Relevant bibliographies by topics / Technological arts

Contents

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

Academic literature on the topic 'Technological arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Technological arts"

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Jensen, Amy Petersen. "A technological, pedagogical, arts knowledge framework." Arts Education Policy Review 117, no. 3 (June 24, 2016): 153–58. http://dx.doi.org/10.1080/10632913.2016.1187970.

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Jones, Russel C. "Technological Literacy for Liberal Arts Majors:." Bulletin of Science, Technology & Society 12, no. 3 (June 1992): 138–48. http://dx.doi.org/10.1177/027046769201200304.

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Beaver, Donald Deb. "Technological Literacy, Old and New." Bulletin of Science, Technology & Society 6, no. 2 (June 1986): 229–34. http://dx.doi.org/10.1177/027046768600600214.

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As one of the Sloan Foundation's original New Liberal Arts grantees, Williams College has developed a variety of approaches to improve quantitative reasoning and technological literacy, including creating interdisciplinary courses, computer and mathematical workshops, and an STS program. Further development, however, depends critically on what technological literacy may mean in a liberal arts context. Attempts to promote technological literacy, whether in liberal arts settings or not, are likely to founder unless they take account of the complexity and context dependent nature of technological literacy, as well as its history, and its relationship to scientific literacy.
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Johannessen, Larry R., and Elizabeth A. Kahn. "Teaching English Language Arts for a Technological Age." Clearing House: A Journal of Educational Strategies, Issues and Ideas 70, no. 6 (July 1997): 305–10. http://dx.doi.org/10.1080/00098655.1997.10543532.

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Marter, Joan, and Susan Fillin-Yeh. "The Technological Muse." Art Journal 50, no. 2 (1991): 75. http://dx.doi.org/10.2307/777167.

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Biagi, Giancarlo. "Intoxicating Technological Anxieties." Sculpture Review 67, no. 2 (June 2018): 7. http://dx.doi.org/10.1177/074752841806700201.

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Gigliotti, Carol. "The Challenge of the Technological Future and the Arts." Arts Education Policy Review 102, no. 3 (January 2001): 7–8. http://dx.doi.org/10.1080/10632910109599994.

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Klein, Douglass, and Robert Balmer. "Engineering, liberal arts, and technological literacy in higher education." IEEE Technology and Society Magazine 26, no. 99 (2007): 22–27. http://dx.doi.org/10.1109/mtas.2007.4384623.

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Klein, J., and Robert Balmer. "Engineering, Liberal Arts, and Technological Literacy in Higher Education." IEEE Technology and Society Magazine 26, no. 4 (2007): 23–28. http://dx.doi.org/10.1109/mts.2007.911066.

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Murray, Matthew. "Technological Thresholds." Convergence: The International Journal of Research into New Media Technologies 3, no. 1 (March 1997): 26–50. http://dx.doi.org/10.1177/135485659700300104.

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Dissertations / Theses on the topic "Technological arts"

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Giaquinto, Kevin. "Digital Chaos| Exploring Relationships Between Technological Advancement and Visual Experience." Thesis, Rochester Institute of Technology, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561428.

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More so than any other time in history, humans are being exposed to an enormity of digital images every day. The internet, combined with accompanying technological advancements in cellular communication has created an exceptionally chaotic visual experience within the daily lives of millions of people. Through the use of digital photomontage, my artwork attempts to quantify and evaluate the impact that thousands of digital images may have on the emotional and psychological state of human beings. Concurrently, I am in interested exploring the mental repercussions of visual overload, specifically, how chaotic digital experiences may impact the quality of the human condition as a whole. I use the internet to recontextualize found images through a variety of digital manipulation methods to create a system of aesthetic and conceptual relationships. Each collage is comprised equally from images I have produced myself, and appropriated images found on the internet to indicate the increasingly ambiguous boundary between our physical and virtual realities. I often use images that imply a war-like opposition between our natural and technological environments. I believe such images are indicative of the conflicts that take place on a psychological plane of consciousness within our minds every day as we strive to cope with our new digital reality brought forth by rapid technological advancement.

