Bibliografías temáticas / Pop Arts / Pop Culture

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Literatura académica sobre el tema "Pop Arts / Pop Culture"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Pop Arts / Pop Culture"

Dye, Wanda. "Pop Regionalism". Architectural Research Quarterly 13, n.º 2 (junio de 2009): 112–26. http://dx.doi.org/10.1017/s1359135509990200.

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‘As it stands, the concept of popular culture is virtually useless, a melting pot of confused and contradictory meanings capable of misdirecting inquiry up any number of theoretical blind alleys’ […] popular culture is in effect an empty conceptual category, one which can be filled in a wide variety of often conflicting ways, depending on the context of use.Tony Bennett [quoted] and John Storey in Cultural Theory and Popular Culture

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Whitney, Elizabeth y With poetry by Jamie Sorenson. "Pop Culture Princess". Text and Performance Quarterly 26, n.º 2 (abril de 2006): 199–207. http://dx.doi.org/10.1080/10462930500517873.

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Markowitz, Sally y Cecile Whiting. "A Taste for Pop: Pop Art, Gender, and Consumer Culture". Journal of Aesthetics and Art Criticism 57, n.º 1 (1999): 73. http://dx.doi.org/10.2307/432066.

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DEMIDOVA, OLGA y VLADISLAV REZEN’KOV. "CONTEMPORARY POP CULTURE: PHENOMENOLOGY, AXIOLOGY, AESTHETICS". Studia Humanitatis 12, n.º 1 (junio de 2019): 24–29. http://dx.doi.org/10.15393/j12.art.2019.3363.

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The article discusses pop culture as a modern phenomenon, the authors analyz-ing the notion of pop culture, its connection with «the mass», the axiological sys-tem of the young technological age generation as well as with the technical pro-gress as the basis of the epoch under discussion. Besides, comparing mass culture works (artefacts) with and juxtaposing them to those of classical culture, the au-thors explore pop culture structure and its connection with mass production conditioning the consumer society standards. Among of the foci of attention are the role of cinema in the formation, development, and functioning of pop culture and cinema product as its apex. One of the problems under consideration is that of pop culture as the sphere of different cultures interrelationships causing the least number of conflicts and thus acting as an instrument of the (seeming) cul-tural convergence of the peoples.

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Foray, Caroline Keisha. "Afrofuturisme et féminisme : culture pop, culture de résistance". Revue Possibles 47, n.º 2 (1 de diciembre de 2023): 17–24. http://dx.doi.org/10.62212/revuepossibles.v47i2.726.

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Cet article explore la futurité noire à travers l’Afrofuturisme. En contestant le droit futur d’exister et les conditions d’existence pour les communautés noires, l’article propose des réflexions sur le pouvoir de l’imagination et de la résistance par les arts. Ancré dans les théories critiques et féministes noires, l’article aborde la subversion, la réappropriation et la resignification à travers l’œuvre de Janelle Monáe.

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Khalaf, Rami. "Pop Culture Arab World!: Media, Arts, and Lifestyle". Journal of Popular Culture 39, n.º 2 (abril de 2006): 330–31. http://dx.doi.org/10.1111/j.1540-5931.2006.00243.x.

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Kurmanbayeva, Zarina y Zulfiya Kasimova. "FEATURES OF INTERMEDIALITY IN THE PREPARATION OF A POP ARTIST". Central Asian Journal of Art Studies 8, n.º 4 (5 de enero de 2024): 209–20. http://dx.doi.org/10.47940/cajas.v8i4.757.

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Abstract. The article examines the main functions of intermediality in the preparation of a pop performer in the context of modern trends in the development of popular music in Kazakhstan. The concept of “intermediality” in popular culture, which correlates with the synthesis of arts, is analyzed in terms of its use in Soviet, Russian and Western European science. Through comparative research, the differences in this concept in different national cultures are revealed. The intermedial approach, which is directly related to the issue of improving the process of training pop vocalists in higher educational institutions of culture and art and is relevant in connection with the requirements of the era of cultural globalization, is presented as an important part in the formation of educational programs in pop art. Thus, in order to prepare a pop performer who is competitive in the context of global processes of pop culture development, it is necessary to include disciplines related to plastic arts as an integral part of the educational program, and acting skills must be associated with the development of the student’s emotionality. Because a modern pop performer, with the help of vocals and choreography, must demonstrate the mastery of artistry - perform (vocally, choreographically, acting) a role. At the same time, the importance of vocal presentation of the material cannot be excluded, but only needs to be enriched and deepened with the help of other types of performing arts, as well as technical visual elements and electronic musical technologies. Since the term in question is not yet used in Kazakhstan, especially in the aspect of popular music, the scientific development of the problems of finding new forms of training pop stage artists in accordance with global demands also becomes significant and needs in-depth study. For this purpose, both art historical and pedagogical research methods are involved, that is, musical theoretical and performance analysis, as well as pedagogical experiment, which is important for establishing the idea of the need to create an innovative approach to training popular musicians.

