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Relevant bibliographies by topics / The Degenerate Art Exhibition

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Academic literature on the topic 'The Degenerate Art Exhibition'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "The Degenerate Art Exhibition"

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McEvansoneya, Philip. "The Twentieth Century German Art Exhibition: Answering degenerate art in 1930s London." Journal of the History of Collections 32, no. 2 (November 22, 2019): 401–2. http://dx.doi.org/10.1093/jhc/fhz037.

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Levi, Neil. ""Judge for Yourselves!"-The "Degenerate Art" Exhibition as Political Spectacle." October 85 (1998): 41. http://dx.doi.org/10.2307/779182.

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Buchloh, Benjamin H. D. "The Dialectics of Design and Destruction: The Degenerate Art Exhibition (1937) and the Exhibition internationale du Surréalisme (1938)." October 150 (October 2014): 49–62. http://dx.doi.org/10.1162/octo_a_00200.

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As a genre of cultural production, where iconic (painterly or photographic), sculptural, and architectural conventions intersect to represent the uniquely specific and current conditions of experience in public social space, exhibition design by artists has only recently emerged as a category of art-historical study. While earlier discussions of El Lissitzky's design of the Pressa exhibition in Cologne in 1928, an exhibition that likely had the widest-ranging impact and is the central example of such an emerging genre in the twentieth century, might have served as a point of departure,1 Romy Golan's important, relatively recent book Muralnomad2—primarily concerned with the history of mural painting and its various transitions into exhibition design—has to be considered for the time being the most cohesive account of the development of these heretofore overlooked practices. Yet, paradoxically, two of the most notorious cases of the historical development of exhibition design after Lissitzky are absent from her study: the infamous Degenerate Art exhibition that opened in Munich on July 19, 1937 (two days after the opening of Nazi Fascism's first major propaganda building, Paul Ludwig Troost's Haus der Deutschen Kunst, and its presentation of German Fascist art in the Grosse Deutsche Kunstausstellung),3 and the Exposition internationale du Surréalisme in Paris, which was installed by André Breton and Marcel Duchamp six months later and 427 miles to the west, on January 17, 1938, at Georges Wildenstein's Beaux Arts Galleries in Paris.4

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Bolt, Mikkel. "Nazismens kamp mod forfaldskunsten." K&K - Kultur og Klasse 36, no. 105 (August 22, 2008): 52–81. http://dx.doi.org/10.7146/kok.v36i105.22039.

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Nazism’s Fight against the Art of Decay:The article presents a reading of the exhibition »Entartete Kunst« that took place in Munich in 1937. The exhibition was staged by the Nazi regime as an attempt to prove the dangerous nature of modern art. According to Nazi ideology, modern art was not just a reflection of unhealthy interests or degenerate racial mixings but was in itself a threat to the purity of the soul of the German people. Therefore modern art had to be excluded in order to make room for the appearance of the German people and its eternal art. Contrary to the idea of Nazism as being somehow not modern, the article stresses the modernist aspects of the Nazi ideology through a detailed account of Nazism’s racist ideology.

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Doering, Zahava D., Andrew J. Pekarik, and Audrey E. Kindlon. "Exhibitions and Expectations: The Case of “Degenerate Art”." Curator: The Museum Journal 40, no. 2 (June 1997): 127–42. http://dx.doi.org/10.1111/j.2151-6952.1997.tb01294.x.

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Kacprzak, Dariusz. "FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)." Muzealnictwo 60 (July 11, 2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.

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On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.

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MATTL, SIEGFRIED. "THE AMBIVALENCE OF MODERNISM FROM THE WEIMAR REPUBLIC TO NATIONAL SOCIALISM AND RED VIENNA." Modern Intellectual History 6, no. 1 (April 2009): 223–34. http://dx.doi.org/10.1017/s1479244308002011.