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Cavallo, David Paul. "Leveraging learning through technological fluency." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61091.

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Mohan, Manisha. "Technological interventions to detect, communicate and prevent sexual assault." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/112540.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 83-85).
Every 98 seconds, a person in the United States is sexually abused. Every 16 hours, a woman in the United States is murdered by her romantic partner or ex-partner. Sexual abuse, assault, and harassment are regarded as some of the most common human rights violations in the world by the United Nations. Our work examines methods to prevent sexual assault, from pre-historic times to latest technologies, to inform contemporary designs. In this thesis, we investigate multiple methods to detect initial signs of assault and develop methods for communication and prevention of assault. We also explore olfactory stimuli as a potential means to prevent sexual assault in real-time. We present three technological interventions which can seamlessly integrate with existing clothing to respond to initial signs of assault like forced disrobing. The proposed solutions aim to combat Child Sexual Abuse (CSA), College Campus assault and abuse of elderly and disabled. The proposed solution operates in two modes, an active mode for instances when the victim is unconscious or cannot fight against the assaulter, for example in case infants, bed-ridden patients, elderly, disabled, intoxicated people and the passive mode where the victim can self-actuate the safety mechanism. Both modes release distress signals to prevent an assault in real-time, also alert the victim's friends and family, and call emergency services for help. Our clothing design is based on input from sexual assault survivors, 338 on-line participants, 67 volunteers and 20 users who helped us understand the real world feasibility of our system. Users evaluated the clothing appeal, functionality, cultural sensitivity and provided feedback on their general sense of security wearing the smart clothing. We demonstrate the practicality of our unobtrusive design with user studies that support our technological development and use of olfactory stimuli by showing the effect of smells on sexual arousal and partner selection. We believe our technosocial approach can help improve user safety and prevent sexual assault.
by Manisha Mohan.
S.M.
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Lovell, Emily Marie. "A soft circuit curriculum to promote technological self-efficacy." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/67826.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 35-36).
The development of technological self-efficacy in young people can have a dramatic impact on diversity in the field of computing. Students'self-efficacy and scientific understanding can benefit from engaging in hands-on activities, such as creating soft, electronic textile (e-textile) circuits. There is, however, a notable lack of instructional materials to support such learning experiences. I have developed a workshop facilitation guide which outlines five e-textile activities, accompanied by a collection of low-cost craft and electronic components. The instructional materials target educators, who may facilitate e-textile activities in settings such as science museums, after-school programs, or summer camps. I have assessed the effectiveness and usability of the materials through a short series of workshops, during which I also evaluated their impact on students'technological self-efficacy.
by Emily Marie Lovell.
S.M.
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Lin, Judy. "Painting Pixels: Mapping the Sublime Philosophy and Capital Attraction onto a Technological Landscape." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1168.

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In three large-scale paintings, I depict the development and presence of Silicon Valley, a high capital powerhouse in Northern California associated with technical innovation. I combine epic nature and expansive capitalist geography as expressions of the sublime, a philosophical art term that refers to greatness beyond all possible calculation, measurement, or imitation. The sublime is seen in Romantic painter Caspar David Friedrich’s and contemporary photographer Andreas Gursky’s works. In my paintings, Friedrich’s traditional sublime meets with Gursky’s contemporary capitalist concerns. My painting technique involves layering several squares to suggest pixelation in the city. Artists Gerhard Richter and Thomas Ruff inspire my abstraction and pixelation as a sublime digital storm. I create my own version of compressed digital images (JPEGs) like Ruff, and I work traditionally similar to Richter with a procedure in arbitrarily layering squares of color. Pixelating Silicon Valley attempts to show the draw to a mysterious digital capital since I am also inspired by geographer David Harvey’s analysis on economic magnets in spaces. Thus, the painting technique for Silicon Valley seeks to map the sublime philosophy and capital attraction onto a technological landscape.
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TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.