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Stoitchkova, Tatiana. "Similar Links Between Advertising, Pop, and the Arts". Postmodernism Problems 10, n.º 2 (28 de agosto de 2020): 165–76. http://dx.doi.org/10.46324/pmp2002165.

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This paper explores the views of different ideas regarding popular culture and uses them as a framework to compare other ideas regarding images, messages, and emotional approaches in advertising. In addition to identifying areas of interactions between popular culture, advertising, and pop arts, the research exposes some observations in advertising professionals' working theories. We also argue that dialogue among different fields and practitioners provides an opportunity to enhance advertising theory and practice in postmodern culture. To analyze the functioning of advertising in today’s postmodern conditions as part of the process of social and aesthetic transformations in society, with an emphasis on the links among/between popular culture, arts, and advertising.

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Attfield, Nicholas. "From punk into pop (via hardcore): Re-reading the Sub Pop manifesto". Punk & Post-Punk 00, n.º 00 (19 de febrero de 2021): 1–17. http://dx.doi.org/10.1386/punk_00086_1.

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Bruce Pavitt’s music fanzine Sub Pop, the first issue of which appeared in 1980, is often presented as a simple case of independent culture versus the reviled mainstream, with little reference to the actual written and graphic content of its pages. This article challenges and complicates that view with an account of Pavitt’s usage of language and specific genre terms – in particular, his tendency to rebrand punk as (indie) ‘pop’. This he reinforces with all manner of written and visual references to 1950s pre-corporate means of production and consumption. In so doing, I argue, he projects what numerous theorists have defined as a ‘genre culture’ based around pop. Pavitt also tries, however, to absorb the immediate indie legacy of hardcore within his genre culture. As the second part of the article demonstrates, this generates stark tensions within his fanzine reviews and other copy – not least when his opening Sub Pop manifesto rejects the toxic masculinity of corporate rock but simultaneously celebrates hardcore’s own carefully policed American, anti-British, anti-theatrical masculinity. Such tensions, I suggest in closing, found their way into Pavitt’s most famous creation, where they were partly, if still messily, resolved: this was the Seattle indie record label, also called Sub Pop, and its signal genre of grunge.

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Nandakumar, Aparna. "K-pop fandom as ‘sub-visible culture’: Digital work and enjoyment in the precarious present". Studies in South Asian Film & Media 15, n.º 1 (1 de junio de 2023): 27–42. http://dx.doi.org/10.1386/safm_00068_1.

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In this article, I attempt to understand the global K-pop fandom among young women, from the perspective of non-metropolitan locations like the state of Kerala in southern India. I examine the ‘sub-visible’ nature of K-pop fandom and situate it in relation to existing discourses surrounding visibility in youth subcultures and fan cultures, both in India and the West. I argue that the key to understanding this fandom is in the cultural process of feminization that it produces – a feminization of male K-pop idols through the ‘free labour’ (to use a concept by Tiziana Terranova) that K-pop fans engage in on digital spaces – labour that has the structure of work and the function of enjoyment and enthusiasm. Drawing on existing discourses on the ‘feminine’, I analyse the peculiar mode of feminization in K-pop fandom as a response to the precarity and vulnerability experienced by young people in the contemporary world.

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Tesis sobre el tema "Pop Arts / Pop Culture"

McRae, Madalyn Dawn. "Pop Creatures". BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8752.

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This thesis is a short story collection revolving around the central theme of pop culture. The first story, "After the Win," follows the character Cecil, whose wife Rhonda has recently won The Great British Bake Off. Trouble ensues in Cecil and Rhonda's family as Rhonda starts to focus on her post-Bake Off fame instead of her relationships with her husband and daughter. "Making Friends with a Monster" is about Rick, a half-human, half-lake monster living on the shores of Bear Lake. Because of his existence in an in-between place between man and monster, Rick struggles to find companionship in life. That is, until Anna (AKA the Loch Ness Monster) arrives in his lake and presents him with an enticing offer: to return with her to Loch Ness. The story culminates in Rick's decision. The next story, "The Fourth Wall," is the story of Max and Abby, who are close to getting engaged. Max confronts Abby about her family, who she has never told him much about. Finally, she agrees to take him for a visit to meet her parents. As soon as Max arrives, it becomes apparent that Abby's parents believe they are Ricky and Lucy from the beloved sitcom I Love Lucy, and Max is soon sucked in to the illusion. The last story in the collection is "Feelin' Groovy in Point Pleasant, West Virginia,"which is the tale of a Simon and Garfunkel tribute band that encounters the legendary Mothman monster in Point Pleasant, West Virginia, who happens to be an avid Simon and Garfunkel fan.

