Thematische Bibliographien / Art exhibition

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Auswahl der wissenschaftlichen Literatur zum Thema „Art exhibition“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Januar 2023

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Zeitschriftenartikel zum Thema "Art exhibition"

Maistrovskaya, Mariya T. „EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"“. RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, Nr. 2 (2020): 138–50. http://dx.doi.org/10.28995/2073-6401-2020-2-138-150.

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The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

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Readshaw, Grahame. „Art Exhibition“. Medical Journal of Australia 158, Nr. 5 (März 1993): 364. http://dx.doi.org/10.5694/j.1326-5377.1993.tb121824.x.

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Veerapen, Nadarajen. „Art exhibition“. ACM SIGEVOlution 10, Nr. 4 (05.06.2018): 6–7. http://dx.doi.org/10.1145/3231555.3231557.

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JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D und PROFESSOR EDEM ETIM PETERS. „VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA“. International Journal of Applied Science and Research 05, Nr. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.

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This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been redefined by the concept of virtual exhibition. The relevance of exhibition to artists and the significance to the public is deeply discussed with the aim of positioning visual art exhibition in its rightful place as a catalyst for social change. This assertion could be seen in the significant effort of Kenneth C. Murray as a pioneer curator and organizer of visual art exhibition in Nigeria. Murray was a British Art Teacher in Nigeria who was instrumental to the establishment of Oron Museum in Akwa Ibom State, Nigeria, and he recognized Oron Carvings since 1938 and collected them for permanent art exhibition in the Oron Museum. The above therefore formed the conceptual framework of this paper. The opinions, positions and oppositions of other authorities in this matter are considered as they form the indices for postulating the idea of art exhibition as catalyst for social unification. However, the paper concludes that for the visual art exhibition to function as a catalyst for social unification, the elements of unity and integration must be factors the exhibitions composed of, for it to engender the expression of such feelings of social togetherness.

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Işıtman, Ödül. „Exhibiting Art: The Case of ODTÜSanat“. Global Journal of Arts Education 6, Nr. 1 (30.05.2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.

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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space

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Khiatthong, Thongchue, Chakrit Ketruangroch und Samutcha Apisitsuksonti. „DIGITAL EXHIBITION DESIGN OF THONBURI ART“. Journal of Southwest Jiaotong University 56, Nr. 6 (24.12.2021): 588–98. http://dx.doi.org/10.35741/issn.0258-2724.56.6.51.

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This research article presented the digital exhibition design of Thonburi Art. This research is to: 1) learn knowledge of art and design ideas in the digital exhibition of Thonburi Art; 2) study the design model for the digital exhibition of Thonburi Art; 3) study the satisfaction of visitors. Activities on the website of exhibitions, participants, workshops about the content and quality of the exhibition design. However, this research method uses qualitative and quantitative analysis principles. The results showed that the provider for many exhibitions, the average age of 63 years, 37% of the contributors are in the Y model, so they are satisfied with the high digital exhibition. The satisfaction of the digital exhibition of Thonburi's art (development) by the workshop participants in many ways is also high. Although many factors are at a higher level, this may be because the assessment is performed by experts and related parties that may know and understand the details and research methods. However, the satisfaction survey of Thonburi's digital exhibition, both models and development, information providers is of the high level of satisfaction and information providers from various groups. This may be derived from the components of the same model as the group. Both of the two have the Y models as the main population.

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Widjono, Rani Aryani, und Shania Geraldine. „Modifikasi Interaksi Fisik dalam Pameran Virtual“. Idealogy Journal 7, Nr. 2 (01.09.2022): 59–67. http://dx.doi.org/10.24191/idealogy.v7i2.341.

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The shift from physical media to digital media has become increasingly unavoidable since the Covid-19 pandemic began in early 2020. However, with or without this pandemic, changes in this medium are unavoidable. Virtual art exhibitions are starting to be commonly applied on various occasions for the sake of the sustainability of the art ecosystem in Indonesia. The existence of virtual exhibitions is not to replace conventional exhibitions but as an alternative approach that can be taken by art activists. Anxiety about virtual exhibitions is due to the limitations of virtual exhibitions in creating emotional connections with the various parties involved. Based on this, this study will discuss the efforts to implement gamification design that replicates the physical interactions that commonly occur in an exhibition. The purpose of implementing gamification design is to maximize user experience (UX) when visiting exhibitions virtually so that the experience value of virtual exhibitons can increase. The output of this research is the concept of gamification in a virtual exhibition.

