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Journal articles on the topic 'Technological arts'

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Published: 4 June 2021
Last updated: 16 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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

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7

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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8

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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9

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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10

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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11

Smith, Zoe. "Technological Bodies." Convergence: The International Journal of Research into New Media Technologies 3, no. 2 (June 1997): 36–42. http://dx.doi.org/10.1177/135485659700300205.

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12

Cirakoglu, Huriye. "Hand arts and industrial design." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 128–33. http://dx.doi.org/10.18844/prosoc.v5i6.3849.

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The ornamentalism that starts with the history of mankind was born from the passion of mankind to embellish the material used and to shape it with an understanding of art. Handicrafts are income-generating, production-oriented activities based on the individual’s knowledge and skill, often using natural raw materials, made by hand and simple tools, reflecting the pleasure and skill of the person carrying the cultures, traditions folkloric characteristics of the community. Handicrafts are the most important items showing the level of culture and civilisation of the society or nation in which they have emerged. Thus, handicrafts indicate the economic level, beliefs, customs and customs of that society, the climate and technological level of the geographical area in which they live. Increasing world population and technological developments have affected production methods and tools. In developed countries, it is very important to cultivate the human power that can produceand use the technology.Keywords: First keyword, second keyword, third keyword, forth keyword;
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13

Harris, J. "Assisted reproductive technological blunders (ARTBs)." Journal of Medical Ethics 29, no. 4 (August 1, 2003): 205–6. http://dx.doi.org/10.1136/jme.29.4.205.

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14

Griffin, Matthew. "Exploring the Technological Imaginary." PAJ: A Journal of Performance and Art 24, no. 2 (May 2002): 120–23. http://dx.doi.org/10.1162/152028102760049391.

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15

Lozano-Hemmer, Rafael. "Perverting Technological Correctness." Leonardo 29, no. 1 (1996): 5. http://dx.doi.org/10.2307/1576269.

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16

Todi, Cristina. "The Metamorphosis of Performing Arts." Theatrical Colloquia 9, no. 1 (June 1, 2019): 173–86. http://dx.doi.org/10.2478/tco-2019-0004.

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Abstract This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public. Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.
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17

Bell, Hazel K. "Technological hominid." Indexer: The International Journal of Indexing 18, no. 2 (October 1, 1992): 120–21. http://dx.doi.org/10.3828/indexer.1992.18.2.20.

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18

Song, Holim, Terry Kidd, and Emiel Owens. "Examining Technological Disparities and Instructional Practices in English Language Arts Classroom." International Journal of Information and Communication Technology Education 5, no. 1 (January 2009): 17–37. http://dx.doi.org/10.4018/jicte.2009010102.

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19

Legrady, George. "Perspectives on Collaborative Research and Education in Media Arts." Leonardo 39, no. 3 (June 2006): 215–18. http://dx.doi.org/10.1162/leon.2006.39.3.215.

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Digital arts is by nature a hybrid practice, integrating the poetics, aesthetics and conceptual strategies of art with the logical, systematic methods of technological processes from engineering and the sciences. This article reviews the development of interdisciplinary, collaborative arts-engineering research and education at the University of California at Santa Barbara, focusing on the Media Arts & Technology graduate program from a visual/spatial arts perspective.
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20

VARSHAVSKII, Aleksandr E., and Mariya S. KUZNETSOVA. "Analyzing smartphone innovative development: Evidence from Apple’s iPhone." National Interests: Priorities and Security 17, no. 9 (September 15, 2021): 1625–49. http://dx.doi.org/10.24891/ni.17.9.1625.

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Subject. We analyze development trends in iPhone by reviewing the way their key technological and economic indicators change. Objectives. We trace patterns and trends in technological and economic indicators of iPhone, correlations of the indicators, and the dependence of the price and SAR on technological indicators. Methods. Following our methodology, we study and model indicators of smartphones. Results. We traced and determined the correlation of technological and economic indicators of iPhone. The article demonstrates how the price and SAR mainly depend on technological indicators of smartphones. Conclusions and Relevance. As the findings show, as the above smartphone gets more technologically sophisticated, i.e. the price and SAR increase, we can expect higher risks for the man and the environment, though the mobile device development trends may still persevere. As seen from the analysis, SAR increases as smartphones have more cores and processor frequency, operation memory, which basically entails higher prices. In the mean time, the above indicators lower as the smartphone dimensions grow (screen diagonal, weight, battery capacity).
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21

Ashkenazi, Avi. "Technological augmented narratives in public transportation." Journal of Writing in Creative Practice 5, no. 3 (December 1, 2012): 455–75. http://dx.doi.org/10.1386/jwcp.5.3.455_1.

