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Bibliografías temáticas / Art movements

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Literatura académica sobre el tema "Art movements"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de agosto de 2024

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Artículos de revistas sobre el tema "Art movements"

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Vélez-Vélez, Roberto y Jacqueline Villarrubia-Mendoza. "Interpreting mobilization dynamics through art: A look at the DREAMers Movement". Current Sociology 67, n.º 1 (26 de noviembre de 2018): 100–121. http://dx.doi.org/10.1177/0011392118807517.

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Most research on art and social movements focuses on the representational aspect of art, leaving untouched how artwork informs audiences and actors on the mobilization dynamics permeating the field of action. In this article the authors contend that the analysis of art in social movements should pursue the ways in which collective actors place art as part of their interpretative lens to act upon changing social conditions. The article’s analysis of art around the DREAMers Movement suggests that artwork allows for movement actors to change the limits of their cultural context and affect the repertoires of articulations conceived within that context. This analysis moves beyond the notions of art as representation and presents art as a field to challenge the forms and dynamics of mobilization.

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Reed, Corey. "Signifying the Sound: Criteria for Black Art Movements". Journal of Aesthetic Education 57, n.º 4 (1 de diciembre de 2023): 36–59. http://dx.doi.org/10.5406/15437809.57.4.03.

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Abstract “Black art” is often understood as being inherently political. In examining two major Black arts movements, the Harlem Renaissance and the Black Arts movement, many of the works attributed to those periods fit the description of “political art” but not all of them. Black art movements are not defined exclusively by similar styles or methodologies, like Expressionism or Surrealism, either. Instead, Black art movements are complex movements that blend social, political, and aesthetic criteria. In this article, I list seven conditions that I take to be jointly sufficient for a Black art movement to be signified as such. In this assertion, I also argue that this current era, paralleling the Black Lives Matter movement, is worthy of Black art movement signification, if we update the mediums by which the conditions are met in the Harlem Renaissance and the Black Arts movement.

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Moreschi, Bruno, Christopher Bratton, Dalida Maria Benfield, Gabriel Pereira y Guilherme Falcão. "_rt movements". ARTMargins 10, n.º 2 (junio de 2021): 93–104. http://dx.doi.org/10.1162/artm_a_00294.

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Abstract _rt Movement(s) is an artist research project intended as a text object that materially represents the complex, relational articulation of art and history with particular emphases on the contingent relationships made by movements of different kinds: geographical migration of artists, displacement of art objects, performances, institutions/festivals, and theories/theorists. _rt Movement(s) challenges the linear developmental approach of normative art history, and its nationalist, racialized, and ethnocentric assumptions. Instead, the project argues through diverse sources, including texts, images, graphs and other visualizations for the essentially translocal and transhistorical character of works of art.

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Lazunina, Ekaterina A. y Ekaterina M. Zinchenko. "Patterns of oculomotor activity during the perception of different art movements: Eye tracking study". Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 24, n.º 2 (21 de junio de 2024): 192–200. http://dx.doi.org/10.18500/1819-7671-2024-24-2-192-200.

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The introduction discusses the role of art in society. Art is one of the ways of learning and describing the world, and its role in the development of an integral personality is enormous. The theoretical analysis presents some research within the framework of neuroaesthetics. The choice of stimulus material for the study is discussed – paintings from five art movements: Realism, Impressionism, Modernism, Cubism, and Surrealism. It is suggested that in the process of viewing works of art from different movements, oculomotor activity (OMA) will be different. Empirical analysis showed differences in OMA parameters: blinking, fixations, and saccades, among students when they were presented with pictures of different art movements. It was found that the subjects showed emotional excitement while perceiving paintings from the Impressionist movement. Paintings of Modernism and Impressionism presented the least concentration of attention but the greatest interest. A high concentration of attention was observed during visual perception of realism pictures. The greatest cognitive load was detected at the time of presentation of cubist paintings. Rational perception and memory resources are more involved in the processing of Surreal pictures. In conclusion, the characteristic patterns of OMA in the perception of various art movements are noted. Research results may be useful in the practice of passive art therapy as part of psychoprophylaxis programs.

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Shi, Xiaomeng, Zhirui Ye, Nirajan Shiwakoti y Offer Grembek. "A State-of-the-Art Review on Empirical Data Collection for External Governed Pedestrians Complex Movement". Journal of Advanced Transportation 2018 (2 de septiembre de 2018): 1–42. http://dx.doi.org/10.1155/2018/1063043.

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Complex movement patterns of pedestrian traffic, ranging from unidirectional to multidirectional flows, are frequently observed in major public infrastructure such as transport hubs. These multidirectional movements can result in increased number of conflicts, thereby influencing the mobility and safety of pedestrian facilities. Therefore, empirical data collection on pedestrians’ complex movement has been on the rise in the past two decades. Although there are several reviews of mathematical simulation models for pedestrian traffic in the existing literature, a detailed review examining the challenges and opportunities on empirical studies on the pedestrians complex movements is limited in the literature. The overall aim of this study is to present a systematic review on the empirical data collection for uni- and multidirectional crowd complex movements. We first categorized the complex movements of pedestrian crowd into two general categories, namely, external governed movements and internal driven movements based on the interactions with the infrastructure and among pedestrians, respectively. Further, considering the hierarchy of movement complexity, we decomposed the externally governed movements of pedestrian traffic into several unique movement patterns including straight line, turning, egress and ingress, opposing, weaving, merging, diverging, and random flows. Analysis of the literature showed that empirical data were highly rich in straight line and egress flow while medium rich in turning, merging, weaving, and opposing flows, but poor in ingress, diverging, and random flows. We put emphasis on the need for the future global collaborative efforts on data sharing for the complex crowd movements.