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Joseph, Darel. "The Adversity Pop Culture Has Posed". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1877.

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I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole.

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Oliveira, Silvia de Cassia Rodrigues Damacena de. "A Literatura pop de Roberto Drummond : arte pop, referencialidade e ficção /". São José do Rio Preto : [s.n.], 2008. http://hdl.handle.net/11449/106340.

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Orientador: Arnaldo Franco Júnior
Banca: Maria Lúcia Outeiro Fernandes
Banca: Luciene Azevedo
Banca: Sérgio Vicente Motta
Banca: Álvaro Luiz Hattnher
Resumo: Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro "jogo-de-armar" novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Abstract: Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works' composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn't limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.
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Oliveira, Silvia de Cassia Rodrigues Damacena de [UNESP]. "A Literatura pop de Roberto Drummond: arte pop, referencialidade e ficção". Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/106340.

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Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-07-04Bitstream added on 2014-06-13T20:46:38Z : No. of bitstreams: 1 oliveira_scrd_dr_sjrp.pdf: 2615783 bytes, checksum: 8046c7f4f86da950ffe53d7b0b6836d6 (MD5)
Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro “jogo-de-armar” novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works’ composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn’t limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.

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Georgelas, Althea. "Media to Medium: Representations of Violence, War & Women in Pop Culture". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1822.

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My work is inspired by the mass Media and how it affects the world around me. I am interested in how violence, war and women are represented in popular culture and how this has trickled down into social behavior. I also wonder how much entertainment media reflects deep social ideals. I define mass media as the viral proliferation of ideas using television, cinema, video gaming and the Internet. I am concerned about the social and psychological affects of violent media and how it impacts the lives of women and girls. This is of particular interest to me because I am a woman who has grown up in a media-saturated culture. Many aspects of my life and my identity have been shaped through media influence. I frequently use source material collected from the Internet. My method is to choose a specific word or phrase, and then use search engines to retrieve the associated media. By doing this I am assured that, on any given day, the images and videos returned to me are those most disseminated in mass media for that particular subject. Once I have collected this media I regularly use it to create digital collages, multi channel sound compositions and animated video. There are two threads within this process that intersect as I am working through an idea. At times I manipulate media and synthesize new material to represent my own personal vantage point. This allows me to directly comment on popular media and how it affects my life. The other thread in my practice is the subversion of media to challenge its meaning. These two approaches enable me to comment on media using a format of art-making that is similar to mass media itself. By using appropriated images and sound from popular media I am adopting a language that is understood by media makers and consumers alike. Working in this vein allows me to insert my own voice into the ongoing media-driven dialogue and thus help shape its collective consciousness. At the root of this exploration is a deeply unsettling concern for how mass media shapes social behavior in a way that reduces the individual voice and strips its power to resist. Mass media influences culture but it can also represent collective thought and action. There is a relationship that exists between media and how people act in the real world. Media and consumer are caught in a kind of feedback loop and I question how the individual identity fares. How do women survive in a culture where the blending of entertainment and violence so often targets makes them a target? How has violent popular media affected my life and those around me? How can people secure a truly representative voice against the media that oppresses them? I want my art to push these boundaries so that marginalized voices can be heard.

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Urniežiūtė, Reda. "„POP“ vartotojiška kultūra ir žmogaus kūno interpretacijos". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_105407-23798.

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Vartotojiškoji kultūra per įvairias medijas: TV ir reklamą dažniausiai tiesmukai interpretuoja žmogaus kūną. Grafikos darbų kolekcija „Pop“ interpretuoju šį procesą. Ji pagrįsta koliažo technikos principais ir komponavimu. Šio baigiamojo darbo objektas yra vartotojiška kultūra ir žmogaus kūno interpretacijos. Darbai spausti 2014m. Šiaulių universiteto grafikos centre. Tai septynių darbų ciklas 57,5x44,5cm formatu. Atspaustų spalvotų fonų grafikos darbų kolekcija atlikta tradicine sausos adatos technika. Visa kolekcija sukurta mišrios technikos būdu.
Consumer culture usually forthright interprets the human body through a variety of media: TV and advertisement. I interpreted this process with graphic works collection "Pop". It is based on the principles of collage techniques and composition. The theme of this final work is "Consumer culture and interpretations of the human body." The works are pressed in the graphics centre of Siauliai University in 2014. This is a cycle of seven works in format 57.5 x44, 5 cm. The collection of the graphic works is made up in the traditional dry needle technique. The colour backgrounds are printed. The entire collection corresponds to the "mixed technique" description.

