Relevant bibliographies by topics / VIP (Artists' group)

Contents

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

Academic literature on the topic 'VIP (Artists' group)'

Author: Grafiati
Published: 29 July 2024
Last updated: 19 July 2025

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Journal articles on the topic "VIP (Artists' group)"

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Хилько, Б. В., and В. А. Шарифуллина. "Peculiar properties of the artistic strategy of the Saint Petersburg artist Vic (V.Yu. Zabelin)." Iskusstvo Evrazii [The Art of Eurasia], no. 2(29) (June 30, 2023): 224–41. http://dx.doi.org/10.46748/arteuras.2023.02.007.

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Статья посвящена творчеству петербургского художника В.Ю. Забелина (Вика) и впервые вводит в научный оборот ряд его произведений. Вячеслав Юрьевич Забелин (1953–2016) — активный участник ленинградского андеграунда 1970–1980-х годов: основал творческую группу «Алипий», был одним из создателей ТЭИИ (Товарищества экспериментального изобразительного искусства) и первых независимых петербургских галерей. Исследование предпринято с целью определить особенности художественной стратегии Вика, находящейся на пересечении традиционного, авангардного и актуального искусства. Для характеристики произведени
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Belder, Lucky. "Art lending in the Netherlands." Art Libraries Journal 12, no. 1 (1987): 47–50. http://dx.doi.org/10.1017/s0307472200005071.

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The loan of works of art to the public was initiated in the Netherlands in 1955 through a scheme set up by a group of artists to encourage people to purchase contemporary art. The success of this scheme attracted support from the government, which was itself acquiring works in the process of assisting artists. Works thus acquired were lent to public institutions and government bodies, but from the 1970s they were also made available for loan to the public via artotheques. These two schemes gave rise to over a hundred art lending centres including hybrid establishments owing something to both;
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Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (2018): C02. http://dx.doi.org/10.22323/2.17040302.

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During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constella
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Weisman, A., T. Yona, U. Gottlieb, R. Ingel, and Y. Masharawi. "Tattoo artists and dental workers have similar musculoskeletal pain patterns." Occupational Medicine 72, no. 1 (2021): 43–50. http://dx.doi.org/10.1093/occmed/kqab149.

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Abstract Background Tattoo artists are an understudied population with regards to musculoskeletal (MSK) pain. Aims To explore the characteristics of MSK pain among Israeli tattoo artists and determine whether they are similar to those of dental workers. Methods An online survey including demographics and the Hebrew version of the Extended Nordic Musculoskeletal Questionnaire was disseminated via Israeli social media groups. We directly compared tattoo artists, dental workers and office workers as a reference group. Results Altogether, 114 tattoo artists, 161 dental workers and 296 office worke
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Yavuz, Perin Emel, and Ekin Akalın. "DEMIR ONGER, COLLECTIONNEUR DU GROUPE DU CAFÉ DU GYMNASE À PARIS." Manazir Journal 6 (May 14, 2025): 191–213. https://doi.org/10.36950/manazir.2024.6.8.

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Après la Seconde Guerre mondiale, les artistes turcs de l'École de Paris jouent un rôle significatif dans la scène artistique parisienne, participant activement aux débats entre abstraction et figuration. Peintres et sculpteurs turcs exposent dans des salons majeurs comme le Salon de Mai et le Salon des Réalités Nouvelles, affirmant leur présence au sein de l'avant-garde parisienne. Leurs interactions avec des figures influentes de l'art moderne, ainsi que leur participation à des expositions clés, témoignent de leur intégration dans le milieu artistique français. La mémoire de cette génératio
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Tanyildizi, Seda Ozen. "Scale: New Strategies in Site-Specific Art." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 107–12. http://dx.doi.org/10.18844/prosoc.v4i11.2864.