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Sari, Nilam Permata y Budiwirman Budiwirman. "The Uniqueness Of Kayie Dance Art In Village Laban Nagari Salido District IV Jurai Painan South Pesisir Based On Space, Time, And Energy Aspects". LANGGAM: International Journal of Social Science Education, Art and Culture 2, n.º 4 (19 de diciembre de 2023): 01–06. http://dx.doi.org/10.24036/langgam.v2i4.152.

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The traditional art of Kayie Dance in Laban Nagari Salido Village, IV Jurai Painan District, the South Pesisir is an identity for the life of the community itself, because this art reflects the activities of the South Coast community who work as fishermen. As a source of livelihood and fishing activities in the southern coastal area, the community believes in the value of life that comes from catching fish in the sea or river. Moving away from the values of life, local artists have created art that is characteristic of the southern coastal area, especially in the village of Laban Nagari Salido, District IV Jurai Painan. The uniqueness of this art is that it combines beautiful and rhythmic movements, and each movement has its own beautiful value. The Kayie dance has its own uniqueness which is created by the dance atmosphere expressed through the dance movements. Kayie's dance has 11 main movements in the dance, starting with the initial sambah movement to the closing sambah movement. There are many aspects of beauty contained in every element of the Kayie Dance art. The function of the Kayie Dance is as a means of entertainment and learning for all levels of society, this is an attraction for the community to preserve the Kayie dance on the South Pesisir.

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7

Onen, Leyla. "Soviet Art Movements between 1917-1990". Art and Design Review 09, n.º 02 (2021): 131–47. http://dx.doi.org/10.4236/adr.2021.92012.

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Wahyono, Wahyono y Benny Hutahayan. "Performance art strategy for tourism segmentation: (a Silat movement of Minangkabau ethnic group) in the event of tourism performance improvement". Journal of Islamic Marketing 11, n.º 3 (16 de octubre de 2019): 643–59. http://dx.doi.org/10.1108/jima-10-2017-0116.

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Purpose The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province. Design/methodology/approach This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera. Findings Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other. Originality/value The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.

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N, Rathinakumar. "Dravidian Narratives constructed by Mudiyarasan's Poems". International Research Journal of Tamil 4, S-5 (25 de agosto de 2022): 290–300. http://dx.doi.org/10.34256/irjt22s545.

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The relationship between literature and movements is close. One depends on the other. Both have a system of giving and receiving. The new ones are the desired ones. Making major changes possible in society. Various movements have played a role in the creation of modern Tamil literature. Movements use works of art as a tool to bring about change in the social and political sphere. Dravidian ideologies have spread their ideologies in many spheres, such as short stories, novels, poetry, drama, and cinema. Countless people joined the movement and helped to expand the works of art. The role of the monarch in traditional poetry is important. This article describes them.

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Lisi, Edoardo, Mohammad Malekzadeh, Hamed Haddadi, F. Din-Houn Lau y Seth Flaxman. "Modelling and forecasting art movements with CGANs". Royal Society Open Science 7, n.º 4 (abril de 2020): 191569. http://dx.doi.org/10.1098/rsos.191569.

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Conditional generative adversarial networks (CGANs) are a recent and popular method for generating samples from a probability distribution conditioned on latent information. The latent information often comes in the form of a discrete label from a small set. We propose a novel method for training CGANs which allows us to condition on a sequence of continuous latent distributions f (1) , …, f ( K ) . This training allows CGANs to generate samples from a sequence of distributions. We apply our method to paintings from a sequence of artistic movements, where each movement is considered to be its own distribution. Exploiting the temporal aspect of the data, a vector autoregressive (VAR) model is fitted to the means of the latent distributions that we learn, and used for one-step-ahead forecasting, to predict the latent distribution of a future art movement f ( K +1) . Realizations from this distribution can be used by the CGAN to generate ‘future’ paintings. In experiments, this novel methodology generates accurate predictions of the evolution of art. The training set consists of a large dataset of past paintings. While there is no agreement on exactly what current art period we find ourselves in, we test on plausible candidate sets of present art, and show that the mean distance to our predictions is small.

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Tesis sobre el tema "Art movements"

1

Min, Jun Suk. "Movements for enjoyment /". Online version of thesis, 2008. http://hdl.handle.net/1850/7790.

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Smith, Rachel Rose. "Modern art movements and St Ives, 1939-49". Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/16237/.