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Focusing on the spectacular propaganda exhibitions “Degenerate Art” and “Degenerate Music,” critical studies of Nazism's art policy long considered the regime's public attack on modernism and the turn to pseudo-classicism as decisive proof of Nazism's reactionary character. Studies such as Die Kunst im Dritten Reich (1974), which inspired broader research on the topic in the early 1970s, subscribed to a modern conception of aesthetics in which art expresses complex systems of ideas in progress. Artistic style, from this perspective, corresponded to political tendencies and reflected the traditional divide between conservatism and progressivism. But those boundaries have become blurred in the wake of more recent research, which has demonstrated the involvement of modernist artists in Nazi art (e.g. members of the Bauhaus involved in National Socialist architecture or avant-garde filmmakers such as Walter Ruttmann in National Socialist propaganda films) and, conversely, the continual performance of popular jazz music in the Third Reich (e.g. in radio programmes). Seen against such instances of modernist collaboration and its own occasional mimicry of modernism, National Socialism acquires a more ambivalent profile, characterized by the ongoing conflict between reactionary factions and those who favoured modernization for various reasons.

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Barnett, David. "Joseph Goebbels: Expressionist Dramatist as Nazi Minister of Culture." New Theatre Quarterly 17, no. 2 (May 2001): 161–69. http://dx.doi.org/10.1017/s0266464x00014561.

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The young Joseph Goebbels, caught up in the heady mix of ideas and ideals permeating German artistic circles during and after the First World War, expressed both his convictions and his confusions through writing plays. None of these deserve much attention as serious drama: but all shed light on the ideological development of the future Nazi Minister of Culture. While also developing an argument on the wider relationship between Expressionism and modernism, David Barnett here traces that relationship in Goebbels' plays, as also the evolution of an ideology that remained equivocal in its aesthetics – the necessary condemnation of ‘degenerate’ art tinged with a lingering admiration, epitomized in the infamous exhibition of 1937. David Barnett has been Lecturer in Theatre Studies at the University of Huddersfield since 1998, and was previously Lecturer in German Language and Literature at Keble College, Oxford. His Literature versus Theatre: Textual Problems and Theatrical Realization in the Later Plays of Heiner Müller was published by Peter Lang in 1998, and other publications include articles on Heiner Müller, Franz Xaver Kroetz, Rolf Hochhuth, Heinar Kipphardt, Werner Schwab, Rainer Werner Fassbinder, and Peter Handke.

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Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.

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SUMMARYAims - To examine earlier uses and abuses of artworks by individuals living with severe mental illnesses, and particularly schizophrenia by both the psychiatric and arts communities and prevailing stereotypes associated with such practices. Further, to explore alternative constructions of the artworks and roles of the artist with schizophrenia and other severe mental illnesses, which may be more consistent with amore contemporary recovery orientation, encompassing their potentials for empowerment, social inclusion as citizens and legitimacy of their cultural role in the community. Results - Earlier practices with regardto the artworks of captive patients of psychiatrists, psychotherapists, art therapists, occupational and diversional therapists, often emphasised diagnostic or interpretive purposes, or were used to gauge progress or exemplify particular syndromes. As artists and art historians began to take an interest in such artworks, they emphasised their expressive, communicative and aesthetic aspects, sometimes in relation to primitive art. These efforts to ascribe value to these works, while well-meaning, were sometimes patronising and vulnerable to perversion by totalitarian regimes, which portrayed them as degenerate art, often alongside the works of mainstream modernist artists. This has culminated in revelations that the most prominent European collection of psychiatric art still contains, and appears to have only started to acknowledge since these revelations, unattributed works by hospital patients who were exterminated in the so-called “euthanasia” program in the Nazi era. Conclusions - Terms like Psychiatric Art, Art Therapy, Art Brut and Outsider Art may be vulnerable to abuse and are a poor fit with the aspirations of artists living with severe mental illnesses, who are increasingly exercising their rights to live and work freely, without being captive, or having others controlling their lives, or mediating and interpreting their works. They sometimes do not mind living voluntarily marginal lives as artists, but they prefer to live as citizens, without being involuntarily marginalised by stigma. They also prefer to live with culturally valued roles which are recognised as legitimate in the community, where they are also more likely to heal and recover.Declaration of Interest: This paper was completed during a Visiting Fellowship, Department of Social Medicine, School of Public Health, & Department of Medical Anthropology, Faculty of Arts & Sciences, Harvard University, Cambridge, Mass, USA. A condensed version of this paper is published in “For Matthew & Others: Journeys with Schizophrenia”, Dysart, D, Fenner, F, Loxley, A, eds. Sydney, University of New South Wales Press in conjunction with Campbelltown Arts Centre & Joan Sutherland Performing Arts Centre, Penrith, 2006, to accompany with a large exhibition of the same name, with symposia & performances, atseveral public art galleries in Sydney & Melbourne, Australia. The author is also a printmaker, partly trained at Ruskin School, Oxford, Central St. Martin's School, London, and College of Fine Arts, University of New South Wales, Sydney.

