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Thematische Bibliographien / Art / Zeitschriftenartikel

Zeitschriftenartikel zum Thema „Art“

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Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 5. Oktober 2024

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1

Basnet, Alina, Margaret K. Formica, Poornima Ramadas und Sam Benjamin. „Overall survival outcomes with the use of adjuvant chemotherapy, radiation therapy and hormone therapy in high-risk, very-high-risk and node-positive prostate cancer post radical prostatectomy: A NCDB analysis.“ Journal of Clinical Oncology 37, Nr. 7_suppl (01.03.2019): 118. http://dx.doi.org/10.1200/jco.2019.37.7_suppl.118.

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118 Background: Phase III trials have not consistently demonstrated overall survival (OS) advantage of adjuvant radiation therapy (ART) in prostate cancer (PC) with high risk/very high risk features after radical prostatectomy (RP). Adjuvant hormone therapy (AHT) in PC after RP improved OS in patients with positive lymph nodes (pLNs). We report an observational study on the impact of AHT to ART in NCCN defined high-risk/very high risk (Group 1), and adjuvant chemotherapy (ACT) to AHT in pLNs (group 2) post RP on OS. Methods: We conducted a retrospective study of PC patients (group 1 and group 2) who underwent RP and/or pelvic lymph node dissection. OS was calculated using Kaplan Meier analysis. Group 1 compared ART+AHT vs ART and Group 2 AHT+ ACT vs AHT within 16 weeks of RP. Multivariate analysis was performed with Cox proportional hazard regression model to adjust for different variables. Results: Out of 1,390,357 PC patients reported in NCDB (2004-2015) 182,653 and 11,972 met our inclusion criteria for Group 1 and Group 2 respectively. 3.37% of Group 1 received ART and/or AHT. 19.81% of Group 2 received AHT and/or ACT. Patients who received ART + AHT were more likely to be older, Non-Hispanic white, more likely to have pT4, and have higher prostate specific antigen (PSA) and Gleason scores (GS). Patients who received AHT+ACT were more likely to be younger, with private insurance, and lower Charlson-Deyo Score (CDCC) score. Five and seven year OS with adjusted hazard ratio (aHR) among Group 1 and Group 2 are depicted in table. Conclusions: No statistically significant difference in OS was seen among respective treatment groups. Limitations that exist with this registry based study include lack of randomization, differences in surgical and radiation techniques, duration and choices of ACT and AHT.[Table: see text]

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2

Dankwa-Mullan, Irene, M. Christopher Roebuck, Joseph Tkacz, Oluwadamilola Motunrayo Fayanju, Yi Ren, Gretchen Purcell Jackson und Yull Edwin Arriaga. „Disparities in receipt of and time to adjuvant therapy after lumpectomy.“ Journal of Clinical Oncology 38, Nr. 15_suppl (20.05.2020): 534. http://dx.doi.org/10.1200/jco.2020.38.15_suppl.534.

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534 Background: Adjuvant treatment after breast conserving surgery (BCS) has been shown to improve outcomes, but the degree of uptake varies considerably. We sought to examine factors associated with post-BCS receipt of and time to treatment (TTT) for adjuvant radiation therapy (ART), cytotoxic chemotherapy (ACT) and endocrine therapy (AET) among women with breast cancer. Methods: IBM MarketScan claims data were used to select women diagnosed with non-metastatic invasive breast cancer from 01/01/2012 to 03/31/2018, who received primary BCS without any neoadjuvant therapy, and who had continuous insurance eligibility 60 days post-BCS. Logistic and quantile regressions were used to identify factors associated with receipt of adjuvant therapy (ART, ACT, AET) and median TTT in days for ART (rTTT), ACT (cTTT), and AET (eTTT), respectively, after adjustment for covariates including age, year, region, insurance plan type, comorbidities, and a vector of ZIP3-level measures (e.g., community race/ethnicity-density, education level) from the 2019 Area Health Resource Files. Results: 36,270 patients were identified: 11,996 (33%) received ART only, 4,837 (13%) received ACT only, 3,458 (10 %) received AET only, 5,752 (16%) received both ART and AET, and 9,909 (27%) received no adjuvant therapy within 6 months of BCS. (318) 1% of patients received combinations of either ART, AET or ACT. Relative to having no adjuvant therapy, patients > 80 years were significantly less likely to receive ART only (relative risk ratio [RRR] 0.65), ACT only (RRR 0.05), or combination ART/AET (RRR 0.66) but more likely to receive AET alone (RRR 3.61) (all p < .001). Patients from communities with high proportions of Black (RRR 0.14), Asian (RRR 0.13), or Hispanic (RRR 0.45) residents were significantly less likely to receive combination ART and AET (all p < .001). Having HIV/AIDS (+11 days; p = .01) and residing in highly concentrated Black (+8.5 days; p = .01) and Asian (+12.2 days; p = .04) communities were associated with longer rTTT. Longer cTTT was associated with having comorbidities of cerebrovascular disease (+6.0 days; p < .001), moderate to severe liver disease (+12.3 days; p < .001) and residing in high-density Asian communities (+18.0 days; p < .001). Shorter eTTT (-11.4 days; p = .06) and cTTT (-14.8 days; p < .001) was observed in patients with comorbidities of dementia. Conclusions: Results from this cohort of privately insured patients demonstrate disparities in receipt of post-BCS adjuvant radiation and systemic therapy along multiple demographic dimensions and expose opportunities to promote timely receipt of care.