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This thesis provides a view of modern art in St Ives between 1939 and 1949 by focusing on two interlinked concerns: the movement of objects, people and ideas through communication and transport networks, and the modern art movements which were developed by artists working in the town during this period. Drawing especially from studies of place, hybridity and mobility, Chapter 1 provides an account of two artists’ migration to St Ives in 1939: Naum Gabo and Barbara Hepworth. It considers the foundational importance of movement to the narrative of modern art in St Ives and examines the factors which contributed to artists’ decisions to relocate. Using this information, it probes presumptions surrounding St Ives as an artists’ ‘colony’ and proposes it as a site of ‘coastal modernism’. Chapters 2 and 3 examine the contribution by artists in St Ives to two developing art movements: Constructivism and Cubism. Both investigations show how artists participated in wide-reaching artistic networks within which ideas and objects were shared. Each chapter also particularly reveals the value of art movements for providing temporal scales through which artists could reflect upon and establish the connections of their work to the past, present and future. Chapter Two focuses on the Constructive project associated with the publication of 'Circle: International Survey of Constructive Art' (1937), revealing how modern art in St Ives inherited ideas and styles from earlier movements and continued to reflect upon the value of the ‘Constructive spirit’ as Europe changed. Chapter Three is an examination of Nicholson’s connections to the Cubist movement and an analysis of the long-standing impact this had on his work and critical reception both before and after the Second World War. To conclude this thesis, two narratives centred on 1964, the year often used to define the end of an artistic period in St Ives, suggest how the internationalism of artists and artist groups in St Ives changed during the period which followed 1949.

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3

Kirkham, Nicola. "J18 : movements towards an ethico-aesthetic paradigm". Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5790/.

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This thesis offers a materialist account of political action from the perspective of the aesthetic, focusing on a global day of action, protest and carnival staged to coincide with the G8 Summit on June 18th 1999. An event known as J18. Part One begins with a review of contemporary literature concerning the sociologies of contemporary political movements, theories of space and locality provided by geography, analyses of public interventions by art practice as well as the tactical deployment of media and writing related specifically to the cultural politics of anti-capitalism. The theory and methods chapter surveys historic shifts in thinking about political action, through an attendant Marxist epistemology, through three key events: the Paris Commune, the Russian Revolution and May 1968. The search for a materialist understanding of political action feeds the act of drawing together empirical material from J18 by way of the data gathering process and the reciprocal development of a critical framework used as a method of interpretation. In Part Two a multi-centred account of the event is narrated by way of micro-examples that are each affectively attuned to, and constitutive of the events happening.

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4

Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.

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5

Cossu, A. "MOBILIZING ART. AN INQUIRY ON THE ROLE OF ART IN SOCIAL MOVEMENTS: THE CASE OF MACAO ¿ MILANO". Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/292851.

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The connections between art and politics are multiple and are deeply rooted in modern history. These connections have led to the development of a lively debate in many academic as well as non-academic fields. Within this context, my thesis focuses on the specificities, the continuities and the ruptures produced by artists in the context of contemporary political mobilization. My overall framework is influenced by a cultural approach to social movements, organization studies, economic and urban sociology. Based on ethnography, my thesis applies three main research techniques (participant observation, semi-structured interviews, digital methods) to a specific case study: Macao, the New Centre for Arts, Culture and Research, in Milan, Italy. Established in May 2012, Macao is officially a part of the Italian network of “Occupied Theatres” and, more informally, constitutes an important node in the international “art activism” scene. Taking into account the global context of the early 2010s – marked by the aftermath of economic crisis, the Arab revolutions and the Occupy/Indignados movement, and the re-emerging discourse on the role of electronic media in social movements – my thesis, although focused on Macao in a micro-sociological perspective, attempts to draw connections and identify differences between “artistic activism” and the prevalent trends in the recent wave of mobilization. In an attempt to contribute to the growing, but still limited, literature on art and social movements, my thesis considers Macao as an excellent prism through which to investigate the everyday political work carried out by artists in a context of mobilization. In doing so, my aim is to overcome the instrumental view that is often applied to art and aesthetics in the context of protest: seeing them as colorful tools to gain visibility and secure recruitment. In my work, I highlight how art might take unexpected forms in political activity, forms that are rarely embodied in the artifacts we are normally used to. In this sense, art is capable of running deep below the perceivable surface to connect and innervate the flows that circulate in a number of different media. The thesis is divided into two main parts: the first sets the frame in which I situate my work, introduces the debates around artists’ political involvement (Ch. 1) and presents the methodological framework (Ch. 2). The second part is made up of three chapters that explore what I have come to identify as the main areas of Macao’s activity: action, relation and production. The first of these three chapters (Ch. 3) deals with the logic of action, in which I stress how an artistic sensitivity was deeply embedded in the first spectacular events that granted Macao a wide and favorable national and international exposure: what I have defined as an eventful logic. The second (Ch. 4) explores the theme of organization, a key area of political intervention of Macao activists, in which a reflexive desire for instability is coupled with a surprising efficiency and the inversion of the traditional equation for which organizational forms become transient configurations determined by the eventfulness of their routine activity. The third and final chapter (Ch. 5) investigates Macao’s models of artistic and cultural production. The case is explored with the aim of understanding to what extent Macao, and more in general the global wave of art activism, constitutes an alternative to the neo-libel articulation of the creative city in Milan. On the one hand, I ask whether Macao is a political actor able to influence the local cultural policy and to what extent it is included in the urban governance of Milan. I argue that Macao not only is an actor included in the urban governance, but also it provides the city a different cultural offer, open to bottom-up processes. The three core chapters, although partially autonomous, present a fil rouge, which coincides with the hypothesis that a broader change in terms of social and economic critique is taking place at a global level. As processes like the “eventification” and the “brandization” of culture represent some of the most efficient capitalist devices they now come to be appropriated in critical terms by probably the most skilled and apt subjects for a change: artists, and, more generally, cultural workers. Often trained at prestigious education institutions within the creative industry, their critique deploys the knowledge they have paid to obtain, and attempts not just to antagonize but to create a real and viable alternative. In the conclusion, the different uses of art in mobilization, scattered around the whole thesis, are systematized.