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Readshaw, Grahame. "Art Exhibition." Medical Journal of Australia 158, no. 5 (March 1993): 364. http://dx.doi.org/10.5694/j.1326-5377.1993.tb121824.x.

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Dissertations / Theses on the topic "The Degenerate Art Exhibition"

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McKeon, Joseph Michael. "Constructuing the Category Entartete Kunst: The Degenerate Art Exhibition of 1937 and Postmodern Historiography." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1142622901.

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McKeon, J. Michael. "Constructuing [sic] the category Entartete Kunst the Degenerate Art exhibition of 1937 and postmodern historiography." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1142622901.

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Petcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.

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BRUHN, KATHERINE LENEE. "DEGENERATE ART AND NAZI GERMANY." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190433.

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Porobic, Damir Verona. "MFA thesis exhibition." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4189.

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Thesis (M.F.A.)--West Virginia University, 2005.
Title from document title page. Document formatted into pages; contains vi, 30 p. : ill. (some col.). Includes a video file in the QuickTime format. Includes abstract. Includes bibliographical references (p. 30).

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MASSON, MICHEL NUNES LOPES. "SPACE IN THE ART OBJECT EXHIBITION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5715@1.

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O Espaço na Exibição de Obras de Arte é um estudo que visa entender o papel do espaço expositivo nas exibições de obras de arte. Assume sua interferência na fruição das obras como uma ação nos limites do campo do design. Parte de um estudo histórico e social das exibições para construir as bases para suas conjecturas, buscando entender em que medida o design de exibições pode se constituir como linguagem. Para isso, se vale da dicotomia existente nesse espaço, a do espaço neutro e ativo, como um de seus principais pontos de apoio.
The Space in Works of Art Exhibition is a study that intends to understand the role of the enviroment in art exhibitions. Assumes it`s interference in the fruition of pieces as an action towards the design field limits. Starts from an historical and social analisys of exhibition to build the basis under it`s proposals, trying to understand how the exhibitions design can be recognized as language. For such, it makes use of the space`s existing dicotomy, the neutral and the active space, as one of it`s pillars.

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Christiansen, Lauren. "Redefining exhibition in the digital age /." This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.

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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.
Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).

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Molony, Mary Carolyn. "Confessions: A BFA Exhibition." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/154.

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The artist discusses her Bachelor of Fine Arts Exhibition, Confessions, held at the Tipton Gallery, from November 14th to November 25th. The exhibit portrays how the artist responds to issues such as organized religion, war, and politics. Being drawn to art from the Renaissance to Baroque era, the work encorporates an "old world" aesthetic, also with an emphasis on Gothic architecture.

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Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

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Books on the topic "The Degenerate Art Exhibition"

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Judith, Pugh, and Miller Steven 1962-, eds. Degenerates and perverts: The 1939 Herald exhibition of French and British contemporary art. Carlton, Vic: Miegunyah Press, 2004.

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Chanin, Eileen. Degenerates and perverts: The 1939 Herald exhibition of French and British contemporary art. Carlton, Vic: Miegunyah Press, 2005.

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Hendy, Sharon. The "Art of Propaganda" in maintaining social control and it's effect on society: Focusing on the "Entartete Kunst" : the degenerate art exhibition of 1937. London: LCP, 2002.

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(Group), Thai IV. Art exhibition. Bangkok, Thailand: C.V.N. Art Center, 1999.

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University of Peshawar. Dept. of Art & Design. Art exhibition. Peshawar: Department of Art and Design, University of Peshawar, 2011.

