Relevant bibliographies by topics / University Arts Festival

Contents

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

Academic literature on the topic 'University Arts Festival'

Author: Grafiati
Published: 6 September 2023
Last updated: 31 July 2025

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Journal articles on the topic "University Arts Festival"

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Richards, Stuart, Jessica Pacella, and Kim Munro. "Comradery and the Arts." Journal of Festive Studies 5 (November 13, 2023): 326–55. http://dx.doi.org/10.33823/jfs.2023.5.1.139.

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This research is a result of the collaborative relationship between the Creative People, Products and Places (CP3) Research Centre at the University of South Australia and Festival City Adelaide (FCA). FA manages the consortium of South Australia’s eleven major arts and culture festivals. This report examines the current literature on volunteering in the arts sector and surveys the experiences of senior members of the Festival Volunteer Network, a platform managed by FCA that connects three thousand volunteers to the eleven festivals. In December of 2021 a survey was issued to the Festival Vol
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Edmond, Murray. "A Saturated Time: Three Festivals in Poland, 2007." New Theatre Quarterly 24, no. 4 (2008): 307–21. http://dx.doi.org/10.1017/s0266464x08000468.

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What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their ai
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Budde, Antje, and Sebastian Samur. "Making Knowledge/Playing Culture." Theatre Research in Canada 40, no. 1-2 (2020): 83–101. http://dx.doi.org/10.7202/1068259ar.

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(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festiva
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Tomaselli, Keyan G. "Introduction." Journal of African Cinemas 15, no. 1 (2023): 3–6. http://dx.doi.org/10.1386/jac_00085_2.

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This number of the Journal of African Cinemas continues with its variable entries, full articles, reviews and a report on an arts festival and interview with one of its film festival organizers. These two items reveal the energy, vibrancy and contribution of a smaller, shorter, less well-known film festival event. Tigritudes was held during 2023 at the first established South African film school, then known as the Pretoria Technikon, set up in 1971. The Tigritudes Arts Festival relocates the school’s transformed significance as the Tshwane University of Technology (renamed from 2004) within th
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Tomaselli, Keyan G., and Addamms Mututa. "Interview with Anna-Marie Jansen van Vuuren on her experience as an organizer of the Tshwane University of Technology (Tigritudes) Film Festival." Journal of African Cinemas 15, no. 1 (2023): 7–12. http://dx.doi.org/10.1386/jac_00086_1.

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Journal of African Cinemas interviewed Professor Anna-Marie Jansen van Vuuren about her experience of organizing the Tigritudes and TUT Film Festival that took place as part of the 2023 Tshwane University of Technology’s Annual Arts Festival.
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LeCompte, Elizabeth, Kate Valk, Ari Fliakos, and Maria Shevtsova. "A Conversation on The Wooster Group's Hamlet." New Theatre Quarterly 29, no. 2 (2013): 121–31. http://dx.doi.org/10.1017/s0266464x13000237.

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This conversation took place during the Gdansk Festival, 1–10 August 2009, where The Wooster Group performed its internationally acclaimed Hamlet (2006), directed by Elizabeth LeCompte. The conversation, led by Maria Shevtsova and edited by her for publication, was part of the conference organized under the auspices of the Festival by Jerzy Limon, the Festival's director. Here LeCompte and two performers from the company, Kate Valk and Ari Fliakos, discuss how they generated the work, and develop their thoughts in answers to questions from the audience. Later this year The Wooster Group will p
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Grigoryeva, Elena. "XXIII Festival “Zodchestvo in Siberia 2023”." проект байкал, no. 77 (October 29, 2023): 17–19. http://dx.doi.org/10.51461/issn.2309-3072/77.2183.