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Alves, Lara Bacelar. "The movements of signs : post-glacial rock art in north-western Iberia". Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426255.

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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /". online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.

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Law, Nga Wing. "Performing identities: performative practices in post-handover Hong Kong art & activism". HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.

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This is an autoethnographic account of the performative practices in the Umbrella Movement (2014, Hong Kong), a struggle that I myself and some fellow artists participated in. Instead of making a discursive analysis of postcolonial identity, this thesis focuses on performative practices and the performativity of artists and their activist counterparts in the Umbrella Movement. This thesis starts with an overview of the political situation in Hong Kong before relating it to the social turn in contemporary art practice and the performative turn in art and research practices. Instead of using performance as a metaphor for understanding cultural phenomena, I persevere with the notion of performance per se, of artists taking part in activism and examining the performativity involved in the process. As an artist/researcher, I have been seeking a research methodology that is compatible with the means and ends of activism being studied and can nourish a reflexive account on the performative practices of resistance in postcolonial Hong Kong. I propose a methodology of 'performative autoethnography' which accentuates the co-performative and intersubjective process as well as the non-textual aspects of embodied experience and of performing struggle in activism. Reviewing the performative practices on macro- and micro-levels, I borrow the term 'microutopia' to depict the imaginary space created by micro-performances used to cope with the discrepancies between utopian ideals and reality. Specifically, I examine the transformative power of some performative tactics employed in the Umbrella Movement: parodic performance of 'over-identification,' improvisation accomplished by collective connectivity and kinetic responsiveness of the performers, and the artist as an intersubjective mediator. Among these tactics, there are recurring claims and recurring forms that add up to a repertoire of protest. Through microutopian interventions staged at the site of protest, the identities of the multitude are constructed through critical engagement. I suggest that we use the concept of 'critical identities' to study how identities are constructed within an open-ended network of social relations, using a critical reflexive lens of performance studies at a precarious moment in which Hong Kong finds itself at a crossroads.

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Birchler, Susan. "Ecological Art: Ruth Wallen and Cultural Activism". [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001969.

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Blejwas, Emily K. Bailey L. Conner. "Social capital, cultural capital, and the racial divide community development through art in Alabama's Black Belt /". Auburn, Ala., 2007. http://repo.lib.auburn.edu/2006%20Fall/Theses/BLEJWAS_EMILY_35.pdf.

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Libros sobre el tema "Art movements"

1

Gunderson, Jessica Sarah. Romanticism: Movements in art. Mankato, MN: Creative Education, 2015.

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2

Edward, Lucie-Smith. Movements in art since 1945. 3^a ed. London: Thames and Hudson, 1995.

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3

Edward, Lucie-Smith. Movements in art since 1945. New York, N.Y: Thames & Hudson, 2001.

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4

Edward, Lucie-Smith. Movements in art since 1945. London: Thames & Hudson, 2001.

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5

1941-, Starr Jerold M., ed. Cultural politics: Radical movements in modern history. New York: Praeger, 1985.

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Kim, Hyŏn-hwa. Minjung misul: Minjung art. Kyŏnggi-do P'aju-si: Han'gilsa, 2021.

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Edward, Lucie-Smith. Movements in art since 1945: Issues and concepts. 3^a ed. New York: Thames and Hudson, 1995.

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Museion (Bolzano, Trentino-Alto Adige, Italy), ed. Little movements II: Self-practice in contemporary art. Bozen/Bolzano: Museion, 2013.

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Brooks, Susie. Inside Art Movements : Pop Art Inside Art Movements: Pop Art. Taylor & Francis Group, 2035.

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Cubism (Movements in Art) (Movements in Art). Creative Education, 2005.

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Capítulos de libros sobre el tema "Art movements"

1

Zijlmans, Kitty. "Movement of Movements". En Art and Activism in the Age of Systemic Crisis, 62–74. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429269189-5.

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Mathieu, Lilian. "Art and Social Movements". En The Wiley Blackwell Companion to Social Movements, 354–68. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781119168577.ch20.

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Eadie, William. "Art Nouveau as a modern movement". En Movements of Modernity, 50–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205883-4.

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Heywood, Ian. "Fields, Movements and Histories". En Social Theories of Art, 85–104. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-25929-8_6.

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Agustín, Óscar García. "The Aesthetics of Social Movements in Spain". En Street Art of Resistance, 325–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_14.

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Ma, Li. "Gradualist Market Reform and Unofficial Art Movements (1980s)". En Worlds of Consumption, 51–74. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-34605-7_3.

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Asavei, Maria Alina. "Contemporary Aesthetic Mysticism and Religious Revitalization Movements". En Art, Religion and Resistance in (Post-)Communist Romania, 137–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56255-7_6.

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Mak, Sophie. "The Art of Protest in Hong Kong". En Edition Politik, 22–29. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839470558-003.

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During the 2019 protests in Hong Kong, art became an indispensable avenue for dissent and political expression. It offered a peaceful alternative way for citizens to express their views and ideologies without having to protest in the streets. Artists formed an integral part of the political movement that reinvented Hong Kong's identity and preserved the city's soul. The innovative and decentralized methods of creating and distributing led to a level of unity and fluidity that had never been seen before. These creative resistance strategies were so successful that they inspired other protest movements in South-East Asia and beyond.