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Today, one of the crucial issues for discussions on site-specific art is scale. The journey of site-specific art, starting with a quite minimal insertion into an empty gallery space is now institutionalised according to utterly different aims, sometimes involving enormous dimensions. However, to discuss the subject of ‘site-specific art’ only with regard to high-budget projects of major institutions would mean ignoring the large group of artists who work outside these controversial circumstances, employ physical features of a site as a tool to convey their artistic approaches, and do not make
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PAEK, Kyong-Mi. "THE CREATIVE CULTURAL PRACT ICE OF SHARING ECOTOPIAN VISIONS THROUGH A COLLABORATIVE ART PROJECT / KŪRYBINĖ KULTŪRINĖ EKOTOPINIŲ VIZIJŲ DALIJIMOSI PRAKTIKA KOLABORACINIAME MENO PROJEKTE." Creativity Studies 10, no. 1 (2017): 43–58. http://dx.doi.org/10.3846/23450479.2017.1337049.

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Today’s environmental challenges have prompted educators to explore ways to promote environmental sustainability. Contemporary artists working in ecological realms have presented distinct ways of understanding ecological concerns and proposed creative solutions to environmental challenges through ingenious means that reach people beyond scientific realms. Despite recognition of those creative cultural practices as invaluable educational resources, such efforts have not been a significant part of art curricula. This article aims to expand art’s potential role via reports on a recent curriculum
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Mahmutova, Dar'ya, and Dar'ya Gerasimova. "Digital Illustration Marketing via Blogs in the VKontakte Social Network." Virtual Communication and Social Networks 2023, no. 3 (2023): 160–66. http://dx.doi.org/10.21603/2782-4799-2023-2-3-160-166.

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Social networks provide a convenient platform for art dealing and marketing. Many digital illustrators have art blogs where they post and promote their work, which they may also exhibit at traditional offline galleries. The sphere of digital art is highly competitive and open to new effective promotion tools, which makes it a prospective research subject. This study featured an online community of digital artists in the VKontakte social network, as well as the methods they use to attract potential buyers and increase their fandom. The research relied on the information and communication method
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Kanngieser, Anja. "… And … and … and … The Transversal Politics of Performative Encounters." Deleuze Studies 6, no. 2 (2012): 265–90. http://dx.doi.org/10.3366/dls.2012.0062.

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This paper examines Guattari's notion of transversality through a creative and ambiguous form of political intervention, the performative encounter. Drawing from Guattari's work on subject groups, in combination with Deleuze's conjunctive ‘and’, via contemporary theorisations of creative activism and affect, it maps out a movement that destabilises categorical dualisms between activists and non-activists, artists and non-artists. It proposes that transversals such as those enacted by the performative encounter open spaces for the emergence of new subjectivities, relations and worlds. In doing
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Boersma, Petra, Tjeerd van der Ploeg, and Robbert J. J. Gobbens. "The Added Value of Art for the Well-Being of Older People with Chronic Psychiatric Illnesses and Dementia Living in Long-Term Care Facilities, and on the Collaboration between Their Caregivers and Artists." Healthcare 9, no. 11 (2021): 1489. http://dx.doi.org/10.3390/healthcare9111489.

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This study sought to provide insight into how art activities influence the well-being of long-term care residents, and how artists and caregivers collaborate in offering these activities. In two long-term care facilities for people with dementia and one for older people with chronic psychiatric disorders, an uncontrolled pre- and post-test study was conducted using a mixed-method design. Forty-six residents participated in the study. Three art activities—(a) dance, (b) music and movement, and (c) visual arts—were studied and co-created with the residents and executed by artists and caregivers
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Dissertations / Theses on the topic "VIP (Artists' group)"

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Foucher, Charlotte. "Un symbolisme enfoui : les femmes artistes dans les milieux symbolistes en France au passage du siècle (XIXe-XXe)." Paris 1, 2012. http://www.theses.fr/2012PA010707.

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Au passage du XIXe au XXe siècle, la dichotomie masculin/féminin où l'homme serait dévolu à la création et la femme cantonnée à la procréation bat son plein mais commence progressivement à s'effriter et à se troubler. La femme artiste constitue l'une de ces figures intermédiaires susceptible de remettre en cause l'ordre établi des genres. Dans un climat extrêmement hostile à une émancipation du féminin, visant clairement à exclure la femme du champ créatif, nous analyserons la pluralité des stratégies envisagées et déployées par ces artistes, qu'elles assimilent le discours normatif ambiant ou
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Books on the topic "VIP (Artists' group)"

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Gülzow, Claudia, and Arne Linde. Venus in Panik. Lubok-Verlag, 2010.