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The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.
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Hockman, Jason. "An ethnographic and technological study of breakbeats in hardcore, jungle and drum & bass." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121313.

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During the late 1980s and early 1990s, the United Kingdom's DJ-oriented electronic music community embraced new technologies and developed innovative techniques to master these technologies, resulting in the development of new genres. Three such genres, Hardcore, Jungle, and Drum & Bass (HJDB), emerged at the critical intersection between computer technology and the consumer market, which allowed computer music to be made through the use of home-based studios. The essential instrument in HJDB was the digital sampler, a device that offered musicians the ability to achieve realistic instrumentation through a "cut-and-paste" method of production. The thread that ties these three genres together was their unique usage of fast-paced sampled drums, derived primarily from breakbeats—samples of short percussion solos typically from 1960s to 1980s Funk and Jazz recordings. This dissertation explores a number of important issues that have not been addressed in prior writing on HJDB, and consists of three main objectives. The first is to provide a written history of the genres from the perspective of those that have made the music. This history catalogues the origins of the United Kingdom's DJ-oriented electronic music genres, the incorporation of breakbeats into this music that created the Hardcore genre, and developments that then resulted in the creation of the Jungle genre and subsequently the Drum & Bass genre. The second objective is to provide an explanation of the main technologies used in the creation of this music (e.g., the digital sampler) and the techniques developed by musicians to harness this technology. The third objective is to provide methods for the computational analysis of HJDB music, through automated determination of the breakbeats being used, detection of downbeat locations, and an estimation of the degree of rhythmic modification. Each of these objectives has been informed by over twenty interviews with musicians and label owners from throughout the history of HJDB. Computational methods based on HJDB-specific knowledge are shown to significantly outperform generalized music analysis techniques, highlighting the importance of style-specific approaches for computational musicology.
Durant la fin des années 80 et le début des années 90 au Royaume Uni, le monde de la musique électronique destinée aux DJ a adopté de nouvelles technologies et développé des techniques innovantes pour les maîtriser, aboutissant ainsi au développement de nouveaux genres. Trois de ces genres, Hardcore, Jungle, et Drum & Bass (HJDB), ont émergé au croisement critique entre la technologie numérique et le marché grand public, permettant la production de musique numérique dans les "home studios". L'instrument clé en HJDB était l'échantillonneur numérique, un appareil offrant aux musiciens la possibilité de réaliser une instrumentation réaliste grâce à une méthode de production "couper-coller". Le point commun entre ces trois genres était l'utilisation d'extraits de batterie au rythme rapide, principalement dérivés des "breakbeats"—courts extraits de solos de percussion typiques des enregistrements Funk et Jazz de 1960 à 1980.Ce travail explore un grand nombre de problématiques n'ayant pas été traitées dans la littérature HJDB et consiste en trois objectifs principaux. Le premier est de présenter l'histoire de ces genres musicaux du point de vue de leurs créateurs. Il s'agit de passer en revue les origines des différents genres de musique électronique destinée aux DJ—au Royaume-Uni, l'incorporation des "breakbeats" dans cette musique résultant dans la naissance du genre Hardcore, et les développements ayant mené au Jungle et par la suite au Drum & Bass. Le second objectif est de présenter les principales technologies utilisées dans la création de cette musique (par example, l'échantillonneur numérique) ainsi que les techniques développées par les musiciens pour maitriser ces technologies. Enfin, le troisième objectif est de fournir des méthodes pour l'analyse numérique de la musique HJDB, par la détection automatique des "breakbeats" utilisés, celle de la localisation des "downbeats", et une estimation du degrés de modification rythmique. Chacun de ces objectifs a été étayé par des entrevues faites avec plus que vingt musiciens et propriétaires de labels ayant participé à l'histoire du HJDB. Il a été démontré que les méthodes d'analyse informatique inspirées de la connaissance spécifique du HJDB surpassent significativement les techniques générales d'analyse musicale, mettant ainsi en évidence l'importance d'une approche spécifique du genre en musicologie numérique.
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Heyer, Gina Margareta. "Explorations of the painted real : technological mediation in the work of four artists." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6633.

