who defend Democracy, Freedom, and Human Values! Resistance is not just military resistance. The opposition of every citizen is not to succumb to provocations and panic, to prevent escalation of tensions, to refute fakes, to maintain clarity of thinking. A patriot is someone who invests in the development of the country and preserves its defense capabilities in a way accessible to him. For representatives of pedagogical and psychological sciences — is to maintain the national identity and unity of the nation at the level of consciousness of every citizen, territorial community, society. This is the strengthening of the subjectivity of every citizen through his awareness of Ukrainian history from the times of Kyivan Rus, Ukrainian mentality of freedom from the Cossack era, the spirit of Ukrainian democracy from the Constitution of Philip Orlyk, invincibility of the Ukrainian army from the victories of Peter Konashevych-Sahaidachnyi and Bohdan Khmelnytskyi, exercise of self-awareness by Hryhorii Skovoroda and Taras Shevchenko. Scientists of the National Academy of Educational Sciences of Ukraine, as always, are ready for a dialogue with anyone who finds himself in difficult life circumstances, in situations of confusion or uncertainty, who needs advice or psychological help. We all have hard work ahead of us every day. But our goal is common and high — to preserve the sovereignty and territorial integrity of Ukraine. To this end, we have worked for Ukraine′s independence, we have also worked for the development of our state for the last 30 years, for this, we are mobilizing for further struggle! We will win! Glory to Ukraine!
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