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Siberian architects demonstrate sustainable development in all areas of their work: architecture, urban planning, urbanism, caring for heritage, and education. Not everything goes according to plan, some obstacles have to be overcome, but such is our profession and such is the world.Architects are consistent and stable in their public and competitive activities. Every year, under the auspices of the Union of Architects of Russia, several large festivals take place in Siberia. Each of them has its distinct identity: educational Winter University, skiing Archigesh, youth Archbukhta. “Zodchestvo
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Shevtsova, Maria. "Reasons for Joy and Reflection: Engaging with Shakespeare at the Craiova Festival." New Theatre Quarterly 28, no. 4 (2012): 352–62. http://dx.doi.org/10.1017/s0266464x12000656.

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The Craiova International Shakespeare Festival has been a major touchstone in Europe for theatre artists, theatregoers, and scholars for nearly two decades. This overview briefly situates the Festival historically, indicating the ideals and perspectives developed for it by its founder Emil Boroghina, former director of the National Theatre of Craiova. It identifies as well a number of the Festival's many highlights over the years, Romanian as well as international, and focuses on examples from the 2012 programme, including Silviu Purcarte's The Tempest and Robert Wilson's Shakespeare's Sonnets
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Juntunen, Jacob. "Taking the Rural International." Theatre Survey 62, no. 3 (2021): 322–26. http://dx.doi.org/10.1017/s0040557421000223.

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In March 2020, Southern Illinois University in Carbondale (SIU) went into lockdown. With the annual Big Muddy New Play Festival about to kick off—two productions entering tech and four full-length staged readings rehearsing—SIU's M.F.A. Playwriting Program had been left in the lurch. COVID-19 and the scramble to move courses online and to graduate our M.F.A.'s canceled the entire festival. A year later, still online, the SIU M.F.A. Playwriting new play festival did not meet this same fate. Based on twelve months of experimentation, the program was able to develop a streaming festival. Our 2021
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Keeney, Patricia, and Don Rubin. "A Barrage of Coward." New Theatre Quarterly 26, no. 3 (2010): 290–93. http://dx.doi.org/10.1017/s0266464x10000485.

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The Shaw Festival, held annually in Niagara-on-the-Lake, Ontario, highlights plays from or about Shaw's lifetime. Patricia Keeney and Don Rubin, who teach at York University in Toronto, here report on the 2009 festival.
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Dissertations / Theses on the topic "University Arts Festival"

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Marshall, Donald K. "A report on an Arts Administration internship with Fanfare." ScholarWorks@UNO, 2001. http://scholarworks.uno.edu/aa_rpts/25.

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In the winter of 1999, Artistic Director Harriet Vogt decided to retire earlier than had been anticipated by the university. With her retirement just weeks away on March 1, the Dean of the College of Arts and Sciences, Dr. John Miller, asked if I was interested in taking a leave of absence from the Department of Visual Arts and becoming Interim Artistic Director of Fanfare. At the same time I was beginning to look for a possible internship that would take advantage of my professional experience in the arts and the knowledge that I had gained in graduate school at U.N.O. My previous experience
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Moceri, Giacomo <1992&gt. "Venice Open Stage, Festival Internazionale del Teatro delle Università e delle Accademie - Analisi, valutazione e possibili sviluppi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14632.

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Il fulcro di questo lavoro è il Venice Open Stage, un festival internazionale di teatro dedicato agli allievi di scuole, accademie ed università. Nato in seno all’Università IUAV di Venezia nell’ambito dei laboratori finali di teatro destinati agli studenti del triennio, si è gradualmente aperto alla città, divenendo un evento ricorrente che coinvolge ancora oggi, da oltre sei anni, il tessuto urbano del sestiere di Dorsoduro, nello specifico Campazzo San Sebastiano. Un tipico campo veneziano diventa così non solo teatro all’aperto, ma anche luogo di scambio e di crescita professionale per tut
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.

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Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.<br>A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.
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McIver, Sharon. "WaveShapeConversion : the land as reverent in the dance culture and music of Aotearoa : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1635.

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This thesis is the result of more than ten years involvement with outdoor dance events in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi (Christchurch). Two symbiotic themes are explored here – that of the significance of the landscape in inspiring a conversion to tribal-based spirituality at the events, and the role of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those musicians heard in the outdoor dance zones. With no major publications or studies specific to Aotearoa to reference, a framework based on global post-rave culture ha
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.