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Thesis (MA)--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges. This results in visions of the painted real that may be meaningful to contemporary society and have the ability to emotionally affect the viewer.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verhouding tussen fotorealistiese skilderkuns en die spesifieke metodes wat die kunstenaar se vertolking van die werklikheid vergemaklik. Die term, 'realiteit' word krities oorweeg te midde van 'n saamgestelde teoretiese aanslag tot fotorealisme wat mimesis en semiotiek insluit. Deur 'n noukeurige analise van Vermeer se oënskynlike gebruik van die camera obscura, hou ek voor dat fotografiese sig reeds sedert die 17e eeu teenwoordig is. Hierdie gewaarwording dui op 'n dramatiese skuif vanaf 'n klassieke, Kartesiaanse perspektief en skopiese regime tot die model van visie gebied deur die kamera, lank voor die ontwikkeling van fotografie. Ek stel voor dat kontemporêre fotorealistiese skilders nie bloot objektief kopieër nie, maar fotografiese verwysings met 'n gesofistikeerde bewussyn in reaksie tot 'n vinnigveranderende wêreld gebruik. Deur 'n ondersoek na die wyse waarop die camera obscura en fotografiese kamera in die werke van vier kunstenaars gebruik word, stel ek voor dat 'n simbiotiese verhouding die subtiele spanning tussen skilderkuns en fotografiese tegnologie meemaak. Dit lei tot visionêre weergawes van 'n geskilderde realiteit wat 'n betekenisvolle posisie in die kontemporêre samelewing beklee en die moontlikheid besit om die toeskouer op 'n emosionele vlak te affekteer.
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Wolf, Oliver. "Affinity with artefacts : humans' perception of movement in technological objects." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/44045.

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It is commonly accepted that our relation to inanimate objects is different than to biological entities. When movement comes into play, however, this relation can bring about ambiguities and transfigure familiar relationships between the animate and the world of things. This thesis investigates this relationship and the role of movement. The main focus is on humans' perception of movement, in particular how this affects the relationship to technological objects. It is a known phenomenon that humans tend to focus on life and lifelike processes. This propensity affects the creation as well as the observation of things. As social and emotional beings, humans experience a living presence of objects, and tend to not treat them as dead matter. Apparent for example in emotional attachments to devices like the computer, cell phones or robots. We have a long-standing practice of projecting social roles onto our surrounding as a way to relate and interact with things in the world. Differences in these relationships are affected by the appearance as well as movement of things, a phenomenon that is well-established, for instance, in cognitive psychology and gestalt/animation theory, where it has been demonstrated that abstract objects and shapes, when they move, tend to be interpreted less object-like and more as social and animate beings. Equally, in human-robot interaction, studies with real robots illustrate that people tend to 'anthropomorphise,' and attribute life-like properties to these technological objects with certain human or animal characteristics. The affinity towards the living affects not only the experience and observation but also the creation of technologically animated things. For a long time artists and inventors have been trying to mimic nature and develop technology simulating life-like qualities. These creations, as reported in this thesis, manifest for instance through animated creatures, artistic sculptures and artefacts, the creation of artificial systems, and robotics. The aim of this thesis is to learn more about the role of movement for human perception of the animate/inanimate by presenting movement as the common denominator on three levels. First, this thesis contributes to the understanding of the phenomena by bringing together work from various contexts and as such presenting an interdisciplinary approach to the topic. Second, as a result, a novel methodology is presented that provides a relational approach to examine move ment as a determinant of variances in the interpretation of an entity. Based on a feature-space, used to compare peoples' interpretative relationship to entities, the method allows to evaluate how an entity's movement characteristic affect the way thoughts and actions are directed to them. Third, results are obtained from the application of the methodology in an empirical study, assessing peoples' interpretation of a ready-made object, a technologically modified hairbrush moving autonomously. These show that the movement of an everyday object motivates an interpretation closer to humans and animals. The results correspond to the findings mentioned above. However, as the empirical work brings together people and an autonomously acting robotic object, which lacks anthropomorphic/zoomorphic or mechanoid morphology, in a real world scenario, it transfers these findings from cognitive psychology and computer graphic animation to the field of human-robot interaction.
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Salzberg, Shaun (Shaun David). "Fostering innovation : designing technological solutions to proactively encourage informal communication in the workplace." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82433.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 105-107).
I have designed, built, and evaluated three devices to encourage informal interactions in the workplace. Previous research has found that such interactions can lead to increased idea cross-flow, creativity, productivity, and innovation at large, though few attempts to design architectural, organizational, or technological solutions have succeeded in achieving this. I believe this is because these approaches tended to focus too much on fostering an "ambient awareness" of fellow coworkers with hopes that it would indirectly lead to increased informal interactions. My hypothesis is that proactively creating such interactions as intermediated by a smart artifact in the office space would be more effective. For this thesis, I have built two versions of a device called Food Groups, as well as another one called Media Lab Mixer; Food Groups matches coworkers up to get lunch or dinner together, while Media Lab Mixer uses game dynamics to encourage them to spend more time socializing in a common space. After an initial study, the Food Groups devices received little use and were largely ineffective at fostering informal interactions. Media Lab Mixer, however, showed greater engagement and was more effective at creating the desired results, though it did not have a lasting effect after it was removed.
by Shaun Salzberg.
S.M.
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Books on the topic "Technological arts"