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Lloyd, Declan. "Douglas Coupland, Pop Art and the Aesthetes of Apocalypse". En Authors and Art Movements of the Twentieth Century, 147–78. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003342564-5.

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Nossery, Névine El. "Women, Art, and Revolution in the Streets of Egypt". En Women’s Movements in Post-“Arab Spring” North Africa, 143–57. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-50675-7_10.

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Actas de conferencias sobre el tema "Art movements"

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Pozdílková, Alena, Jaroslav Marek y Marie Nedvědová. "Time Series Movements in Art Prices". En Hradec Economic Days 2021, editado por Jan Maci, Petra Maresova, Krzysztof Firlej y Ivan Soukal. University of Hradec Kralove, 2021. http://dx.doi.org/10.36689/uhk/hed/2021-01-066.

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Mădăras, Anamaria Paula. "Multiculturality of names of art movements". En International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/59.

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Strongly “anchored” in the social dimension of life and having psychological “roots”, art movements in painting are defined by cultural diversity. In this paper, we aim to describe, from an interdisciplinary perspective, the way in which the names of art movements are formed, as well as their meaning and etymology. The methodology relies on techniques specific to onomastics, sociolinguistics and psycholinguistics. The sources of the names analysed consist of websites and art books.

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Shmuelof, Shoshan y Michal Hefer. "THE LOST ART OF LISTENING". En International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end029.

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"One of the functions of education is the transmission of culture from generation to generation. (Taba, 1962). Yet it is questionable whether music educators are fulfilling this mission... Listeners at concerts of classical music (whether of Western or other traditions) are dwindling and the crowd that frequents the concert halls is mostly older. It seems that educational policy does not invest enough to preserve the gifts of previous generations. In many schools, teachers prefer to please their students by focusing on music that the students listen to (with great enjoyment and expertise without any need for guidance from their teachers) rather than challenging them to become acquainted with musical worlds that are not closed to them and thus complex, classical music is pushed to the margins. Yes, the ones who composed this music were mostly men, mostly white and are mostly dead. However, these unfortunate facts do not negate the fact that the music they created is a gift. In this paper/presentation we will argue that what prevents teachers from introducing their pupils to this music is not political correctness but rather the absence of teaching methods that make listening to unfamiliar music challenging, engaging and fun. This introduce pedagogies for teaching classical music in primary schools and preschool. The rationale behind the methods will be discussed while looking at the applications in teaching complex music among elementary and preschool children. One of the innovative methods for teaching is the ""Musical Mirror Method"" which was developed by Veronika Cohen (Cohen, 1997). This method is a tool for teaching music listening using simple movements. Based on the principle that movement gestures are the source of musical gestures, the movements project into space, make visible the underlying source of the musical events. The children observe, and join in the movements of the mirror which to evoke an intuitive and spontaneous understanding of the music. As children develop their own musical mirrors, they learn to reflect deeply about their own musical experience, their hearing of the particular piece. Alternatively, graphic representations are presented to the children and later developed by them. Children play, sing compose in these lessons – all develop familiarity with great music and some feel a deep connection which can enrich their lives. They learn how to construct music out of sound."

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Foo, Louise y Jonas Fritsch. "Eleven Movements of the Cryoscape – Ecological Explorations in Sonification for Affectively Engaging with Climate Change". En 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-54-full-foo-et-al-movements-of-the-cryoscape.

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In this paper we present the sound installation Eleven Movements of the Cryoscape which was created for the new Kangiata Illorsua – Ilulissat Icefjord Centre in Greenland. The installation is a near real-time sonification of the movement and melting of the Inland Ice, consisting of an array of eleven speakers, each transmitting from a different location in Greenland. The installation portrays the Inland Ice as a living, breathing, evolving organism in the age of the anthropocene, where humankind has made its mark on the very changes that occur to the natural sounds over time. The installation invites people into an affectively engaging and contemplative relation to our changing ecologies through sonification of data to reflect on our present condition and to potentially imagine and connect to new realities. In this paper, we present the process leading to the creation of the installation and how it adds to existing research into sonification and listening practices in artistic and design research.

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Altinoz, O. Tolga y Meltem Ozkan Altinoz. "Classification of modern art movements with computational methods: Initial results". En 2017 25th Signal Processing and Communications Applications Conference (SIU). IEEE, 2017. http://dx.doi.org/10.1109/siu.2017.7960640.

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Shum, P. Y. S. y T. Klein. "VR CALLIGRAPHY Transposing Chinese calligraphy as choreographed movements into whole-body performances in VR". En 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-93-full-shum-et-al-vr-calligraphy.

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Current research in the area of digitizing Chinese calligraphy is primarily concerned with computer graphics (CG), calligraphy ink/brush simulation, human-computer interaction (HCI), and automatic calligraphy generation. In all above research fields, calligraphy is mainly expressed and represented in two dimensions as traditional ink on paper. Even within recent contemporary calligraphic movements, there is little exploration into a true spatialization of calligraphy beyond the flat medium. This research articulates an evolution of Chinese calligraphy, from a physical two-dimensionality into a multidimensional digital form via choreographed whole-body movements using VR (virtual reality) interfaces. We present a series of experiments to test the transposition, creation, and presentation of the essential qualities of calligraphy into a VR format. The aim is, through disseminating new virtual phenomenology in calligraphy, to contribute to and extend the existing writing on the relation between calligraphy and technology as an art entering into immersive environments and interactive virtual spaces. Thus, the research interrogates the dimensionality of calligraphy to synthesize the notion of shufa (书法, the way of writing; the Chinese word for calligraphy) from the perspective of a choreographed performance within VR.