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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s
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Adam, Karen. "“The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963)." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2692.

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This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and
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Media. "sargam 2012 inauguration." Thesis, 2012. http://hdl.handle.net/123456789/5977.

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News item appeared on Malayala Manorama and Madhyamam Dailies about the inauguration of Sargam 2012 by Prof. M.K Sanu on 1-3-2012 at CUSAT. Dr. Ramachandran Thekkedath, Vice Chancellor CUSAT, Prasad Adish, Union Chairman, M.M.Girish General Convenor, K.Sanal, General Secretary, Dr.D Mavoothu, Union Treasurer and Ajith Mohan, Director Physical education attended.
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Rockell, Kim. "'Fiesta,' affirming cultural identity in a changing society : a study of Filipino music in Christchurch, 2008 : a thesis submitted in fulfillment of the requirements of Master of Arts in Music at the University of Canterbury /." 2009. http://hdl.handle.net/10092/2726.

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Thesis (M. A.)--University of Canterbury, 2009.<br>Typescript (photocopy). "ID: 22502346." Principal supervisor: Elaine Dobson, assistant supervisor: Dr Jonathan Le Cocq. "February 2009." At head of title: MUSI 690 Master of Arts in Music. The DVD has a selection of recorded performances intended to be broadly representative of the events, performers, styles and mediums of performance. Includes bibliographical references (leaves 296-304). Also available via the World Wide Web.
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Sweetman, Roseanne Lopers, and Jonathan Chaplin. "Perspective vol. 16 no. 5 (Oct 1982)." 2013. http://hdl.handle.net/10756/251289.

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Books on the topic "University Arts Festival"

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Kenya) University of Nairobi & SAMOSA-Festival Colloquium (2016 Nairobi. Citizenship, identity and belonging in Kenya: University of Nairobi & SAMOSA-Festival Colloquium. Daraja Press, 2017.

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St. Lawrence University Festival of the Arts (1997). Border crossings: The St. Lawrence University Festival of the Arts, March 1-26, 1997. St. Lawrence University, 1997.

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1939-, Arthur John, and Palmer Museum of Art, eds. Realist watercolors: Palmer Museum of Art, the Pennsylvania State University in collaboration with the Central Pennsylvania Festival of the Arts, June 3 through August 5, 1990. The Museum in collaboration with the Festival, 1990.

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Gallery, Tower Fine Arts, and Gibson Gallery, eds. Contemporary Japanese painting: [Japanese art from the Potsdam College Art Collection : an exhibition created especially for the East Asian Festival at SUNY Brockport, Tower Fine Arts Gallery, March 1-April 7, 1991, Roland Gibson Gallery, September 13-October 13, 1991]. Roland Gibson Gallery, Potsdam College, 1991.

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National University of Singapore. Centre for the Arts. On the shoulders of dreamers: Celebrating 25 years of the arts on campus. Centre for the Arts, National University of Singapore, 2018.

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Suréda-Cagliani, Sylvie. Représentations esthétiques en Argentine et dans le Rio de la Plata, XIXe, XXe, XXIe siècle: Politique, fêtes et excès, hommage à Francis Suréda = Representaciones estéticas en Argentina y en el Rio de la Plata, siglos XIX, XX, XXI : politica, fiestas y excesos, homenaje a Francis Suréda : actes du IIe colloque international du CreaC, 17, 18 octobre 2013, Université de Perpignan. Presses universitaires de Perpignan, 2015.

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Spence, Alan. Stone garden and other stories. Phoenix House, 1995.

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Preforming Arts Reources vol.20. Theatre Library Association, 1996.

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Veillon, Margo. Margo Veillon: Egyptian Festivals. American University in Cairo Press, 2002.

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Lamb Cromar, Stewart, Jackie Aim, Beth Rossi, et al. We Have Great Stuff: Colouring Book Volume 1. University of Edinburgh, 2019. http://dx.doi.org/10.2218/ed.9781912669325.