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Chang, Yongsock. „The Broadening of Art Perspectives in an Art Course of Non-Art Major Students through a Korean Art Teacher’s Asian Art Viewpoint“. Asian Qualitative Inquiry Association 2, Nr. 1 (31.07.2023): 51–68. http://dx.doi.org/10.56428/aqij.2023.2.1.51.

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This research explores how Multicultural and Asian art affects college students in a U.S. university. The students did not major in art, and they chose art as elective subjects. The art course consisted of art theory and practice based on DBAE(Discipline-Based Art Education). In the art class, some non-white students always enrolled in the course. The researcher found that DBAE was satisfactory but sometimes inappropriate because DBAE is rooted in Western high art. The researcher changed the art studio class with a multicultural perspective, especially Asian art because he wanted to introduce a new art style to the class and give them a chance to appreciate non-western art. Qualitative action research and arts-based research methods were used to conduct this project. The result revealed that the students of color showed more confidence and actively participated in the class. The works of students of color were changed and improved. Second, women became more aware of social issues and expressed their feelings and emotions in their works. It seemed that the women students would become social activists and voice their opinions by making their art. Third, some students, especially Hispanic and Asian students showed their identity through their artworks. Forth, some Korean students did not make much progress. By including multicul-tural art in art classes, more students could broaden their perspectives on art and understand diversity through their artworks.

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4

Stanley, Janet L. „AFRICAN ART AND AAT“. Art Documentation: Journal of the Art Libraries Society of North America 4, Nr. 3 (Oktober 1985): 103–5. http://dx.doi.org/10.1086/adx.4.3.27947450.

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5

Buisine, Valérie. „Art roman et art moderne : « affinités sentimentales »“. Anastasis. Research in Medieval Culture and Art 8, Nr. 1 (29.05.2021): 165–94. http://dx.doi.org/10.35218/armca.2021.1.08.

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6

Muraz, Özlem. „BODY AS AN ART OBJECT IN CONTEMPORARY ART“. E-journal of New World Sciences Academy 14, Nr. 2 (29.04.2019): 136–44. http://dx.doi.org/10.12739/nwsa.2019.14.2.d0232.

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7

Wieand, Kenneth, Jeff Donaldson und Socorro Quintero. „Are Real Assets Priced Internationally? Evidence from the Art Market“. Multinational Finance Journal 2, Nr. 3 (01.09.1998): 167–87. http://dx.doi.org/10.17578/2-3-1.

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8

Heyd, Thomas. „UNDERSTANDING PERFORMANCE ART: ART BEYOND ART“. British Journal of Aesthetics 31, Nr. 1 (1991): 68–73. http://dx.doi.org/10.1093/bjaesthetics/31.1.68.

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9

Carrier, David. „New York Art, Pittsburgh Art, Art“. Journal of Aesthetic Education 37, Nr. 3 (2003): 99–104. http://dx.doi.org/10.1353/jae.2003.0020.

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10

Murphy, Gabrielle. „Mad art, Bad art, Sad art?“ Lancet 351, Nr. 9100 (Februar 1998): 455. http://dx.doi.org/10.1016/s0140-6736(98)25006-9.

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11

Grossberg, Stephen. „Bring ART into the ACT“. Behavioral and Brain Sciences 26, Nr. 5 (Oktober 2003): 610–11. http://dx.doi.org/10.1017/s0140525x03290130.