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Wentz, Kaitlyn. "Arts and Culture Influencers: Two Philanthropists' Impact on the Northeast Ohio Region". University of Akron / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=akron1588767185875188.

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Amy, Worrall. "Not a Girl, Not yet a Woman. : How do I look at Girls?" Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6336.

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I’m not a girl, not yet a woman, but I do have popular sensibilities. Pop music plucks ideas and symbols from where ever it pleases to create a new narrative. So do I. Reflecting on how I see women and how the gaze of others affects this. By mapping my magpie like collection of images, songs, paintings and films I tell the story of my girl gang. My ceramic sculptures are a physical manifestation of my research into different ways of looking at girls.

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Hall, Timothy W. "Surface, substance and the status quo pop cultural influences on architectural design /". Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085069145.

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Brunious, Wendell J. "Maturation of Practices". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1855.

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The disparate concepts of Pop Art and abstract painting heavily influence the scope of my work. Finding a link between these two concepts has been the focal point of my studio practices. The apex of my process is the focus on commercial imagery as abstract form. The merging of these two concepts presents a complex composition of balance, color and information. This thesis explores the various concepts as well as influences that have propelled the evolution of my work. It chronicles the steps I have taken in my quest to articulate my conceptual ideas. By describing the works and defining their characteristics, this analysis gives further insight to my perception as well as process.

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Más fuentes

Libros sobre el tema "Pop Arts / Pop Culture"

1960-, Mercer Kobena, ed. Pop art and vernacular cultures. Cambridge, Mass: MIT Press, 2007.

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Pevere, Geoff. Mondo Canuck: A Canadian pop culture odyssey. Scarborough, Ont: Prentice Hall Canada, 1996.

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1953-, Collins Jim, ed. High-pop: Making culture into popular entertainment. Malden, Mass: Blackwell Publishers, 2002.

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Giannino, Malossi y Casciani Stefano 1955-, eds. This was tomorrow: Pop, da stile a revival. Milano: Electa, 1990.

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Gerber, Tobias Petrus y Katharina Hausladen. Compared to What?: Pop zwischen Normativität und Subversion. Wien: Turia + Kant, 2017.

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1964-, Zavala Juan, Castro-Villacañas Elio 1961-, Martínez Antonio C. 1963- y Lo que yo te diga (Group), eds. El cine. Madrid: Maeva, 2000.

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Shanes, Eric. Pop art tradition: Responding to mass-culture. New York: Parkstone Press Interantional, 2006.

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Mulkay, Michael. Science and the sociology of knowledge. Aldershot: Gregg Revivals, 1993.

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author, Chʻoe Sang-min 1961, ed. Hyŏndae taejung munhwa wa yesul: Modern pop culture and art. Sŏul: Ch'aek Mandŭnŭn Chip, 2016.

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David and Alfred Smart Museum of Art., ed. Post-pop, post-pictures. Chicago, Ill: Smart Museum of Art, University of Chicago, 1997.

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Capítulos de libros sobre el tema "Pop Arts / Pop Culture"

Gilpin, George H. "The City: Pop Art and Brutal Architecture". En The Art of Contemporary English Culture, 94–112. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21746-5_5.

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Weingart, Brigitte. ""Fame Is the Name of the Game": Aneignung und celebrity culture". En Wissen der Künste, 166–86. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457658-014.

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Als öffentliche Kunstfiguren sind Celebrities per se Gegenstand von medialen Aneignungspraktiken, sind diese doch am Berühmtheitsstatus einer Person konstitutiv beteiligt. Auch deshalb gehört Aneignung nicht nur zu den Konzepten, mit denen produktive Rezeptionsweisen von Fans als solche gewürdigt werden (Stichwort prosumer). Die „media texts», aus denen sich Star-Images (Richard Dyer zufolge) zusammensetzen, sind überdies bevorzugte Gegenstände von Pop- und Appropriation Art, wo sich wiederum eigentümliche Beziehungstypen zwischen criticality und Faszination beobachten lassen. Am Beispiel des anonymen Amateurfoto-Projekts Type 42 - Fame Is the Name of the Game widmet sich der Beitrag den (nicht zuletzt technologisch begünstigten) Komplizenschaften von künstlerischen sowie Fan-Praktiken der Appropriation und den fließenden Übergängen von Obsession in Enteignung. Dabei macht in diesem Fall gerade die anonyme Urheberschaft ex negativo darauf aufmerksam, wie sehr die Rezeption von Aneignungspraktiken vom Wissen über Produktionskontexte und nicht zuletzt von der guten alten Frage nach der Autorschaft reguliert wird.