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Mexican modernity: The avant-garde and the technological revolution. Cambridge, Mass: MIT Press, 2005.

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Revolutionizing arts education in K-12 classrooms through technological integration. Hershey, PA: Information Science Reference, an imprint of IGI Global, 2015.

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Aesthetics in present future: The arts and the technological horizon. Lanham: Lexington Books, 2013.

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Cyborg theatre: Corporeal/technological intersections in multimedia performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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Technological tools for the literacy classroom. Hershey PA: Inormation Science Reference, 2013.

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Follert, Melene. Data transmission for the graphic arts industry. Arlington, VA: National Composition Association, 1987.

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Entangled: Technology and the transformation of performance. Cambridge, MA: MIT Press, 2010.

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Motzkus, Frank C. I teknikkens tjeneste 1882-2007. Albertslund]: Kemp & Lauritzen, 2007.

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Education, Ontario Ministry of. Broad-based technological education: Curriculum guideline, grades 10, 11, and 12. [Toronto]: The Ministry, 1995.

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International Printing & Graphic Arts Conference (2000 Savannah, Ga.). 2000 International Printing & Graphic Arts: October 1-4, 2000, Hyatt Regency Savannah, Savannah, GA. Atlanta, Ga: TAPPI Press, 2000.

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Book chapters on the topic "Technological arts"

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Cañas-Bajo, Jose. "Films as Technological Artefacts." In Culture and Computing. Interactive Cultural Heritage and Arts, 189–200. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77411-0_13.

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Vega, Katia Fabiola Canepa, Patricia J. Flanagan, and Hugo Fuks. "Blinklifier: A Case Study for Prototyping Wearable Computers in Technology and Visual Arts." In Design, User Experience, and Usability. User Experience in Novel Technological Environments, 439–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39238-2_48.

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Janamejoy, Luz Nery, and Sanin Ortiz. "Introduction to Education 3.0 Through the Use of Technological Tools for the Teaching of Arts in Preschool." In Advances in Human Factors, Business Management, Training and Education, 921–32. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42070-7_85.

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Freedman, Lawrence, and Jeffrey Michaels. "The Technological Arms Race." In The Evolution of Nuclear Strategy, 193–211. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-57350-6_13.

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Freedman, Lawrence. "The Technological Arms Race." In The Evolution of Nuclear Strategy, 155–71. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20165-5_11.