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ACT is compared with a particular type of connectionist model that cannot handle symbols and use nonbiological operations which do not learn in real time. This focus continues an unfortunate trend of straw man debates in cognitive science. Adaptive Resonance Theory, or ART-neural models of cognition can handle both symbols and subsymbolic representations, and meet the Newell criteria at least as well as connectionist models.

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Moravcsik, Julius M. „Art and 'Art'“. Midwest Studies in Philosophy 16 (1991): 302–13. http://dx.doi.org/10.1111/j.1475-4975.1991.tb00245.x.

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13

Yamey, G. „Art: Outsider Art“. BMJ 324, Nr. 7347 (18.05.2002): 1222. http://dx.doi.org/10.1136/bmj.324.7347.1222.

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14

Lopes, D. M. „Art Without 'Art'“. British Journal of Aesthetics 47, Nr. 1 (01.01.2007): 1–15. http://dx.doi.org/10.1093/aesthj/ayl035.

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15

Lapointe, François-Joseph. „Bio Art + Body Art = Inner-Body Art“. International Journal of the Arts in Society: Annual Review 6, Nr. 3 (2011): 1–8. http://dx.doi.org/10.18848/1833-1866/cgp/v06i03/36047.

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16

Brighton, Andrew. „Art: Consensus art: serious art: Greenberg: Wyeth“. Critical Quarterly 42, Nr. 2 (Juli 2000): 132–36. http://dx.doi.org/10.1111/1467-8705.00294.

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17

Greenfield, Gary, und Penousal Machado. „Ant- and Ant-Colony-Inspired ALife Visual Art“. Artificial Life 21, Nr. 3 (August 2015): 293–306. http://dx.doi.org/10.1162/artl_a_00170.

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Ant- and ant-colony-inspired ALife art is characterized by the artistic exploration of the emerging collective behavior of computational agents, developed using ants as a metaphor. We present a chronology that documents the emergence and history of such visual art, contextualize ant- and ant-colony-inspired art within generative art practices, and consider how it relates to other ALife art. We survey many of the algorithms that artists have used in this genre, address some of their aims, and explore the relationships between ant- and ant-colony-inspired art and research on ant and ant colony behavior.

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Antoine, Jean-Philippe. „Art, publics, art public“. Multitudes 4, Nr. 1 (2001): 53. http://dx.doi.org/10.3917/mult.004.0053.

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19

San Choon Kim. „Fine Art? Ugly Art?“ Sogang Journal of Philosophy 37, Nr. ll (Mai 2014): 9–29. http://dx.doi.org/10.17325/sgjp.2014.37..9.

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20

Aboudrar, Bruno-Nassim. „Art contemporain, art Africain ?“ Médium 5, Nr. 4 (2005): 101. http://dx.doi.org/10.3917/mediu.005.0101.

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21

Baumann, Daniel. „Art brut ? Outsider Art ?“ Ligeia N°53-56, Nr. 2 (2004): 57. http://dx.doi.org/10.3917/lige.053.0057.

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22

Invernizzi, Antonio. „Parthian Art – Arsacid Art“. Topoi 17, Nr. 1 (2011): 189–207. http://dx.doi.org/10.3406/topoi.2011.2403.

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23

Kiang, Tanya. „Art Projects: Terminal Art“. Circa, Nr. 68 (1994): 40. http://dx.doi.org/10.2307/25562663.

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24

Blocker, H. Gene. „Is Primitive Art Art?“ Journal of Aesthetic Education 25, Nr. 4 (1991): 87. http://dx.doi.org/10.2307/3332906.

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25

Morais, Inês. „Art and Art-Attempts“. Disputatio 6, Nr. 39 (01.11.2014): 247–50. http://dx.doi.org/10.2478/disp-2014-0016.

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26

Court, Raymond. „Art et non-art“. Archives de Philosophie 65, Nr. 4 (2002): 565. http://dx.doi.org/10.3917/aphi.654.0565.

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27

Wharton, Annabel Jane. „Jewish Art, Jewish art“. IMAGES 1, Nr. 1 (2007): 29–35. http://dx.doi.org/10.1163/187180007782347584.