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The University of Edinburgh as well as having great students and staff, has great stuff. Since its very beginnings, the University has collected books, art, archives, manuscripts, musical instruments and objects to inspire its community in learning, teaching and research. One of the world’s great collections has been built up over hundreds of years and constantly surprises those who come to view and enjoy the items. The illustrations in this book are inspired by items and images within the collections and were collated by students during the Festival of Creative Learning Week 2019, and by staf
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Book chapters on the topic "University Arts Festival"

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Smethurst, James. "Black Arts, Black Studies, Black University." In Behold the Land. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469663043.003.0005.

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Chapter Four, too, looks at the connection between Black Arts and Black Power on campuses, primarily those of HBCUs, and communities of the urban South in Washington, D.C., Nashville, and Durham, Winston-Salem, and Greensboro, North Carolina. It examines the central role of the arts in the emergence of Black Studies and notions of the “Black University” that found fertile ground in the cities of the Upper South. While the attempts to create Black universities failed, they created a legacy and a network of Black educational and arts projects that continue to this day in such institutions and ev
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"Alaska Native Ways of Knowing and the Sustenance of Musical Communities in an Ailing Petrostate." In Cultural Sustainabilities, edited by Timothy J. Cooley. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0009.

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Alaskans are experiencing rapid economic, cultural, and ecological change as a result of declining oil revenue and anthropogenic climate change. This chapter compares the relative resilience of the Fairbanks Festival of Native Arts, an annual indigenous arts celebration, and the Fairbanks Symphony Orchestra, a Western art music ensemble housed at the University of Alaska Fairbanks. The Festival of Native Arts has thrived since the 1970s by sustaining Alaska Native traditions while embracing new performance ideas, a resilience strategy with deep cultural roots based in indigenous knowledge. In
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Garip, Ervin, and Ceren Çelik. "“Tectonics” as a Spatial Perception Tool in the Design Process." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7254-2.ch001.

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Design process has its own structure which is affected by many aspects. Moreover, there are many tools that contribute in this multidimensional process. Within the framework of this chapter, the tectonics is suggested as a directive tool through the design process. Istanbul Technical University Interior Design students' second year studio, where tectonics was used as a spatial perception tool, was examined. The main title of the studio was festival space design, where festivals were discussed as a performance scene for urban interiors. The main idea of suggested method is to consider environme
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Gooch, Bryan N. S., and David Thatcher. "Troilus and Cressida." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129431.003.0004.

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Abstract 16432 Amie!, Jon. [—]. MS [1973]. Incidental music. First performed [Arts Theatre, Cambridge], 1973 (Marlowe Society, Cambridge University: Mike Thomas, Troilus; Sandra Billington, Cressida; Andrew Wickes, Pandarus; Richard Cottrell, director). 16433 Amram, David. [—]. MS [1965 (composer)]. Incidental music: [ch orch]. First performed New York Shakespeare Festival, Delacorte Theater, Central Park, 4 August 1965 (Richard Jordan, Troilus; Flora Elkins, Cressida; Frank Schofield, Pandarus; Joseph Papp, director).
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McCutchan, Ann. "Lois V Vierk." In The Muse that Sings. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0016.

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Abstract Lois V Vierk was born in Hammond, Indiana, and grew up in Lansing, Illinois, and Jenkintown, Pennsylvania. She attended Valparaiso University and studied composition at the California Institute of the Arts wi el owell, Leonard Stein, and Morton Subotnick. For twelve years she studied gagaku (Japanese court music) with Suenobu Togi in the United States and with Sukeyasu Shiba in Tokyo. Vierk has been commissioned by leading contemporary music performers, including the Kronos Quartet, pianists Ursula Oppens and Frederic Rzewski, Ensemble Modern, accordionist Guy Klucevsek, and the Bang
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Bello Minciacchi, Cecilia. "«Il festival rinascerà», Paola Masino inviata alla Manifestazione d’Arte Cinematografica di Venezia del 1946." In Italianistica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-422-5/004.