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Battani, Marshall. "Pop culture". En Routledge Handbook of Cultural Sociology, 330–39. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge international handbooks | Earlier edition published as: Handbook of cultural sociology.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267784-36.

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Huddleston, Gabriel y Mark Helmsing. "Pop Culture 2.0". En Handbook of Theory and Research in Cultural Studies and Education, 543–57. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-56988-8_33.

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Huddleston, Gabriel y Mark Helmsing. "Pop Culture 2.0". En Handbook of Theory and Research in Cultural Studies and Education, 1–15. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-01426-1_33-1.

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Thevenin, Benjamin. "Processing Pop Culture". En Making Media Matter, 49–88. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003057925-4.

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Alloway, Lawrence. "“Popular Culture and Pop Art”". En Pop Art, 167–74. University of California Press, 1998. http://dx.doi.org/10.1525/9780520920477-042.

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Kozloff, Max. "“‘Pop’ Culture, Metaphysical Disgust, and the New Vulgarians”". En Pop Art, 29–32. University of California Press, 1998. http://dx.doi.org/10.1525/9780520920477-014.

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Ferreri, Mara. "‘Not a pop-up!’". En The Permanence of Temporary Urbanism. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462984912_ch03.

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In recessional London, the celebration of pop-up art spaces plays an important part in the official narrative of temporary use as countercultural, secretive, transgressive and slightly illicit. This chapter mobilises the standpoint of visual and performative arts practitioners to analyse motivations and constraints in lawful and unlawful negotiations to access vacant spaces and their position within wider geographies of urban change. Through longitudinal case studies, it discusses tensions between community-oriented and career-oriented temporary practices and how these play out in relation to shifting cultural and urban policy. The selfreflexive experiences of practitioners reveal a critique of the ‘pop-up’ logic and the role of entrepreneurial space activators in the cracks of the creative city.

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"1. Shopping for Pop". En "A Taste for Pop: Pop Art, Gender, and Consumer Culture". Yale University Press, 1997. http://dx.doi.org/10.37862/aaeportal.00003.007.

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Actas de conferencias sobre el tema "Pop Arts / Pop Culture"

Guangjie, Zheng, Liu Jiayi y He Meixuan. "Unraveling Young Chinese Addiction With the K-pop Culture: Cultural Identity and Representation". En The Barcelona Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2435-9475.2023.8.

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"Research on the Development Path of Chinese Pop Music Industrialization from the Perspective of Culture". En 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.170.

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Li, Shu. "Analysis on the Blooming of Pop Culture from Chinese Fantasy TV Drama Series "Xiang Mi Chen Chen Jin Ru Shuang"". En Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.155.

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Ostapovych, K. V. "The main trends in the development of Ukrainian song and pop creativity in the context of modern socio-historical changes". En THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-13.

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Blasco, Lorena Ambrósio y Maria Victoria Sánchez Giner. "Memoria e infancia. Estrategias de aprendizaje en la educación primaria a partir de géneros pictóricos actuales como el surrealismo pop y sus derivados". En 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-28.

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Badrajan, Svetlana y Diana Bunea. "Safeguarding and researching the intangible musical heritage in the context of contemporary digital technologies". En Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.02.

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The article deals with a topical problem regarding the safeguarding of the intangible musical heritage. In the context of the contemporary tendencies, international conventions, the UNESCO and Governments’ policy referring to this huge cultural layer, the protection, valorization and study of the heritage become a priority. The contemporary technologies represent an important mechanism that can realize these directives. The Folklore Archive of the Academy of Music, Theatre and Fine Arts from Chisinau, Republic of Moldova contains valuable factual materials referring to the Romanian Folklore and the Folklore of different cohabiting ethnic groups such as Ukrainians, Bulgarians, Gagauz, Gypsies and others. These Folklore audio materials amount to about 16000 expressions and elements recorded on magnetic tape, as a result of field investigations starting with 1964 on the current territory of the Republic of Moldova and in some regions populated by Romanians from Ukraine and Russia. The digitization of these materials offers real solutions for the preservation and further valorization, through editing Folklore collections, scientific research both at national and international level, interpretation and academic composition treatment, jazz, pop-rock, etc.