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AbstractAs the Jews have always produced art, the question arises, why is the notion of a Jewish Art so problematic? No effort is made in this paper to review or summarize the arguments for or against "Jewish Art." Rather, it attempts a modest shift in the terms of the debate. The essay addresses the question by considering the historiography of Jewish art in relation to both the End-of-Art debates and the Holocaust industry.This paper offers a provisional answer to the question: Why has Jewish art never managed to become Jewish Art? The End of Art debate conditions the discussion; the institutions of Jewish art provide its substance.

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Porr, Martin. „Rock art as art“. Time and Mind 12, Nr. 2 (03.04.2019): 153–64. http://dx.doi.org/10.1080/1751696x.2019.1609799.

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29

GOODAY, JOHN. „Art and Art Therapy“. Australian Occupational Therapy Journal 13, Nr. 1 (27.08.2010): 8–12. http://dx.doi.org/10.1111/j.1440-1630.1966.tb00160.x.

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GOODAY, JOHN. „Art and Art Therapy“. Australian Occupational Therapy Journal 13, Nr. 2 (27.08.2010): 9–13. http://dx.doi.org/10.1111/j.1440-1630.1966.tb00169.x.

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31

Price, Sally. „Others art ‐our art“. Third Text 3, Nr. 6 (März 1989): 65–72. http://dx.doi.org/10.1080/09528828908576216.

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32

Fish, Barbara J. „Response Art: The Art of the Art Therapist“. Art Therapy 29, Nr. 3 (September 2012): 138–43. http://dx.doi.org/10.1080/07421656.2012.701594.

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33

DAUER, FRANCIS. „ART AND ART CRITICISM: A DEFINITION OF ART“. Metaphilosophy 21, Nr. 1-2 (Januar 1990): 111–32. http://dx.doi.org/10.1111/j.1467-9973.1990.tb00835.x.

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34

Okore, Nnenna. „The Bioplastic Art and Fiber Art: Eco-art“. Ecozon@: European Journal of Literature, Culture and Environment 14, Nr. 2 (29.10.2023): 217–19. http://dx.doi.org/10.37536/ecozona.2023.14.2.5256.

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35

Y., Aria. „"Ant Communities" Art by Aria Y.“ Questions: Philosophy for Young People 23 (2023): 24. http://dx.doi.org/10.5840/questions20232316.

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36

Dosmann, Michael S., und Kyle Port. „The Art and Act of Acquisition“. Arnoldia 73, Nr. 4 (2016): 2–17. http://dx.doi.org/10.5962/p.251228.

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37

Portes, Edileila Maria Leite. „Art, Indigenous art, Borum / Krenak art: the intertwined paths to understanding the art“. ARS (São Paulo) 13, Nr. 25 (14.06.2015): 89. http://dx.doi.org/10.11606/issn.2178-0447.ars.2015.105525.

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Objetivando compreender e interpretar os desenhos da etnia Borum Krenak2,<br />o presente artigo propõe uma discussão acerca dos conceitos dados à arte<br />orientados pela hegemonia dos códigos culturais europeus e norte-americanos brancos e das próprias mutações pelos quais estes conceitos têm passado desde a Idade Moderna. Para tanto, trago para análise, os desenhos borum colhidos por meio de uma caminhada etnográfica pelo território3 Krenak, no Vale do Rio Doce, Minas Gerais, aliado a uma reflexão teórica calcada na linha epistemológica baseada na teoria compreensiva de Weber (1864–1920) e na antropologia interpretativa de Geertz4.

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Wu, Colleen Suching. „Thomas Bernhard's Art of Critiquing Art in OLD MASTERS: Can Art Question Art?“ Explicator 75, Nr. 1 (02.01.2017): 10–12. http://dx.doi.org/10.1080/00144940.2016.1273182.

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39

Botirova, Khilola Tursunbaevna. „Performance And Art“. American Journal of Social Science and Education Innovations 03, Nr. 05 (31.05.2021): 465–74. http://dx.doi.org/10.37547/tajssei/volume03issue05-83.

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This article provides detailed information about the performing arts, including scientific and theoretical information about the commonality of performance and art. The scholars’ scientific approaches to music are described in detail.

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John, Patricia A. St. „Art Education, Therapeutic Art, and Art Therapy: Some Relationships“. Art Education 39, Nr. 1 (Januar 1986): 14. http://dx.doi.org/10.2307/3192934.

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41

Giles, G. J. „Art and Religion, Art and Science, Art and Production“. British Journal of Aesthetics 42, Nr. 1 (01.01.2002): 99–101. http://dx.doi.org/10.1093/bjaesthetics/42.1.99.