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22

Hood, Beverley. "Eidolon: The technological body." Technoetic Arts 14, no. 3 (December 1, 2016): 147–58. http://dx.doi.org/10.1386/tear.14.3.147_1.

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23

Whitington, Jerome. "Intervention, Management, Technological Error." Parallax 14, no. 3 (July 2008): 48–61. http://dx.doi.org/10.1080/13534640802159138.

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24

Lim, Mi Ka, and Jin Soo Kim. "Derivation of Learning Style for Solving Technological Problems in Practical Arts Education." Korean Association of Practical Arts Education 31, no. 2 (June 22, 2018): 63–84. http://dx.doi.org/10.24062/kpae.2018.31.2.63.

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25

Thompson, Steven L. "The Arts of the Motorcycle: Biology, Culture, and Aesthetics in Technological Choice." Technology and Culture 41, no. 1 (2000): 99–115. http://dx.doi.org/10.1353/tech.2000.0040.

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26

Ridgway, Sam. "BEING TECHNOLOGICAL: HEIDEGGER AND MASS-PRODUCED HOUSES." Architectural Theory Review 2, no. 1 (November 1996): 98–121. http://dx.doi.org/10.1080/13264829609478305.

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27

Kara, Sema. "An Investigation of Technological Pedagogical and Content Knowledge (TPACK) Competencies of Pre-Service Visual Arts Teachers." International Journal of Technology in Education 4, no. 3 (July 20, 2021): 527–41. http://dx.doi.org/10.46328/ijte.184.

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This study aimed to examine TPACK (Technology, Pedagogy and Content Knowledge) competencies of pre-service visual arts teachers. Based on the descriptive and comparative survey model, TPACK competencies of pre-service visual arts teachers were compared on variables of gender, year of study and academic achievement. The participants of the study were 253 pre-service teachers studying in department of visual arts in Education Faculties of Atatürk, Karadeniz Teknik, Mersin and Necmettin Erbakan Universities. TPACK Competencies Scale was used to collect research data. The findings showed that TPACK competencies of pre-service visual arts teachers were low in terms of technology knowledge, but high in content knowledge. In addition, their TPACK competencies vary based on gender, year of study and academic achievement.
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28

de Mul, Jos. "The (Bio)Technological Sublime." Diogenes 59, no. 1-2 (February 2012): 32–40. http://dx.doi.org/10.1177/0392192112469162.

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29

Uribe Mendoza, Bernardo. "Parametricism, Heuristics and Co-Creation in the Arts of Design." ACTIO Journal of Technology in Design, Film Arts and Visual Communication, no. 4 (May 26, 2021): 26–35. http://dx.doi.org/10.15446/actio.n4.96159.

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In 2008, architect Patrick Schuhmacher, from Zaha Hadid Architects, proposed an architectural manifesto for the 21st century, extendable to other arts of design and even to other areas of technological and artistic activity in which the human factor is associated with creation: Parametricism. In the subsequent debate, problems such as those of a new style as produce of digital technologies, and the totalizing claims of a design theory based on Niklas Luhmann’s postulates on his General Systems theory, have been repeatedly discussed. In this article, the topics of the Parametricism manifesto associated with the human factor and creation in design in the current technological environments, have been extrapolated to its plausible revision from the heuristics discipline perspective and to a possible re-definition of the co-creation concept in the arts developed by the Informal Art Movement of the mid-XX Century.
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30

Allouche, Jean-Paul. "How New Is Technological Art?" Leonardo 32, no. 4 (August 1999): 303. http://dx.doi.org/10.1162/002409499553299.

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31

Wlaszyn, Joanna. "Technological Reception of Architecture: Beyond the Digital Representation." Design Principles and Practices: An International Journal—Annual Review 3, no. 1 (2009): 213–30. http://dx.doi.org/10.18848/1833-1874/cgp/v03i01/37615.