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Paredes, Pablo, Ran Giald-Bachrach, Mary Czerwinski, Asta Roseway, Kael Rowan y Javier Hernandez. "PopTherapy: Coping with Stress through Pop-Culture". En 8th International Conference on Pervasive Computing Technologies for Healthcare. ICST, 2014. http://dx.doi.org/10.4108/icst.pervasivehealth.2014.255070.

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"Heilongjiang's Pop Music Industry and Economic Development". En 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.163.

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Zeng, Lei y Hong Chen. "A case study of the Shanghai No. 20 tram on cultural bus service design based on the AT-ONE Rule". En 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003817.

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In the new era environment, the metropolitan public transportation system is constantly evolving. The relevant administrative departments in Shanghai have proposed measures to create cultural buses and build characteristic lines in order to promote Shanghai culture and improve bus service. Using the Shanghai NO.20 tram as an example, this paper investigates how to combine Shanghai culture with tram ride service in order to make the NO.20 tram a distinctive route. The study employed participatory observation and the AT-ONE rule to investigate the entire waiting, boarding, and alighting process, as well as to analyze the passenger experience and service flow of the NO.20 tram, in combined with the urban cultural elements of Shanghai. Based on the service design concept, the corresponding design strategies and measures were proposed.Study content. 1.Service design and the AT-ONE rule The goal of service design, which establishes the service from the customer's perspective, is to ensure that the service meets the user's requirements. One of the most common methods in service design research is the AT-ONE rule. It is a method of user-centered design that connects stakeholders through various touch points.2.Analysis of Shanghai culture Shanghai culture is a unique cultural phenomenon based on the traditional culture of Jiangnan (Wu-Yue culture) and the fusion of modern industrial civilization from Europe and the United States, which had a profound impact on Shanghai after the opening of the port. 3.Analysis of No.20 tram and design elements The "Mobile Bus Museum" is the name given to the No. 20 tram, which connects Jing'an Temple Station and Zhaofeng Park Station. Passengers, ride process, primary touch points, and other design components are all examined. This section examines individual passenger characteristics, focusing primarily on the elderly, with less emphasis on the young and middle-aged populations. The ride has three stages: waiting, riding, and getting off. The main points of contact are the armrests, seats, LED screen, and so on. Analyzing numerous design features is an important part of improving passenger riding experience and creating a cultural bus.4. No.20 tram design strategy External design strategy（1）External painting artistry The purpose of exterior painting artistry is to improve the appearance of the vehicle and the passenger riding experience. It primarily mixes Shanghai's history and contemporary style, with a concentration on Art Deco, technology, Pop, and retro styles.（2）Stylized external shape The outside shape is mostly mixed with Shanghai's characteristic architectural style for local enhancement, such as Art Deco style, in order to evoke a nostalgic feeling of Shanghai culture among local passengers and increase the recognition of No. 20 tram. Internal design strategy （1）Scientific interior layout The scientific layout of the car ensures the passengers' ease, comfort, and safety during the voyage. This part is concerned with the scientific design of the interior space in order to fulfill the needs of various passengers and improve their riding experience.（2）Humanized design of interior facilities Humanized design is a growing trend and an unavoidable requirement in modern urban bus design, and humanized interior facilities can improve passenger travel quality. The intelligent facilities (LED screen, intelligent audio, etc.) and infrastructure (seats, handrails, etc.) inside the bus are designed to effectively improve the comfort and fun of passenger travel based on the results of the pre-AT-ONE rule analysis. 5. 20 cultural bus prototype test The styling elements of the No. 20 tram were taken from the old trolleybus, and the side of the body depicts the major changes of Shanghai trams over the past century, presenting an overall retro style. The interior is predominantly blue, echoing the body painting. To meet the travel needs of different passengers, the interior space is divided into love seat area, wheelchair area, and seating area; the interior facilities are also optimized based on the preliminary contact analysis, such as more beautiful and intelligent LED screen style and interactive interface, more comfortable and safe seats and handrails, etc., which not only improve the travel experience of passengers but also promote the spread of Shanghai culture. 6. Summary Creating an image of Shanghai's 'Century Bus' culture and bus service is a major goal proposed by the Shanghai government, with the goal of combining Shanghai culture with buses, improving bus service, and promoting Shanghai's cultural heritage. The AT-ONE rule guides the exploration of cultural bus service design strategies for its five dimensions of service subjects, touchpoints, service supply, user needs, and user experience, with the goal of improving the original bus service model and enhancing user experience.

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Santos, Gabriel-Philip, Brittney Stoneburg, Michelle M. Barboza y Isaac Magallanes. "COSPLAY FOR SCIENCE: CONNECTING PALEONTOLOGY, EDUCATION, AND POP CULTURE". En GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-324738.