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Li, Suyi y K. W. Wang. "Fluidic origami cellular structure -- combining the plant nastic movements with paper folding art". En SPIE Smart Structures and Materials + Nondestructive Evaluation and Health Monitoring, editado por Wei-Hsin Liao. SPIE, 2015. http://dx.doi.org/10.1117/12.2082888.

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Gurbuz, Mustafa. "PERFORMING MORAL OPPOSITION: MUSINGS ON THE STRATEGY AND IDENTITY IN THE GÜLEN MOVEMENT". En Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/hzit2119.

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This paper investigates the Gülen movement’s repertoires of action in order to determine how it differs from traditional Islamic revivalist movements and from the so-called ‘New Social Movements’ in the Western world. Two propositions lead the discussion: First, unlike many Islamic revivalist movements, the Gülen movement shaped its identity against the perceived threat of a trio of enemies, as Nursi named them a century ago – ignorance, disunity, and poverty. This perception of the opposition is crucial to understanding the apolitical mind-set of the Gülen movement’s fol- lowers. Second, unlike the confrontational New Social Movements, the Gülen movement has engaged in ‘moral opposition’, in which the movement’s actors seek to empathise with the adversary by creating (what Bakhtin calls) ‘dialogic’ relationships. ‘Moral opposition’ has enabled the movement to be more alert strategically as well as more productive tactically in solving the everyday practical problems of Muslims in Turkey. A striking example of this ‘moral opposition’ was witnessed in the Merve Kavakci incident in 1999, when the move- ment tried to build bridges between the secular and Islamist camps, while criticising and educating both parties during the post-February 28 period in Turkey. In this way the Gülen movement’s performance of opposition can contribute new theoretical and practical tools for our understanding of social movements. 104 | P a g e Recent works on social movements have criticized the longstanding tradition of classify- ing social movement types as “strategy-oriented” versus “identity-oriented” (Touraine 1981; Cohen 1985; Rucht 1988) and “identity logic of action” versus “instrumentalist logic of ac- tion” (Duyvendak and Giugni 1995) by regarding identities as a key element of a move- ment’s strategic and tactical repertoire (see Bernstein 1997, 2002; Gamson 1997; Polletta 1998a; Polletta and Jasper 2001; Taylor and Van Dyke 2004). Bifurcation of identity ver- sus strategy suggests the idea that some movements target the state and the economy, thus, they are “instrumental” and “strategy-oriented”; whereas some other movements so-called “identity movements” challenge the dominant cultural patterns and codes and are considered “expressive” in content and “identity-oriented.” New social movement theorists argue that identity movements try to gain recognition and respect by employing expressive strategies wherein the movement itself becomes the message (Touraine 1981; Cohen 1985; Melucci 1989, 1996). Criticizing these dualisms, some scholars have shown the possibility of different social movement behaviour under different contextual factors (e.g. Bernstein 1997; Katzenstein 1998). In contrast to new social movement theory, this work on the Gülen movement indi- cates that identity movements are not always expressive in content and do not always follow an identity-oriented approach; instead, identity movements can synchronically be strategic as well as expressive. In her article on strategies and identities in Black Protest movements during the 1960s, Polletta (1994) criticizes the dominant theories of social movements, which a priori assume challengers’ unified common interests. Similarly, Jenkins (1983: 549) refers to the same problem in the literature by stating that “collective interests are assumed to be relatively unproblematic and to exist prior to mobilization.” By the same token, Taylor and Whittier (1992: 104) criticize the longstanding lack of explanation “how structural inequality gets translated into subjective discontent.” The dominant social movement theory approaches such as resource mobilization and political process regard these problems as trivial because of their assumption that identities and framing processes can be the basis for interests and further collective action but cannot change the final social movement outcome. Therefore, for the proponents of the mainstream theories, identities of actors are formed in evolutionary processes wherein social movements consciously frame their goals and produce relevant dis- courses; yet, these questions are not essential to explain why collective behaviour occurs (see McAdam, McCarthy, and Zald 1996). This reductionist view of movement culture has been criticized by a various number of scholars (e.g. Goodwin and Jasper 1999; Polletta 1997, 1999a, 1999b; Eyerman 2002). In fact, the debate over the emphases (interests vis-à-vis identities) is a reflection of the dissent between American and European sociological traditions. As Eyerman and Jamison (1991: 27) note, the American sociologists focused on “the instrumentality of movement strategy formation, that is, on how movement organizations went about trying to achieve their goals,” whereas the European scholars concerned with the identity formation processes that try to explain “how movements produced new historical identities for society.” Although the social movement theorists had recognized the deficiencies within each approach, the attempts to synthesize these two traditions in the literature failed to address the empirical problems and methodological difficulties. While criticizing the mainstream American collective behaviour approaches that treat the collective identities as given, many leading European scholars fell into a similar trap by a 105 | P a g e priori assuming that the collective identities are socio-historical products rather than cog- nitive processes (see, for instance, Touraine 1981). New Social Movement (NSM) theory, which is an offshoot of European tradition, has lately been involved in the debate over “cog- nitive praxis” (Eyerman and Jamison 1991), “signs” (Melucci 1996), “identity as strategy” (Bernstein 1997), protest as “art” (Jasper 1997), “moral performance” (Eyerman 2006), and “storytelling” (Polletta 2006). In general, these new formulations attempt to bring mental structures of social actors and symbolic nature of social action back in the study of collec- tive behaviour. The mental structures of the actors should be considered seriously because they have a potential to change the social movement behaviours, tactics, strategies, timing, alliances and outcomes. The most important failure, I think, in the dominant SM approaches lies behind the fact that they hinder the possibility of the construction of divergent collective identities under the same structures (cf. Polletta 1994: 91). This study investigates on how the Gülen movement differed from other Islamic social move- ments under the same structural factors that were realized by the organized opposition against Islamic activism after the soft coup in 1997. Two propositions shall lead my discussion here: First, unlike many Islamic revivalist movements, the Gülen movement shaped its identity against perceived threat of the triple enemies, what Nursi defined a century ago: ignorance, disunity, and poverty. This perception of the opposition is crucial to grasp non-political men- tal structures of the Gülen movement followers. Second, unlike the confrontational nature of the new social movements, the Gülen movement engaged in a “moral opposition,” in which the movement actors try to empathize with the enemy by creating “dialogic” relationships.