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32

de Abreu, Maria José A. "Technological indeterminacy: Medium, threat, temporality." Anthropological Theory 13, no. 3 (September 2013): 267–84. http://dx.doi.org/10.1177/1463499613492093.

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33

Wolf, Mark J. P. "The Technological Construction of Performance." Convergence: The International Journal of Research into New Media Technologies 9, no. 4 (December 2003): 48–59. http://dx.doi.org/10.1177/135485650300900405.

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34

Blitz, John H. "Skeuomorphs, Pottery, and Technological Change." American Anthropologist 117, no. 4 (November 5, 2015): 665–78. http://dx.doi.org/10.1111/aman.12349.

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35

Kratzer, David. "The Practical as Instrument for Technological Imagination." Journal of Architectural Education (1984-) 51, no. 1 (September 1997): 32. http://dx.doi.org/10.2307/1425520.

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36

Seelow, Atli Magnus. "Notes on the Useful Arts—Technological Progress as a Basis for Modern Architecture." Arts 8, no. 2 (June 19, 2019): 73. http://dx.doi.org/10.3390/arts8020073.

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It is a commonplace that Modern Architecture is a product of the Industrial Revolution, as practically all representatives of the Modern Movement refer, in some way or another, to technology and regard it as the foundation of their architecture [...]
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37

Batchelor, Donald B. "The Technological Mentality: A Crucial Challenge to Education in the Arts and Sciences." Design For Arts in Education 86, no. 6 (August 1985): 7–14. http://dx.doi.org/10.1080/07320973.1985.9940720.

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38

Toole, T. Michael. "Technological Trajectories of Construction Innovation." Journal of Architectural Engineering 7, no. 4 (December 2001): 107–14. http://dx.doi.org/10.1061/(asce)1076-0431(2001)7:4(107).

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39

Groves, Chris. "Technological Futures and Non-Reciprocal Responsibility." International Journal of the Humanities: Annual Review 4, no. 2 (2006): 57–62. http://dx.doi.org/10.18848/1447-9508/cgp/v04i02/41814.

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40

Bernardoni, Andrea. "Leonardo and the “Chemical Arts”." Nuncius 27, no. 1 (2012): 11–55. http://dx.doi.org/10.1163/182539112x637165.

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Our traditional vision of Leonardo da Vinci is based principally on his studies of mechanics, hydraulics, optics, geology, meteorology, and anatomy. However, a perusal of his manuscripts reveals his lifelong interest in chemistry and metallurgy, fields to which he contributed both as an innovator and as a reliable chronicler of the technological inventions of others. He conducted studies on various types of materials (including glass, paper, and le terre di fusione, the clay used in the lost wax process) and sought to develop more efficient alembics and metallurgical furnaces, as well as ingenious devices to study the elements and the dynamics of the transformation of matter. Leonardo’s atelier therefore could be viewed as a veritable ‘technical laboratory’ in which he conducted experiments not only on the techniques and materials required for his art, but also to satisfy his thirst for knowledge by engaging in the heuristic study of natural and artificial phenomena.
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41

Craig, Douglas B. "Radio, modern communication media and the technological sublime." Radio Journal:International Studies in Broadcast & Audio Media 6, no. 2 (December 1, 2008): 129–43. http://dx.doi.org/10.1386/rajo.6.2-3.129/1.

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42

Harutyunyan, Angela. "Landscape and Its Double: The Technological Sublime." ARTMargins 10, no. 1 (February 2021): 66–76. http://dx.doi.org/10.1162/artm_a_00286.

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Abstract The essay inquires about the historical condition of representation in our present while invoking the modern experience of the sublime and landscape as the medium of that experience. Can the sublime as the experience of the subject confronted with the very limits of representation be extended to our late capitalist conditions of mediatized representations? What constitutes “a landscape” as the site of the experience of the sublime in late capitalism? The essay addresses these questions through a renewed discussion of Walter Benjamin’s “The Work of Art in the Age of Technological Reproducibility” (1936) by focusing on the discussion of the aura and the decay of the aura in relation to landscape. In the wake of the failure of a transformative praxis to bring about a new social order, the technologically hyper-mediated engagement of man with nature under the conditions of extreme alienation and reification results in the production of the aesthetics of destruction experienced as “supreme pleasure”. In the age of the atomic bomb and technological hyper-mediation, the singularity of the moment of the experience of the sublime is multiply reproduced. The essay ends with an analysis of Werner Herzog’s 1992 film Lessons of Darkness as an example of rendering cinematically the aura’s survival under the conditions of its decay in the burning oil fields of Kuwait. Capitalism’s “desert of the real”, as the vast desert in Kuwait in Herzog’s film, is precisely the landscape in relation to which the subject attempts to represent that which evades representation (the event, nature, capitalism, and so on).
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43

Davis-Floyd, Robbie E. "The Technological Model of Birth." Journal of American Folklore 100, no. 398 (October 1987): 479. http://dx.doi.org/10.2307/540907.