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The essay presents and analyses the film criticism articles written by Paola Masino for the new edition of the Venice Film Festival after the Second World War. The articles, which appeared in the Gazzetta d’Italia between August 31 and September 19, 1946, were not later collected or republished. These are rare materials, never studied before, found among the documents of the Fondo Paola Masino kept at the Archivio del Novecento, Sapienza University of Rome. Other significant and useful information to understand Masino’s critical perspective on cinema emerges from the letters sent from Venice t
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Waade, Roy A., and Anders Dalane. "Evaluering av konsertformidling i høyere utdanning." In Higher Education as Context for Music Pedagogy Research. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch8.

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This chapter is based on an examination of the subject Dissemination and Concert Production, which is part of the bachelor program for music teacher education at Nord University, Levanger. The authors highlight challenges and opportunities that this subject gives for teachers and students, with particular focus on how to assess a subject that is about creating and presenting concert productions. The Danish model “ønskekvistmodellen” (ØM) is employed as an analysis and evaluation tool to examine the students work with improving the quality of creating, performing and evaluating various concert
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"Capitalism and Orientalism: Gomorrah at Cannes." In Film Festivals, Ideology and Italian Art Cinema. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463720366_ch06.

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Through the case study of Gomorrah’s (Matteo Garrone, 2008) presentation at Cannes, this chapter re-assesses film festivals’ claims to both artistic and political universality through the lenses of capitalism and Orientalism. I argue that European A festivals disavow their reproduction of oppressive power structures by displacing the excesses of global capitalism onto a fantasmatic, orientalised South. I investigate the dynamics of transnationalism and “uneven development” in competitive film festivals’ programming of films produced and/or set “outside” the North Atlantic. I show that, while C
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Hammond, Louisa. "Not All Wounds Are Visible." In Headcase. Oxford University PressNew York, 2019. http://dx.doi.org/10.1093/oso/9780190846596.003.0003.

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Abstract I live and work in Manchester, UK, and studied Visual Arts at the University of Salford, from which I graduated in 2008. Since that time, I have been creating artwork and exhibiting in a variety of galleries, festivals, and public spaces. Getting involved in art-based projects around the destigmatization of mental illness is close to my heart. I was unexpectedly diagnosed with schizoaffective disorder in 2010, which became a very dramatic, turbulent time in my life. During my recovery, I was referred to art therapy sessions using a variety of media, including textiles. It was at these
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"Conclusion: Da capo senza fine." In Film Festivals, Ideology and Italian Art Cinema. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463720366_con.

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The Conclusion discusses the two universals that European A festivals construct, and on which they stake claims to legitimacy as canon-makers: artistic universality and political universality. Bringing the book’s five main case studies into dialogue with a wider corpus of Italian prize-winning films, this chapter summarises and expands prior analyses of the figures of the auteur and the “other,” as well as regimes of taste and difference. Responding to Žižek’s (2000, p. 223) claim that “today’s Real which sets a limit to resignification is capital,” I argue for a discursive-materialist approac
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Conference papers on the topic "University Arts Festival"

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DARIE, Andreea. "Festival d’Avignon – The Challenges of a Doctoral Documentation." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0017.

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In my doctoral research, even though I chose the scientific route and not the professional one, I sought to expand the theoretical discourse in various applicative areas. In order to understand the springs of clowning and the psychosomatic structure of the clown actor, I conducted a non-verbal monologue study about the trickster, I participated in physical and online workshops with clowning teachers from the UK and Spain and, last but not least, I conducted together with an interdisciplinary team a niche theatrical laboratory with the theme: the clown condition of some dramatic characters. Aft
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Fărcășel, Ligia. "ROMANIAN MUSIC FESTIVAL — A DIFFERENT KIND OF CLASSROOM. STUDY WITH APPLICATION TO THE 24TH EDITION, OCTOBER 14-20, 2022." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.15.