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F, Le Tacon, Claude Henri 1928-, Musée Georges de La Tour, and Moselle (France : 1919- ). Conseil général, eds. Emile Gallé: Nature & symbolisme : influences du Japon : catalogue d'exposition, Musée départemental Georges de La Tour, Vic-sur-Seille, 5mai-30 août 2009. Musée départemental Georges de La Tour, 2009.

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Vermeulen, Ingrid. Art and Its Geographies. Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463728140.

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Schools of art represent one of the building blocks of art history. The notion of a school of art emerged in artistic discourse and disseminated across various countries in Europe during the early modern period. Whilst a school of art essentially denotes a group of artists or artworks, it came to be configured in multiple ways, encompassing different meanings of learning, origin, style, or nation, and mediated in various forms via academies, literature, collections, markets and galleries. Moreover, it contributed to competitive debate around the hierarchy of art and artists in Europe. The ensu
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Arrabal, une oeuvre-vie panique: Essai panique. Les éditions Moires, 2019.

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Field, Arthur. The Oligarchs and Their Opponents, 1378–1426. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791089.003.0001.

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This chapter describes the contrasts between the more “oligarchic” and the more “popular” components of Florentine society, from the time of the Ciompi tumult in 1378 until the formation of the Medici party in 1426. The oligarchs—some being engaged in business and many taking advantage of opportunities that arose from Florence’s expanding state—attempted, via an oligarchic political club, the Parte Guelfa, to prevent new people from entering the government and endorsed optional wars that enlarged the Florentine state. The more popular groups were merchants, often not from older families, and a
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Clair, Michael St. Great Chinese Art Transfer. Fairleigh Dickinson University Press, 2016. https://doi.org/10.5040/9781683934639.

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This book tells the story of how and why millions of Chinese works of art got exported to collectors and institutions in the West, in particular to the United States. As China’s last dynasty was weakening and collapsing from 1860 into the early years of the twentieth century, China’s internal chaos allowed imperial and private Chinese collections to be scattered, looted and sold. A remarkable and varied group of Westerners entered the country, had their eyes opened to centuries of Chinese creativity and gathered up paintings, bronzes and ceramics, as well as sculptures, jades and bronzes. The
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Rohrleitner, Marion, and Sarah E. Ryan. Dialogues across Diasporas. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, 2012. https://doi.org/10.5040/9781666994063.

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Dialogues Across Diasporas focuses on the shared historical legacies of members of the Africana and Latina diasporas, and the cultural impact of the African diaspora in the Americas. This book seeks to emphasize connections rather than divisions among different migratory ethnic communities via a reconfiguration of borders and ethnic identities. This collection of essays has three major goals: first, to foreground shared themes and strategies in the literary productions of women of Africana and Latina/o descent; second, to highlight the importance of the arts for community activism within share
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Inc, Group Publishing. Why Creation Matters: For Senior High (Core Belief Bible Study). Group Publishing, 1997.

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Revising Flannery O'Connor: Southern literary culture and the problem of female authorship. University Press of Virginia, 2001.

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Book chapters on the topic "VIP (Artists' group)"

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Olibet, Ylenia, and Alanna Thain. "Vidéo de Femmes Dans le Parc: Feminist Rhythms and Festival Times Under Covid." In Rethinking Film Festivals in the Pandemic Era and After. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_8.

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AbstractVidéo de Femmes dans le Parc (VFP) (Women’s Videos in the Park) is a summertime open-air screening of independent short videos, held annually since 1991 at Park La Fontaine in Montreal, Canada, by Groupe Intervention Vidéo (GIV), an independent feminist/queer distribution company. In this essay, we explore VFP’s historical use of public space and its reimagination under Covid’s urgent sanitary crisis and chronic social inequities. Within the media ecology of Montreal’s outdoor cinemas, we see GIV’s creative decision to move VFP online during Covid as part of a longer history of alternative media’s unconventional exhibition modes that address social inequalities. As such, we first situate VFP within GIV’s wider mandate of dissemination of video work by women. We then analyze VFP’s “visual architecture” under Covid, stressing the organizers’ original strategies to reproduce a sense of eventness even through online exhibition. We conclude with questions of embodied and affective labor, including audiences’ wellbeing, artist renumeration, and self-care, that the shift online entails for the organizers of VFP.
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Brea-Martínez, Gabriel, and Joana-Maria Pujadas-Mora. "Socioeconomic mobility and inequality persistence. The area of Barcelona, 16th-19th centuries." In Datini Studies in Economic History. Firenze University Press, 2025. https://doi.org/10.36253/979-12-215-0667-9.20.