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Guneri, A. "Styles of the petroglyph art of Mongol Altay: movements of the legs of animals". En Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.141-144.

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Hilsberg, Victoria. "DAOs A blockchain-based application not intervening, but strengthening the agility of contemporary arts". En 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-13-short-hilsberg-daos.

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SHORT PAPER. This paper discusses the blockchain-based application DAO (Decentralized Autonomous Organization) as a relevant new mechanism of artistic practice in the contemporary arts. It not only confronts the complexity of the modern society through its comprehensive application potential. It also channels segments of the contemporary art discourse such as political qualities, participatory art and cybernetic forces through active use cases. DAOs enable the interconnection of culture, technology and ecology. Using the most recent publications regarding blockchain technology as well as in-depth research on current artistic movements, it is possible to observe a complex manifestation of the matter within the contemporary arts during the concept's comparatively brief existence since its technical implementation around 2016.

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Informes sobre el tema "Art movements"

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Ashenfelter, Orley y Kathryn Graddy. Sale Rates and Price Movements in Art Auctions. Cambridge, MA: National Bureau of Economic Research, enero de 2011. http://dx.doi.org/10.3386/w16743.

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Yevtuch, Mykola B., Vasyl M. Fedorets, Oksana V. Klochko, Mariya P. Shyshkina y Alla V. Dobryden. Development of the health-preserving competence of a physical education teacher on the basis of N. Bernstein's theory of movements construction using virtual reality technologies. CEUR Workshop Proceedings, julio de 2021. http://dx.doi.org/10.31812/123456789/4634.

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The article studies the results of the research aimed at the improvement of the methodology of develop- ment of the health-preserving competence of a Physical Education teacher in conditions of post-graduate education on the basis of Nikolai Bernstein’s theory of movement construction using virtual reality technologies. Based on the use of AR/VR technologies a software application “Virtual Model Illustrating Nikolai Bernstein’s Theory of Movement Construction” was developed. The stated model is one of the tools of the “Methodology of development of the health preserving competence of a Physical Educa- tion teacher on the basis of Nikolai Bernstein’s theory of the levels of movement construction”. The experimental study determines that the application of the virtual model within the stated methodology is an effective tool for the development of the health preserving competence of a Physical Education teacher. The application of the virtual model allows the actualization of the health preserving, conceptual, gnoseological, biomechanical, inclusive, corrective potentials of Nikolai Bernstein’s theory of movement construction. The use of the virtual model presents the ways of targeted and meaningful use of Nikolai Bernstein’s theory of the levels of movement construction by a Physical Education teacher and the improvement of physical and recreational technologies and concrete physical exercises and movement modes. Due to the application of virtual reality tools, health-preserving, preventative, corrective and developmental strategies are being formed among which the significant ones are: “Application of syner- gistic movements to adaptation to movement activity, and recreation”, “Application of spatial movements for actualization of the orientation and search activities and development of spatial thinking”, “Use of movements with a complicated algorithm for intellect development”.

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Hicks, Jacqueline. Donor Support for ‘Informal Social Movements’. Institute of Development Studies, abril de 2022. http://dx.doi.org/10.19088/k4d.2022.085.

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“Social movements” are by definition informal or semi-formal, as opposed to the formal structure of a stable association, such as a club, a corporation, or a political party. They are relatively long lasting over a period of weeks, months, or even years rather than flaring up for a few hours or a few days and then disappearing (Smelser et al., 2020). There is a substantial and growing body of work dedicated to social movements, encompassing a wide range of views about how to define them (Smelser et al., 2020). This is complicated by the use of other terms which shade into the idea of “social movements”, such as grass-roots mobilisation/ movements, non-traditional civil society organisations, voluntary organisations, civic space, new civic activism, active citizenship, to name a few. There is also an implied informality to the term “social movements”, so that the research for this rapid review used both “social movement” and “informal social movement”. Thus this rapid review seeks to find out what approaches do donors use to support “informal social movements” in their programming, and what evidence do they base their strategies on. The evidence found during the course of this rapid review was drawn from both the academic literature, and think-tank and donor reports. The academic literature found was extremely large and predominantly drawn from single case studies around the world, with few comparative studies. The literature on donor approaches found from both donors and think tanks was not consistently referenced to research evidence but tended to be based on interviews with experienced staff and recipients.