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44

Negrotti, Massimo. "Music and Naturoids: The Third Reality." Leonardo 45, no. 3 (June 2012): 269–73. http://dx.doi.org/10.1162/leon_a_00370.

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At a high level of abstraction, it can be shown by analogy that attempts to reproduce natural phenomena occur not only in technological endeavors but also in human communication and the arts, including music. This paper presents the parallel development of artificial devices—or “naturoids”—in the fields of technology, message communication and musical composition, highlighting the transfiguration that unavoidably affects the resulting device, message or musical work. In the technological field and, to an extent, in the communications field, the transfiguration of the natural object is taken as a more or less unsatisfying outcome. By contrast, in the arts, and mainly in music, the transfiguration effect is exactly what the artist pursues through placing him- or herself at a nonordinary observation level.
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45

Sofia, Zoe. "Contested Zones: Futurity and Technological Art." Leonardo 29, no. 1 (1996): 59. http://dx.doi.org/10.2307/1576279.

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46

Ryan, Susan Elizabeth. "Re-Visioning the Interface: Technological Fashion." Leonardo 42, no. 4 (August 2009): 307–13. http://dx.doi.org/10.1162/leon.2009.42.4.307.

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This paper elucidates two positions (the positivist and the critical) that inform the creative design of technological fashion. On the one side is the instrumentalist trend toward the minimized or disappearing interface. On the other, some theorists and artists suggest that increased invisibility presents social and ethical concerns (such as invasiveness and control) when networking and communication devices are involved. The positivist side has roots in modernist design. Positivist designers create responsive and controllable fabrics using shape-changing polymers, e-textiles, and nano-scale electronics to resolve clumsy and prohibitive problems of hardware vs. body. The critical side draws upon archetypal ideas about technology and the body that are familiar from literature and science fiction, and includes writers and media artists who emphasize the intractable or mechanic nature of technological clothing to enhance, rather than erase, the body. The paper concludes that both positions must be considered as the field of technological fashion moves forward.
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47

Thimons. "Blurred Visions: Atomic Testing, Live Television, and Technological Failure." Journal of Film and Video 72, no. 3-4 (2020): 102. http://dx.doi.org/10.5406/jfilmvideo.72.3-4.0102.

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48

Zhukov, Vladislav, Anastasia Smirnova, Alina Vorobyova, and Ksenia Kosyakova. "Сluster of design objects images in aesthetic and social, economic, and technological systems." E3S Web of Conferences 244 (2021): 05034. http://dx.doi.org/10.1051/e3sconf/202124405034.

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Currently, there is no holistic concept of the creative possibilities of humanity and its civilizations, which confirms the relevance of this study. To create images of design objects – edged weapons, represented by visual-symbolic cognitive information dynamic systems (VKIDS) with locally stable structures (LUS) in the development of cognitive technologies of plastic arts and design, the methods of linguistic-combinatorial and tabular modelling were used. RESULTS: the morphogenesis of images of objects of design, represented by a cluster of bladed weapons and logotypes decor and marks of identification, as a result of cognitive technologies in the creation of SKIDS that provides a universal language of communication in relationships ontological and semiotic realities, which increases the growing importance of the plastic arts and design, focused on images of artefacts vintage and modern bladed weapons through the concepts of archetypes symbols and signs: system, taxonomy and classification.
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49

Fitzsimons, Gray. "Review: American Technological Sublime by David E. Nye." Journal of the Society of Architectural Historians 55, no. 4 (December 1, 1996): 469–70. http://dx.doi.org/10.2307/991192.

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50

Kihlstedt, Folke T. "Technological Utopianism in American Culture. Howard P. Segal." Winterthur Portfolio 21, no. 4 (December 1986): 324–26. http://dx.doi.org/10.1086/496303.

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