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Michael, Bond. Paddington's art exhibition. New York: Putnam, 1986.

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Sumahendra. Roopam: Art exhibition. Jaipur: Rajasthan School of Art Alumni, 2009.

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Sumahendra. Roopam: Art exhibition. Jaipur: Rajasthan School of Art Alumni, 2009.

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Manning, Miles. Invitational exhibition. New York: Grace Borgenicht Gallery, 1986.

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Islam, Monirul. Monir: Art exhibition, 2011. Dhaka: Gallery Chitrak, 2011.

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Book chapters on the topic "The Degenerate Art Exhibition"

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Roe, Annabelle Honess. "When Art Exhibition Met Cinema Exhibition." In Documenting The Visual Arts, 145–59. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-10.

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Säcker, Franz Jürgen. "Restitution of ‘Degenerate’ Art." In Studies in European Economic Law and Regulation, 505–22. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04903-8_24.

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Graham, Beryl. "Exhibition Histories and Futures." In A Companion to Digital Art, 575–96. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch27.

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Wang, Yiyan. "Art Exhibition, art reforms and the debates." In Modern Art for a Modern China, 87–120. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429316005-5.

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Rocca, Alessandro. "Art Exhibition Center in Merano." In Modern Alternatives, 90–99. Vienna: Springer Vienna, 2008. http://dx.doi.org/10.1007/978-3-211-79194-3_7.

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Niu, Xueying, and Yuelin Liang. "Interactive Experience Art in Exhibition." In Lecture Notes in Computer Science, 647–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49757-6_47.

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Senior, Kim, and Bianca Hill. "Working towards the art exhibition." In Teaching to Learn, 41–49. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-720-7_4.

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Wang, Meiqin. "Art Criticism, Exhibition, and Citizen Politics." In Socially Engaged Art in Contemporary China, 21–52. New York : Routledge, 2019. | Series: Routledge research in art and politics: Routledge, 2019. http://dx.doi.org/10.4324/9780429457074-3.

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Russell, Ian Alden. "Art and Archaeology: The Ábhar agus Meon Exhibition Series." In Art and Archaeology, 61–81. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8990-0_6.

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Matthews, Geoffrey, and Pamela Buxton. "Museums, art galleries and temporary exhibition spaces." In Metric Handbook, 543–51. Sixth edition. | New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315230726-29.

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Conference papers on the topic "The Degenerate Art Exhibition"

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Sawaryn, Steven J. "A Generalised Solution to the Point to Target Problem Using the Minimum Curvature Method." In SPE/IADC International Drilling Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/204111-ms.

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Abstract An explicit solution to the general 3D point to target problem based on the minimum curvature method has been sought for more than four decades. The general case involves the trajectory's start and target points connected by two circular arcs joined by a straight line with the position and direction defined at both ends. It is known that the solutions are multi-valued and efficient iterative schemes to find the principal root have been established. This construction is an essential component of all major trajectory construction packages. However, convergence issues have been reported in cases where the intermediate tangent section is either small or vanishes and rigorous mathematical conditions under which solutions are both possible and are guaranteed to converge have not been published. An implicit expression has now been determined that enables all the roots to be identified and permits either exact, or polynomial type solution methods to be employed. Most historical attempts at solving the problem have been purely algebraic, but a geometric interpretation of related problems has been attempted, showing that a single circular arc and a tangent section can be encapsulated in the surface of a horn torus. These ideas have now been extended, revealing that the solution to the general 3D point to target problem can be represented as a 10th order self-intersecting geometric surface, characterised by the trajectory's start and end points, the radii of the two arcs and the length of the tangent section. An outline of the solution's derivation is provided in the paper together with complete details of the general expression and its various degenerate forms so that readers can implement the algorithms for practical application. Most of the degenerate conditions reduce the order of the governing equation. Full details of the critical and degenerate conditions are also provided and together these indicate the most convenient solution method for each case. In the presence of a tangent section the principal root is still most easily obtained using an iterative scheme, but the mathematical constraints are now known. It is also shown that all other cases degenerate to quadratic forms that can be solved using conventional methods. It is shown how the general expression for the general point to target problem can be modified to give the known solutions to the 3D landing problem and how the example in the published works on this subject is much simplified by the geometric, rather than algebraic treatment.