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The Romanian Music Festival has been held in Iaşi since 1973, being organized by the Moldova Iaşi Philharmonic and the George Enescu National University of Arts — as the two institutions are currently called. With a break of approximately two decades after the Revolution, the festival resumed its activity in 2007, constituting a suitable framework for launching the works of Romanian composers, but also an impetus for future professional musicians, current students, to get involved in the local and national musical life. The 24th edition of the festival, the Academic Section offered the partici
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CONDURACHE, Dumitriana. "A Diverse Beauty: Amore, by Pippo Delbono." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.

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To consider something or someone different is to discriminate. Objectively, this term has no moral connotation. You take a category and relate to it by choosing different references. Pippo Delbono manages to synthesize the beauty inside the difference; an intense, painful, even tough beauty. For him, contrast is not a method, but an acceptance of identity: marginalization as an existential condition. He places himself in both seats: in the audience – and inside the show. Spectator and actor, director, he changes the perspectives because he embraces them all, thus indicating that each of our ro
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De la torre oliver, Francisco. "AF30. Una aproximación al archivo del festival Art Futura desde la arqueología de los medios y la realidad virtual." In VI Congreso Internacional de Investigación en Artes Visuales ANIAV 2024. Editorial Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/aniav2024.2024.18189.

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Nuestro trabajo se enmarca en la interpretación del archivo desde las prácticas artísticas. El objetivo que abordamos es una lectura del archivo del Festival Art Futura con motivo de la celebración de su 30 aniversario. A partir del análisis de las obras seleccionadas, concluimos en reflexionar sobre la evolución de los soportes de almacenamiento digital a lo largo de este periodo y, por otra parte, proponer modelos expositivos basados en la especificidad del medio digital. De este modo, planteamos dos líneas de trabajo, la restauración y contextualización de obras del archivo que se han visto
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Borevich, E. V. "Development of the Video Material Digital Processing Technology on the Basis of the Software Tools." In 32nd International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2022. http://dx.doi.org/10.20948/graphicon-2022-906-916.

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The article presents new effective methods of digital color correction for post-processing of film in order to improve viewer perception. The semi-automated algorithm for creating stimulus material is described. The methodology for conducting experiments using an eye-tracker is presented. The author proposes a new method for setting up an experiment to study the effect of a color solution on perception, using the developed software module posted in the internet. Practical recommendations for digital processing of film have been developed, based on the data obtained as a result of the experimen
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Fiore, Francesca, Alessandra Scroccaro, Arianna Conci, and Alberto Montresor. "Challenge-based learning as a tool for creativity and talent expression." In SEFI 50th Annual conference of The European Society for Engineering Education. Universitat Politècnica de Catalunya, 2022. http://dx.doi.org/10.5821/conference-9788412322262.1259.

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After the stop caused by the pandemic, the University of Trento and its newly born FabLab reopened the doors to DigiEduHack (https://digieduhack.com/en/), the decentralized hackathon dedicated to the most pressing challenges of digital and innovative education. More than 30 multidisciplinary students have ventured into the design of innovative learning tools to meet the challenge thrown at them: prototyping educational board games; multimedia artefacts and installations at the intersection of big data, art and technology; co-designing festivals in a combination of art, science and fun; laborat
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Shobeiri, Sanaz. "Age-Gender Inclusiveness in City Centres – A comparative study of Tehran and Belfast." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.xwng8060.

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Extended Abstract and [has] the potential to stimulate local and regional economies” (p.3). A city centre or town centre has been recognised as the beating heart and public legacy of an urban fabric either in a small town, medium-sized city, metropolis or megalopolis. Within this spectrum of scales, city centres’ scopes significantly vary in the global context while considering the physical as well as the intangible and the spiritual features. Concerns such as the overall dimensions, skyline, density and compactness, variety of functions and their distribution, comfort, safety, accessibility,
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Reports on the topic "University Arts Festival"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Ma
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals act
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation an
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Coombs, HC opening Arts Festival in Great Hall at Sydney University - May 1967. Reserve Bank of Australia, 2022. http://dx.doi.org/10.47688/rba_archives_pn-002901.

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