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Ciric, Biljana. „Building archives through curatorial practice“. Art Libraries Journal 39, Nr. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.

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An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.

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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho und Chan Hee Lee. „Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror“. Journal of Conservation Science 37, Nr. 4 (31.08.2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.

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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.

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Critical Resistance, Oakland. „Prisoners' Art Exhibition“. Journal of Prisoners on Prisons 16, Nr. 2 (01.12.2007): 140–41. http://dx.doi.org/10.18192/jpp.v16i2.5414.

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Dissertationen zum Thema "Art exhibition"

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

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

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

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

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

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

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

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

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

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Page, Patrick J. „Submission to shelter“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137666.

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The goal of this project was to create a mobile structure in which a suite of paintings could be transported and viewed. When the structure and paintings are arranged as an "installation," they will create a more active role for a "viewer" who could then be defined as a "participant." The participant would be involved in the assembly of the environment and would find more opportunities for interaction in the assembled environment than he or she would in a traditional gallery or museum setting. A description and explanation of the processes involved in the creation of this project is preceded by a discussion of different historical, cultural, and methodological ways by which artwork is or has been presented. Also referenced are different artists and philosophies that informed this project.
Department of Art

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

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Caldwell, Andrew E. „Daylighting and exhibition at the High Museum of Art“. Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23971.

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이윤영 und Yoon Yung Lee. „The Joseon Fine Art Exhibition under Japanese colonial rule“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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Kim, Yong-Seung. „An approach to evaluating exhibition spaces in art galleries“. Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303059.

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Bücher zum Thema "Art exhibition"

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

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

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

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

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

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

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(Burma), National League for Democracy. July images art exhibition. Yangon: National League for Democracy, Education Network "A Mayt Eain" Gratis Education, 2012.

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ʻAtiphibūnsin, Kamsak. Dazzling color: Art exhibition. [Bangkok]: Viengtavern Gallery, 2001.

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

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

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Buchteile zum Thema "Art exhibition"

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

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Werner, Thomas. „The Exhibition“. In The Business of Fine Art Photography, 105–29. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003086925-4.

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Mojadidi, Amanullah. „The Exhibition“. In The Routledge Handbook of Contemporary Art in Global Asia, 237–46. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-24.

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Baers, Michael. „No good time for an exhibition“. In Curating Art, 213–27. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-32.

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

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

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

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

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

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Gardner, Anthony. „Exhibition-Making as Horizontal Art History?“ In Horizontal Art History and Beyond, 86–98. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003186519-10.

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Konferenzberichte zum Thema "Art exhibition"

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

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

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

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Goodman, Elizabeth, und Younghui Kim. „Session details: Art Exhibition“. In TEI '15: Ninth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/3246889.

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Cosgrove, Paul, und Sue Gollifer. „Session details: Art Exhibition“. In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/3247475.

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„Art-In-Science Exhibition“. In 2019 18th IEEE Intersociety Conference on Thermal and Thermomechanical Phenomena in Electronic Systems (ITherm). IEEE, 2019. http://dx.doi.org/10.1109/itherm.2019.8757394.

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Aydoğan, Derya. „Art Exhibitions During the Pandemic“. In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual reality exhibitions became a notable alternative to online exhibitions in a lot of respects such as allowing typical curatorial arrangements as well as adding digital methods, and making the audience feel like they are actually visiting an exhibition. However, it obviously causes overcrowding and loss of aura as a result of a phenomenon based on excessive display in structures open to the participation of everyone. In order to preserve the aura of art and exhibition and to maintain its compatibility with new technologies, it’s necessary to introduce new curatorial understandings, new aesthetic perceptions, and new quality elements. In this study, the existence of art exhibitions in online environments, especially during the pandemic, will be evaluated within the context of qualitative descriptive analysis.