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Preindustrial social mobility is still primarily understudied in present times. Most preindustrial and early-industrial social mobility research focused strictly on occupational mobility, not fully capturing the substantial socioeconomic disparities within occupational groups that presumably always existed. In this study, we aim to contribute to the literature by estimating long-term trends in intergenerational social mobility in Barcelona and its hinterland. We use the Barcelona Historical Marriage Database to assess disparities between socially and non-socially mobile individuals within occupational groups through unique data covering occupational prestige and economic information via genealogical reconstitutions. Using a combined SES approach (occupational prestige and economic capacity) can capture both class differences and within-occupation disparities. Socioeconomic mobility increased since the beginning of the 18th century, during Catalan protoindustrialization, but with significant class disparities. SES persistence increased for Non-Manuals' children, stagnated for Artisans' children, and declined for Farmers'. Moreover, within occupational groups, we find that intergenerational class-mobile individuals had always been disadvantaged in socioeconomic terms compared to the immobile, a constant characteristic from preindustrial times until the end of the 19th century. These results suggest that socially immobile (intergenerationally) individuals always benefited from the privilege of having fathers within the same occupational class, independent of the period, which recalls the sociological concept of the class ceiling.
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Harutyunyan, Angela. "The reign of the ‘painterly real’ and the politics of crisis, 1999–2004." In The Political Aesthetics of the Armenian Avant-Garde. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719089534.003.0006.

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This closing chapter offers a reading of the work of two artists of the 1990s and early 2000s – David Kareyan and Narek Avetisyan, both previously members of the group ACT – and discusses their works in the context of social, political, technological as well as cultural shifts in Armenia. The two artists’ works, it argues, epitomize the contradictions of the turn of the century Armenia. This context is defined as a crisis of politics and political subjectivization vis-à-vis the state. This marked a shift from affirmative artistic practices in the conditions of the crisis of negation that characterized the mid 1990s, and gave birth to a politics of resistance. The chapter considers political, economic and art institutional transformations as interlinked processes that bring about an imperative to rearticulate art’s relationship to the social world. It locates the advent of video art, performance and installation within the advent of the media society and the techno utopias of global connectivity.
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Osei, Adjoa. "The Primitive Quality of the Modern." In Elsie Houston. Oxford University Press, 2025. https://doi.org/10.1093/oso/9780197693179.003.0007.

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Abstract In New York City, Elsie Houston engaged with the artistic fervor of the Harlem Renaissance by exploring music across the African diaspora. She performed African American spirituals, afrocubanismo songs inspired by Abakuá, and Brazilian songs taken from African-based religions such as Candomblé. Elsie’s repertoire celebrated the diverse scope of the modern black experience, and this was a way for her to reject racism. She appeared on stage alongside other artists from across the diaspora such as the Trinidadian dancer Beryl McBurnie and the drumming and dance act Haitian Rada Group. Elsie was also photographed by the Harlem Renaissance photographer Carl Van Vechten in 1940. However, as a lighter-skinned, mixed-race, upper-class Brazilian, Elsie was not consistently recognized as black in the United States, and for some African American critics, she breached the line between cultural celebration and cultural appropriation. Elsie’s conception of racism in Brazil vis-à-vis the United States is also explored.
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de Luca, Tiago. "Panoramic Views, Planetary Visions." In The Moving Form of Film. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0009.