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Informes sobre el tema "Pop Arts / Pop Culture"

Kloewer, Stephen. Biological and Pop Culture Relevance of an Intramitochondrial Lifestyle. Ames (Iowa): Iowa State University, enero de 2021. http://dx.doi.org/10.31274/cc-20240624-300.

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Steeves, Brye. Test your knowledge and win a poster! The Lab’s original wartime mission inspired an entire genre of pop culture; get your own Atomic Pop Culture poster. Office of Scientific and Technical Information (OSTI), diciembre de 2021. http://dx.doi.org/10.2172/1834517.

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Ferreira, Fernando y Joel Waldfogel. Pop Internationalism: Has A Half Century of World Music Trade Displaced Local Culture? Cambridge, MA: National Bureau of Economic Research, mayo de 2010. http://dx.doi.org/10.3386/w15964.

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Solis Vega, Pablo, Jorge Carrión Castro, Julieta Maroni, Manuela Reyes Restrepo, Eduardo Saravia, Andrea Villers, Isabel Gil Gómez, Alejandra Luzardo y Trinidad Zaldívar. Música y artes escénicas: tendencias y estrategias digitales: arte, cultura y nuevas tecnologías en América Latina y el Caribe. Banco Interamericano de Desarrollo, junio de 2022. http://dx.doi.org/10.18235/0004316.

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El presente estudio recopila datos cuantitativos y cualitativos sobre los principales efectos de la pandemia por la COVID-19 en la música y las artes escénicas, así como la adopción tecnológica en los sectores, los retos a los cuales se enfrentaron y las innovaciones resultantes. Analiza las tendencias y estrategias para detonar la innovación tecnológica en las industrias escénicas en el contexto actual.

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Ayala-García, Jhorland, Jaime Alfredo Bonet-Morón y María Beatriz García-Dereix. Museo de Arte Moderno de Cartagena (MAMC), una colección con 63 años de historia. Banco de la República, julio de 2023. http://dx.doi.org/10.32468/chee.59.

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Los museos son importantes generadores de cultura que contribuyen a la oferta turística local, lo cual puede tener implicaciones significativas en las economías locales. Estos espacios e instituciones tienen a sufrir problemas financieros en los países en desarrollo debido a la poca importancia que se les asigna desde los sectores público y privado. Se olvidan los beneficios que trae para la economía local y regional la inversión en museos, pues estos pueden atraer nuevas inversiones por parte de quienes buscan lugares con amenidades para sus ejecutivos en un mundo globalizado. También pueden contribuir a crear una oferta turística que atrae viajeros con mayor poder de compra, lo que facilita la preservación en las ciudades con patrimonio cultural. Cartagena no es ajena a esta tendencia de escases de apoyo institucional a los museos y no ha logrado consolidar una oferta cultural sólida, a pesar de contar con un patrimonio histórico y cultural importante. En la ciudad, uno de los museos con mayor tradición es el Museo de Arte Moderno de Cartagena (MAMC), que posee una valiosa colección de arte que podría contribuir a generar esa oferta turística cultural requerida. El presente documento describe la colección actual del MAMC para dar a conocer al público su evolución y la importancia de dichas obras desde un punto de vista cronológico. Se presentan los antecedentes y la evolución de la colección haciendo énfasis en los principales artistas cuyas obras se exhiben en el museo y el contexto cultural cartagenero en las décadas de 1970 y 1980, años en que se consolidó la mayor colección del MAMC

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Pavlyuk, Ihor. MEDIACULTURE AS A NECESSARY FACTOR OF THE CONSERVATION, DEVELOPMENT AND TRANSFORMATION OF ETHNIC AND NATIONAL IDENTITY. Ivan Franko National University of Lviv, febrero de 2021. http://dx.doi.org/10.30970/vjo.2021.49.11071.