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Dolinsky, Margaret, Josephine Anstey, Dave E. Pape, Julieta C. Aguilera, Helen-Nicole Kostis und Daria Tsoupikova. „Collaborative virtual environments art exhibition“. In Electronic Imaging 2005, herausgegeben von Andrew J. Woods, Mark T. Bolas, John O. Merritt und Ian E. McDowall. SPIE, 2005. http://dx.doi.org/10.1117/12.589457.

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Moriyama, Tomoe, und Hideyuki Ando. „Session details: Multimedia art exhibition“. In MM '12: ACM Multimedia Conference. New York, NY, USA: ACM, 2012. http://dx.doi.org/10.1145/3246423.

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Cavazza, Marc, und Antonio Camurri. „The ACM multimedia 2013 art exhibition“. In the 21st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2502081.2508459.

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Berichte der Organisationen zum Thema "Art exhibition"

Удріс, Ірина Миколаївна, und Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.

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Bergkessel, Megan, Amy Cameron, Sarah Coulthurst, Manu De Rycker, Helge Dorfmueller, Erin Hardee, Lewis Houghton et al. Images of Microbiology. University of Dundee, Mai 2021. http://dx.doi.org/10.20933/100001214.

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Here you will find a series of images taken by scientists based at the University of Dundee that highlight the microbes they work with. The images in the collection are part of a physical exhibition located at the Dundee Science Centre.

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Butyrina, Maria, und Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.

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Robertson-Albertyn, Senga, und Nicola Stanley-Wall. Images of Microbiology Activity Book. University of Dundee, Mai 2021. http://dx.doi.org/10.20933/100001215.

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Here you will find a series of activities based around images taken by scientists based at the University of Dundee that highlight the microbes they work with. The images in the collection are part of a physical exhibition located at the Dundee Science Centre.

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Bracewell, Jeff. Shoreline change at Gulf Islands National Seashore, Florida and Mississippi: 2018–2021 data summary. National Park Service, März 2022. http://dx.doi.org/10.36967/nrr-2293103.

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In May and June 2018, and April 2021, the Gulf Coast Network (GULN) surveyed shoreline position at Gulf Islands National Seashore (GUIS) as a part of the NPS Vital Signs Monitoring Program. Monitoring was conducted following methods detailed in Monitoring Shoreline Position at Gulf Coast Network Parks: Protocol Implementation Plan (PIP; Bracewell 2017). Shoreline change was calculated using the Digital Shoreline Analysis System developed by USGS (Theiler et al. 2008). Key findings from this effort are as follows: In Florida, the mean shoreline change rate from 2018 to 2021 was -7.10 meters/year (-23.3 feet[ft]/year) with a standard deviation of 5.01 meters (16.4 ft) with approximately 95% of transects exhibiting landward retreat. In Mississippi, the mean change in island width from 2018 to 2021 was -7.46 meters/year (-24.5 ft/year) with a standard deviation of 12.49 meters (41.0 ft) with approximately 73% of transects exhibiting a loss in width. This project is in the early phases of implementation and will benefit from future surveys to better understand the influence of slight changes in survey timing and other environmental variations.

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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn und Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Morais, Carla, António Coelho, Alexandre Jacinto und Marta Varzim, Hrsg. The I SEA Project: Digital Publications. Faculdade de Ciências da Universidade do Porto, Oktober 2020. http://dx.doi.org/10.24840/2020/978-989-746-279-5.

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The I SEA project aimed at the development of a non-obtrusive, valid and replicable method to evaluate audience attitudes about science communication projects through an immersive virtual reality environment that can improve exhibitions while educating and empowering citizens. To achieve the objectives of this highly complex, highly interdisciplinary, and innovative project, a permanent articulation of the scientific approach with the technical and design development took place, aiming the construction of the non- invasive evaluation method. Because it is an intricate project, it required constant iterations and interactions among the team members. So, we’ve learned somehow to consider limitations as engines for developing the project, instead of seeing them as obstacles.

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