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Abstract This chapter looks at two artists’ films, Medium Earth (2013), by the British duo the Otolith Group, and Walden (2018), by the Swiss artist Daniel Zimmermann. They are bound together through their allegiance to the panoramic shot, in both 360-degree and 180-degree versions, as a mode of Earth-seeing. I argue that the circular shot in these films is utilised to make visible planetary phenomena: the Earth as a geological landmass in the former and the global trading routes subtending the economic world system in the latter. By situating both films within a wider panoramic lineage via a media-archaeology approach, the chapter argues that both are uniquely suited case studies to demonstrate the way in which they update the panoramic gaze in the context of contemporary globalising processes, including the Earth’s environmental breakdown and the so-called Anthropocene. At the same time, both films are indicative of the dissolution of the physical spaces of cinema as the medium morphs into installations and migrates to art galleries, thus reinstituting the ambulatory character of the panorama into the cinematic experience.
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Belodubrovskaya, Maria. "The Masters." In Not According to Plan. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501709944.003.0004.

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Chapter Three discusses the implications of the director-centered mode of film production and suggests why entrusting self-governance and self-censorship to a select group of director-masters was counterproductive. The Soviet film industry did not have producers, and only directors had the creative and technical expertise to make films. This unique expertise, which was hard to replicate, as well as their status as “engineers of human souls,” put Soviet film directors in a formidable position vis-à-vis the party-state. Moreover, most of them were not propagandists, but artists, and their professional agenda was never entirely subsumed by Stalinism.
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Kocabay-Sener, Nihal. "Resisting With Art." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4655-0.ch022.

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Surveillance has become an element of everyday life. Modern society is used to surveillance. It has become inconspicuous. But art makes surveillance apparent. In this chapter, the notion of surveillance art was debated, and surveillance art was evaluated as activist art. In surveillance art, there are artworks created by singular artists or art groups. In this chapter, two groups were analyzed: Surveillance Camera Players and Manifesto for CCTV Filmmakers. The two art groups focused on CCTV. Surveillance Camera Players tried to take attention by playing in front of the CCTV in the public sphere. Surveillance Camera Players created awareness for surveillance cameras that normalized in everyday life. Manifesto for CCTV Filmmakers also invited to make a film via CCTV footage. The manifesto noticed to determine with the act. Consequently, surveillance art creates social awareness, and it is a way to resist surveillance.
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Tan, Chang. "From the One to the Many." In The Minjian Avant-garde. Cornell University Press, 2024. http://dx.doi.org/10.7591/cornell/9781501773181.003.0003.

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This chapter focuses on Qiu Zhijie, a critical figure in the group of artists that first engaged with minjian performatively and via words in the 1990s. It shows how Qiu challenged the elite art of calligraphy with the mundane act of merely writing words. By doing so, it allowed Qiu to merge, conceptually and affectively with diverse subjectivities from minjian, turning the individual into a filter and an archive of the multitude. The chapter details how Qiu's turn to minjian was triggered by his encounters with the global art world. It describes Qui's response to the slights and pressures from the world through a shift in his politics from impassioned critiques of centralized power to a militant advocacy of the native and the collective, taking a position that would qualify as both Chinese and avant-garde.
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Lan, Kai-Wen. "Representability of Moduli Problems." In Arithmetic Compactifications of PEL-Type Shimura Varieties. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691156545.003.0002.

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This chapter elaborates on the representability of the moduli problems defined in the previous chapter. The treatment here is biased towards the prorepresentability of local moduli and Artin's criterion of algebraic stacks. The geometric invariant theory or the theory of Barsotti–Tate groups has been set aside: the argument is very elementary and might be considered outdated by the experts in this area. The chapter, however, discusses the Kodaira–Spencer morphisms of abelian schemes with PEL structures, which are best understood via the study of deformation theory. It also considers the proof of the formal smoothness of local moduli functors, illustrating how the linear algebraic assumptions are used.
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Giddins, Gary. "Yin, Yang, and Noir (Oliver Lake / Charlie Haden)." In Weather Bird. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0015.