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Jensen, Preben W. "Geometrical Algorithms for the Synthesis of Mechanisms." In ASME 1994 Design Technical Conferences collocated with the ASME 1994 International Computers in Engineering Conference and Exhibition and the ASME 1994 8th Annual Database Symposium. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/detc1994-0196.

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Abstract Geometrical methods are applied to three problems: Proportioning of Four-Bar Linkages with Optimal Transmission Angles, Use of Degenerate Cases of the Burmester Curves, and 6-Point Symmetrical Straight-Line Mechanisms.

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Srinivasan, A. V., and D. Michael McFarland. "Characterization of Laws of Friction in the Context of Engine Blade Dynamics." In ASME 1996 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/96-gt-379.

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Experience has shown that energy dissipation due to rubbing at interfaces of engine blade shrouds provides damping of bladed disk assemblies. An accurate estimate of such damping has been a subject of study for more than a decade. The most difficult parameter that influences its accurate calculation pertains to an appropriate definition of the laws of friction that relate the rubbing motion with the forces induced. This paper develops an analysis which leads to a mathematical relationship between the forces of friction damping at a vibrating interface and the corresponding relative motion. The analysis permits calculation of forces at the interface if the displacements are known or vice versa. The equations are cast in terms of relative motion between mating shrouds so that degenerate cases of fully locked and freely slipping can be calculated. Examples are given showing simulation results obtained using discrete structural models. Extension of the analysis to the case of a full assembly is discussed.

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Huang, Chintien, and Chien-Ming Chen. "The Linear Representation of the Screw Triangle: A Unification of Finite and Infinitesimal Kinematics." In ASME 1994 Design Technical Conferences collocated with the ASME 1994 International Computers in Engineering Conference and Exhibition and the ASME 1994 8th Annual Database Symposium. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/detc1994-0224.

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Abstract This paper presents the linear representation of the screw triangle. The resultant twist of two finite twists is shown to be a linear combination of five screws. The linear representations of all degenerate screw triangles are also derived. The limiting cases of these results of finite displacements confirm the theory of screws in infinitesimal kinematics. The finite kinematic analysis of multi-link serial chains is performed by using the linear representation of the screw triangle to demonstrate a unification of finite and infinitesimal kinematics.

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Alciatore, David G., and Henry P. Miranda. "The Best Least-Squares Line Fit." In ASME 1994 International Computers in Engineering Conference and Exhibition and the ASME 1994 8th Annual Database Symposium collocated with the ASME 1994 Design Technical Conferences. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/cie1994-0432.

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Abstract This paper presents a method for determining the least-squares best-fit line through a set of two-dimensional data. The algorithm is orientation independent and does not rely on knowledge of ordinate and abscissa accuracy. To simplify the analysis, the best-fit line is described by two parameters: q, the angle from the horizontal axis, and r, the perpendicular distance from the origin. This parameterization results in general robust solution resulting in no degenerate cases or indeterminacies. The final results are presented in the standard form, Ax + By = C.

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Volnov, Ilya Nikolaevich. "Art, science, time." In 4th International Conference “Futurity designing. Digital reality problems”. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/future-2021-7.

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The main forms of time and models of their association are considered. A criterion for the symmetry of the triple balance of time as a degree of harmony in the system is proposed. Examples of degenerate, deformed, and symmetric balances are given. Art is designated as the most important tool for restoring the balance of symmetry in various fields of knowledge.

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Gemeinboeck, Petra, and Mary Agnes Krell. "Art exhibition." In the 13th annual ACM international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101379.

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"Art exhibition committee." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6092343.

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"Art exhibition committee." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6162844.

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Riesgo, A. L., M. Karlsson, C. Lundstrm, and P. A. Andrekson. "Demonstration of Degenerate Vector Phase-Sensitive Amplification." In 39th European Conference and Exhibition on Optical Communication (ECOC 2013). Institution of Engineering and Technology, 2013. http://dx.doi.org/10.1049/cp.2013.1437.

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