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Dinovitzer, Aaron. PR-214-154503-R01 Pipeline Strains Induced by Slope Movement. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), agosto de 2019. http://dx.doi.org/10.55274/r0011609.

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Pipeline integrity may be affected by the action of the external soil loads that can be generated by ground movements or slope failures and the structural integrity threat of these geotechnical failures is not well understood. The threat presented to a pipeline by a localized slope failure is not directly related to magnitude of the soil movement involved, but related to the stress and strains induced in the pipeline by the moving soil block. This project demonstrated and applied advanced pipe-soil interaction numerical modeling tools in the assessment of slope movements directed long the pipeline axis. The geotechnical hazard assessments completed in this project provide a conservative means of estimating the pipeline axial strain accumulation resulting from slope movements. These modeling results are presented such that an understanding of the influence of pipeline, slope and operational parameters on strain accumulation is demonstrated and the relative importance of each parameter is demonstrated. The relationship between surface expression of a geotechnical event and the subsurface parameters to facilitate conservative characterization of the event is defined. The data describing axial strain as a function of ground movement magnitude presented in this project may be compared to the axial strain capacity (resistance) engineering tools to evaluate the significance of slope movements on pipeline integrity.

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Robert, Gillian. PR-420-153722-R01 Pipeline Right-of-Way Ground Movement Monitoring from InSAR. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), febrero de 2018. http://dx.doi.org/10.55274/r0011463.

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Longwall mining induces large surface motion that may impact active pipelines. Typical remediation for longwall mining involves shutting down and exposing the pipeline. The use of InSAR has the potential to provide accurate measurements confirming the expected ground movement that will occur with the mining operations. Used correctly, with an appropriate survey design, InSAR can provide extremely high densities of ground movement over time. Exploiting the wide-area capabilities of InSAR could become an important part of integrity management for pipelines where longwall mining is a consideration. InSAR surveys are well suited to the observation of spatially and temporally smooth movements. These movements can be very small (millimetres in months) or larger in areal extent and movement. We have previously shown the ground movement (of 9.8 ft in 12 years) along a pipeline associated with an enhance oil recovery operation. This work examines some of the design considerations necessary to observe fast, large scale deformation with InSAR. This is accomplished through modelling and through the examination of data captured over a pipeline/longwall mine in Pennsylvania. The qualitative description of the passage of the miner is very good. The local ground conditions in Pennsylvania make a more thorough examination of the ground movement available from SAR less accurate than it would be in regions better suited to InSAR measurements (for instance Wyoming).

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Gordon, Matthew V. y Kurt G. Lunsford. The Effects of the Federal Reserve Chair’s Testimony on Interest Rates and Stock Prices. Federal Reserve Bank of Cleveland, noviembre de 2023. http://dx.doi.org/10.26509/frbc-wp-202326.

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We study how congressional testimony about monetary policy by the Chair of the Board of Governors of the Federal Reserve System affects interest rates and stock prices. First, we study testimony associated with the Federal Reserve’s Monetary Policy Reports (MPRs) to Congress. Testimony for a particular MPR is usually given on two days, one day for each chamber of Congress. We separately study the first day and second day of MPR testimony. We also study testimonies not associated with MPRs but that are still related to monetary policy. We find that first-day MPR testimonies cause the largest movements in interest rates and generate negative co-movement between interest rates and stock prices. Testimonies not associated with MPRs have similar but weaker effects. Second-day MPR testimonies cause the smallest movements in interest rates and generate no co-movement between interest rates and stock prices.

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Ben Eisenkop, Ben Eisenkop. What are the patterns and effects of American crow movements? Experiment, enero de 2014. http://dx.doi.org/10.18258/1850.

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Metson, Genevieve, Karin Tonderski y Elizabeth Carlsson. Flowing through urban agriculture: Art-science explorations of nutrient movement through Linköping's gardens. Linköping University Electronic Press, febrero de 2024. http://dx.doi.org/10.3384/report-200801.

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This document accompanies an art & science collaborative exhibit exploring how urban agriculture can contribute to sustainable resource flows to support food production, recreation, and water quality.

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Musall, Simon, Matthew T. Kaufman, Ashley L. Juavinett, Steven Gluf y Anne K. Churchland. Single-trial neural dynamics are dominated by richly varied movements: dataset. Cold Spring Harbor Laboratory, octubre de 2019. http://dx.doi.org/10.14224/1.38599.

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Randell. L51857 Evaluation of Digital Image Acquisition and Processing Technologies for Ground Movement Monitoring. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), enero de 2008. http://dx.doi.org/10.55274/r0011244.

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Ground movement may occur due to landslides, seismic activity, adjacent earth works, thaw settlement of permafrost, frost heave, or a variety of other causes. When soil moves relative to a pipeline, loads are imposed on the pipeline that will tend to stress it. Portions of the pipeline are anchored or loaded by the moving soil mass, while adjacent portions are anchored in the intact soil and tend to restrain the pipeline. These soil movements and restraints set up stresses within the pipeline that, depending upon the magnitude of the stresses and the nature of the pipeline, may cause damage or failure of the line. The objectives of this project were to evaluate and, where appropriate, enhance the ability of satellite-based interferometric synthetic aperture radar (InSAR) and airborne laser range-finding to delineate and monitor slope movements along pipeline right-of-ways. Particular emphasis was placed on operational issues, and especially the problems associated with applying these technologies in areas where natural vegetation precludes a straightforward analysis.

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