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Abstract Oliver Lake was nearly 30 when his first recordings made their way— via his own label, Passin’ Thru—from St. Louis to New York. That was 20 years ago, and his subsequent career offers a kind of Baedeker of the era’s jazz itinerary. First we encountered him, along with many promising musicians of the early ‘70s, in a collective (St. Louis’s Black Artists Group), performing with a malleable ensemble that favored “little instruments” and modal subjects, or standing alone, an unaccompanied altoist with a distinctively stark, urgent style. He made the obligatory trip to Paris before settling in Brooklyn, part of an unusually mature generation of newcomers who were bred in all the new musics of the ‘60s, rock and soul as well as jazz, and could hear beyond them to previously established forms and functions. Although he mentioned Paul Desmond and Jackie McLean as early inspirations, Lake had a sound as individual as his hair, a tonsure circled by dreads. His timbre was cured in acid, but his intonation remained centered and sure. By the end of the ‘70s, he had recorded two sets of duets (notably Buster Bee, with Julius Hemphill), and embarked on a long alliance with drummer Pheeroan ak Laff.
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Conference papers on the topic "VIP (Artists' group)"

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Kozlovs, Normunds. "TOPIC OF ECOLOGY IN RIGA STENCIL GRAFFITTI." In 24th SGEM International Multidisciplinary Scientific GeoConference 2024. STEF92 Technology, 2024. https://doi.org/10.5593/sgem2024v/4.2/s19.50.

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The relationship of contemporary human beings to the nature is in the centre of the public debate worldwide and in particular countries because of climate change. Different social groups develop different perspectives on the issue based on ideologies, values and lifesyles. They express it through verbal arguments, but also through visual messages that use well known symbols and emotionally louded images in public spaces one of forms usual for supposedly muted groups beeing stencil graffiti. The aim of this research is to explore and describe the care of environment ideology within subcultural
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Yee Janet Fong, Man, Jimmy Lee, and Gloria Mak. "Empowering Asian Artists: The Art Futures Award Initiative." In 16th International Conference on Applied Human Factors and Ergonomics (AHFE 2025). AHFE International, 2025. https://doi.org/10.54941/ahfe1006338.

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This conference paper introduces the Art Futures Awards Initiatives as an innovative framework designed to restore academic rigor to art award evaluation processes and empower Asian artists within the international art community. It systematically presents the literature review, methodology, framework design, scope of influence, assessment methods, outcomes, and data analysis, offering a comprehensive model applicable for art practitioners, artists, curators, and educators.Art awards significantly influence contemporary art by affecting artists' recognition, career development, and creative ex
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Cedrón, María Gutiérrez, and Jose Pons. "Thinking about the Storm: Analysis of the concert/performance that fuses music, wearable technology and bodily expression." In VI Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvimulti2024-072.

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Thinking about the Storm was a concert performance developed by the NubeiLab group during the residency of Emerging Creators in the Mariñán neighborhood in 2022. We will dedicate ourselves in this article to analyzing the convergence between the different artistic disciplines that shaped the representation. On the one hand we will expose the work process for the realization of the technological wearable used as clothing for a part of the performance, and on the other hand we will analyze the process of direction and musical and sound improvisation, to finally expose the final result of the con
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Rusu, Alexandra. "E-LEARNING SOLUTIONS FOR REVITALIZING TRADITIONAL TEXTILE TECHNOLOGIES. THE MAPS OF TIME PROJECT." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-274.

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Traditional textile technologies are part of cyber-culture in all its complexity but the solutions only record the technological past and do not influence the personal development of underprivileged groups. The digital information development should mark changes not only in communication but also in education and human communities' dynamic. E-learning programs in cyber-space are undoubtedly agents of cultural change but they should be created for an immediate impact on communities and for stressing issues like alternatives for unemployed people and lifelong learning for a greater mobility. Thi
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Бородкин, П. В., and Т. В. Горбунова. "SCULPTURE AND STAINED GLASS AS A PART OF THE ART MARKET." In ХУДОЖНИК И МЕНЕДЖЕР В ПРОСТРАНСТВЕ СОВРЕМЕННОГО АРТ-РЫНКА Материалы VII научно-практической конференции молодых ученых. Crossref, 2024. http://dx.doi.org/10.54874/9785605196556.2024.3.02.

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Выставочные пространства редко проводят масштабные групповые показы работ скульпторов, как следствие, затрудняя анализ общих стилистические тенденций и творческих исканий мастеров. Витраж как авторское произведение, в силу преобладания тиражной продукции и специфики работы дизайн-студий, претерпевает ограничения на авторское творчество. Такие тенденции приводят к тому, что арт-рынок не предоставляет современным художникам возможность заявить о себе через авторское творчество. Сложившаяся ситуация не позволяет полноценно развиваться ни арт рынку, ни авторскому творчеству в России. Works of scul
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García González, María Dolores. "El uso de Instagram en la formación del alumnado de arte como complemento a la docencia presencial y a la docencia online universitaria." In IN-RED 2020: VI Congreso de Innovación Educativa y Docencia en Red. Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inred2020.2020.12015.