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Freedman, Lawrence. "The Technological Arms Race." In The Evolution of Nuclear Strategy, 146–61. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230379435_11.

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Almeida, Graça, Fernando Melicio, Carlos Chastre, and José Fonseca. "Displacement Measurements with ARPS in T-Beams Load Tests." In Technological Innovation for Sustainability, 286–93. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-19170-1_31.

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Feld, Bernard T. "Technological Aspects of World Security." In Arms Control and Disarmament, 5–12. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62259-0_1.

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Stubbe, Julian. "Novelty and Technological Objects." In Articulating Novelty in Science and Art, 15–70. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-18979-2_1.

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Kirchhelle, Claas. "Becoming an Activist: Ruth Harrison’s Turn to Animal Welfare." In Palgrave Studies in the History of Social Movements, 35–48. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62792-8_3.

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AbstractThis chapter focuses on Harrison’s life prior to writing Animal Machines. Together with her siblings, Harrison was brought up in close contact to Britain’s cultural elite. After attending schools in London, Harrison commenced her university studies in 1939. The outbreak of war had a transformative impact on her life. Harrison was evacuated to Cambridge where she likely came into contact with ethologist William Homan Thorpe. She converted to Quakerism and subsequently enrolled in the Friends’ Ambulance Unit. The Quaker principles of non-violence, humanitarianism, and bearing witness to injustice would serve as important reference points throughout Harrison’s campaigning. After the war, she completed her studies in the dramatic arts but abandoned a potential career as a theatre producer. In 1954, she married architect Dexter Harrison. Similar to many Quakers, Harrison’s humanitarian concerns motivated her to become involved in the Campaign for Nuclear Disarmament and protest perceived technological, moral, and environmental threats to society.
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Conference papers on the topic "Technological arts"

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Teles, Paulo Cesar. "Touchless Procedural Technological Art." In ARTECH 2019: 9th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359852.3359909.

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Siedlecki, Bogdan. "TECHNOLOGICAL AND MATERIAL PROBLEMS OF VENICE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.073.

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García, Carmen González, Felicidad García-Sánchez, Juan Sebastián González, Víctor del Río García, Alberto Santamaría Fernández, and José Gómez-Isla. "Digital Tools for the Didactics of Colour in Fine Arts Studies." In TEEM'18: Sixth International Conference on Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284179.3284304.

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Moumoutzis, Nektarios, Marios Christoulakis, Andreas Pitsiladis, Ioannis Maragoudakis, Stavros Christodoulakis, Michael Menioudakis, Jenny Koutsabesi, and Marios Tzoganidis. "Using new media arts to enable project-based learning in technological education." In 2017 IEEE Global Engineering Education Conference (EDUCON). IEEE, 2017. http://dx.doi.org/10.1109/educon.2017.7942861.

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Martincova, Marta. "HUMAN CAPITAL, TECHNOLOGICAL PROGRESS AND ECONOMIC GROWTH1." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/13/s04.106.

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Wang, Dashan. "Thought about Enchanting Enterprises' Technological Innovation Cost Management." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.95.

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Fedulin, Alexander. "CULTURAL AND EDUCATIONAL TOURISM MARKET: MUSEUM TECHNOLOGICAL SOLUTIONS." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b23/s7.022.

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Baba, Filip. "MANAGERIAL AND TECHNOLOGICAL FACTORS INFLUENCING THE CATTLE PRODUCTION." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/14/s04.062.

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Valeonti, Foteini, Andrew Hudson-Smith, Melissa Terras, and Chrysanthi Zarkali. "Reaping the Benefits of Digitisation: Pilot study exploring revenue generation from digitised collections through technological innovation." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.11.

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Chao-Fernández, Rocío, Dorinda Mato-Vázquez, and Vicente A. López-Chao. "ICT as an interdisciplinary learning platform of mathematics, music and arts in secondary education." In TEEM'16: 4th International Conference on Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3012430.3012626.

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