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The article deals with the mental-existential relationship between ethnoculture, national identity and media culture as a necessary factor for their preservation, transformation, on the example of national original algorithms, matrix models, taking into account global tendencies and Ukrainian archetypal-specific features in Ukraine. the media actively serve the domestic oligarchs in their information-virtual and real wars among themselves and the same expansive alien humanitarian acts by curtailing ethno-cultural programs-projects on national radio, on television, in the press, or offering the recipient instead of a pop pointer, without even communicating to the audience the information stipulated in the media laws − information support-protection-development of ethno-culture national product in the domestic and foreign/diaspora mass media, the support of ethnoculture by NGOs and the state institutions themselves. In the context of the study of the cultural national socio-humanitarian space, the article diagnoses and predicts the model of creating and preserving in it the dynamic equilibrium of the ethno-cultural space, in which the nation must remember the struggle for access to information and its primary sources both as an individual and the state as a whole, culture the transfer of information, which in the process of globalization is becoming a paramount commodity, an egregore, and in the post-traumatic, interrupted-compensatory cultural-information space close rehabilitation mechanisms for national identity to become a real factor in strengthening the state − and vice versa in the context of adequate laws («Law about press and other mass media», Law «About printed media (press) in Ukraine», Law «About Information», «Law about Languages», etc.) and their actual effect in creating motivational mechanisms for preserving/protecting the Ukrainian language, as one of the main identifiers of national identity, information support for its expansion as labels cultural and geostrategic areas.

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Solis Vega, Pablo, Jorge Carrión Castro, Eliana Prada, Andrea Villers, Isabel Gil Gómez, Alejandra Luzardo y Trinidad Zaldívar. Carnavales y festivales: tendencias y estrategias digitales: arte, cultura y nuevas tecnologías en América Latina y el Caribe. Banco Interamericano de Desarrollo, junio de 2022. http://dx.doi.org/10.18235/0004302.

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El presente estudio identifica las principales transformaciones e innovaciones que se generaron en los carnavales y festivales de América Latina y el Caribe a raíz de la crisis sanitaria por la COVID-19. Hace énfasis en los nuevos modelos de negocio que se presentan en el ámbito digital y propone estrategias para detonar su desarrollo en la virtualidad, incentivar la reactivación económica y el desarrollo sostenible del sector.

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Lossio Chávez, Félix, Jorge Carrión Castro, Eliana Prada, Alejandra Luzardo, Andrea Villers, Isabel Gil Gómez y Trinidad Zaldívar. Turismo y marca país: tendencias y estrategias digitales: arte, cultura y nuevas tecnologías en América Latina y el Caribe. Banco Interamericano de Desarrollo, junio de 2022. http://dx.doi.org/10.18235/0004301.

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El presente documento aborda los retos y posibilidades del vínculo entre turismo y las industrias culturales y creativas en América Latina y el Caribe, analiza su situación en el contexto de la pandemia por la COVID-19 con la finalidad de generar reflexiones para hacer frente al contexto global y crear nuevas líneas de acción que se vinculen con la innovación tecnológica.

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Bilbao, Tatiana, Luis Camnitzer, Cecilia Ciancio, Christopher Cozier, Amanda De la Garza, Gustavo Dudamel, Analía Hanono et al. Cómo sanar un mundo herido: el poder del arte como motor de transformación social en la era pospandémica. Inter-American Development Bank, enero de 2022. http://dx.doi.org/10.18235/0003844.

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Esta publicación reúne ensayos de reconocidos líderes culturales, artistas, economistas, urbanistas, arquitectos y tecnólogos de la región, que abordan temas tales como el rol de las instituciones culturales en reimaginar comunidades; los artistas y su capacidad de reacción en tiempos de crisis; el futuro de nuestras ciudades y sus adelantos tecnológicos ante los avances del trabajo y el aprendizaje remoto, el aislamiento y las nuevas plataformas de comunicación y movilidad. Todos ellos participaron de la cumbre virtual Cómo sanar un mundo herido realizada por el Banco Interamericano de Desarrollo en abril de 2021. Es parte de los esfuerzos realizados por el BID en su compromiso por facilitar vías innovadoras de control y recuperación ante la pandemia del coronavirus. En línea con la Visión 2025, para impulsar la recuperación en América Latina y el Caribe, esta publicación reflexiona sobre cómo el arte y la cultura pueden proporcionar un espacio para sanar, reencontrarse, colaborar y proponer soluciones a los desafíos del desarrollo.

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Martínez-Salanova, Enrique, Carlos Alberto Cardona, Rafael Cano Aguilar y Tatiana Morales Perdomo. Tendencia Editorial UR Número 32 - Especial. Universidad del Rosario, noviembre de 2022. http://dx.doi.org/10.12804/issn.2382-3135_10336.36848_teur.

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Para este año, la Feria Internacional del Libro Guadalajara tiene como invitada a la joven estrella de la industria editorial global, Sharjah. Un centro de conocimiento y publicación internacional que tiene el gran honor de ser la Capital Mundial del Libro 2019-2020 de la Unesco. Por ello, para esta edición especial de nuestro boletín Tendencia Editorial abordamos diferentes aportes de la cultura árabe en el mundo, desde la ciencia, las matemáticas, hasta el arte y la lengua.

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