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This communication exposes the results of an ongoing study related to the use and potential of the Instagram social network as a complementary tool in the acquisition of competences for the students of the Sculpture II subject in face-to-face and online teaching. The objective of this research is to establish the theoretical foundations of a working model based on the use of ICT and social networks as possible propelling and inspiring elements of artistic practices, especially those oriented to the sculptural field. For this study, the group_f52 Instagram account has been created in order to e
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Wang, Ying Miao, and Carolina Quintero Rodriguez. "The Aesthetic Factors Shaping Chinese Millennial Consumers' Purchase Intentions of Luxury Pyjamas: Implications for Future Design." In 22th AUTEX World Textile Conference. Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-u2ezkj.

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The luxury fashion market is rapidly expanding worldwide, and the demand for designer pyjamas is on the rise. Pyjamas originated in South Asia as loose, lightweight trousers or two-piece suits for sleeping and lounging, and evolved into swishy palazzo-like pants and jumpsuit styles popular in Europe. Over time, pyjamas have undergone multiple functional and aesthetic changes while the luxury fashion goods purchasing power of Chinese millennials who were born in a rapidly evolving digital world has increased fast. However, limited academic research on luxury pyjamas and scarce information on th
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Пудова, П. А., and А. В. Карпов. "TRADITIONAL AFRICAN ART IN THE RUSSIAN CONTEMPORARY ART MARKET: PRICING ISSUES AND SALES METHODS." In ХУДОЖНИК И МЕНЕДЖЕР В ПРОСТРАНСТВЕ СОВРЕМЕННОГО АРТ-РЫНКА Материалы VII научно-практической конференции молодых ученых. Crossref, 2024. http://dx.doi.org/10.54874/9785605196556.2024.3.04.

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Традиционное африканское искусство как художественное явление с начала прошлого столетия выступает предметом коллекционирования, репрезентации, продажи. А способ реализации предметов на арт-рынке отличается разнообразием: от французских брокантов, нишевых интернетмагазинов до крупных галерейных и аукционных продаж. Рассмотрена специфика современного арт-рынка традиционного африканского искусства в России: цены, институции, ассортимент. Проведен анализ влияния факторов ценообразования в зависимости от типа, региона происхождения, принадлежности этнической группе. Приведена статистика рынка на о
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Duarte, Fernanda, Rosangella Leote, Rodrigo Dorta Marques, and Rodrigo Rezende. "The research context of GIIP - International and Interinstitutional Research Group in Art, Science and Technology." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.134.

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The GIIP “Interinstitutional and International Research Group on Art, Science and Technology” was certified at CNPq by UNESP in 2010. It is directed by Rosangella Leote and Fernanda Duarte. We have developed investigation that are allocated in six research lines which are coordinated by Brazilian and foreign researchers. We aim to focus on works of art with emerging media where can be observed transductions, at any level, between the three areas that entitle the group, taking into account the contributions of these different fields, in an interdisciplinary way, but prospecting transdisciplinar
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Bougueng Tchemeube, Renaud, Jeffrey Ens, Cale Plut, et al. "Evaluating Human-AI Interaction via Usability, User Experience and Acceptance Measures for MMM-C: A Creative AI System for Music Composition." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/640.

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With the rise of artificial intelligence (AI), there has been increasing interest in human-AI co-creation in a variety of artistic domains including music as AI-driven systems are frequently able to generate human-competitive artifacts. Now, the implications of such systems for the musical practice are being investigated. This paper reports on a thorough evaluation of the user adoption of the Multi-Track Music Machine (MMM) as a minimal co-creative AI tool for music composers. To do this, we integrate MMM into Cubase, a popular Digital Audio Workstation (DAW), by producing a "1-parameter" plug
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Reports on the topic "VIP (Artists' group)"

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Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, 2021. http://dx.doi.org/10.36967/nrr-2285173.

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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) len
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