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42

WESSELING, HENK. „Primitive art, early art or no art at all?“ European Review 15, Nr. 03 (26.06.2007): 271. http://dx.doi.org/10.1017/s1062798707000294.

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43

Wang, Shuyu. „Crypto Art: NFT Art Trading and the Art Market“. Asian Journal of Social Science Studies 7, Nr. 10 (14.11.2022): 14. http://dx.doi.org/10.20849/ajsss.v7i10.1311.

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This article introduces what NFT art is and what virtual art trading is and analyses the advantages, disadvantages, and current status of NFT art. It also discusses how NFT artworks have changed the trend and demand in the art market.

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STREHOVEC, Janez. „Art State, Art Activism and Expanded Concept of Art“. Cultura 18, Nr. 2 (01.01.2021): 55–73. http://dx.doi.org/10.3726/cul022021.0003.

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Abstract: Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal (the Venezuelan example of the music and education project El Sistema) and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey (Temporary Autonomous Zone), with D’Annunzio also touching upon them with his State of Fiume (1919–1920), for which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture (with many engaged artists) has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research.

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Trawiński, Włodzimierz. „Science and art. Scientism, art versus science and knowledge“. Developments in Mechanical Engineering 10, Nr. 18 (2022): 79–86. http://dx.doi.org/10.37660/dme.2022.18.10.9.

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The text, shows the nature of cognition in visual art, and signals the application of knowledge and science in the creative act, directions and currents of art. The author uses quotes from eminent thinkers dealing with the relationship between science, art and the unreal character. It presents the nature of the applied knowledge in art and specific examples of archetypal procedures and principles included in the Composition.

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Kumar, Vinay. „Fine Art Pedagogy in India And Impact of New Media Art“. Paripex - Indian Journal Of Research 3, Nr. 1 (15.01.2012): 80–82. http://dx.doi.org/10.15373/22501991/jan2014/23.

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47

Venturelli, Suzete. „Computer art: software art design“. ANIAV - Revista de Investigación en Artes Visuales, Nr. 8 (31.03.2021): 79. http://dx.doi.org/10.4995/aniav.2021.14944.

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El artículo presenta trabajos artísticos desarrollados en el Computational Art Research Laboratorio Media Lab / UnB, realizado en equipo, bajo mi coordinación. La producción artística y teórica buscaba defender la idea de que el arte computacional es una nueva forma de arte apreciado, basado en el supuesto de que contiene muchos de los componentes de una filosofía completa de una forma de arte, que se puede resumir en cuatro referencias básicas: una definición, una ontología, características estéticas y el reconocimiento de su condición de arte. Lo que actualmente se llama arte computacional se basa en la observación de que los experimentos en este dominio implican problemas comunes más generales, in statu nascendi, a los dominios artísticos y tecnocientíficos, que proporcionan los modos de estructuración, la metodología y las técnicas de programación, introducidas en el proceso. El arte computacional no siempre usa la computadora, a veces es basado únicamente en operaciones lógico‐ matemáticas. Sin embargo, las computadoras tenían un profundo impacto en las artes, y con el fin de realizar una síntesis parcial, basada en un teoría de la estética en la actualidad, se seleccionó un conjunto de obras artísticas que engloban los temas siguientes: la computadora como un amplificador de complejidad (métodos computacionales de la creación); lenguaje computacional; el artista desarrollador; arte computacional como arte de la multitud y no del individuo; trabajo de laboratorio; software art (presentación y análisis de algoritmos históricos como permutación, aleatorio, etc.); la apreciación de la interfaz hombre‐computadora (destacando la importancia del juego), que posibilitó una mayor interactividad pública con la obra artística; la apropiación de los medios con fines artísticos; el compromiso artístico con los problemas sociales y ecológicos originados por los avances tecnocientíficos y la política de informatización de la sociedad y proposiciones relacionadas con el futuro, formuladas filosóficamente en la era posbiológica. Buscamos desarrollar poéticas que resultaron de la colaboración entre seres vivos y máquinas.

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48

VATIN, Nicolas. „Art juif ou art ottoman?“ Turcica 28 (01.01.1996): 361–68. http://dx.doi.org/10.2143/turc.28.0.2004351.

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49

Torgovnick, Marianna. „Making Primitive Art High Art“. Poetics Today 10, Nr. 2 (1989): 299. http://dx.doi.org/10.2307/1773026.

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50

Darmau, Frédéric. „Art et sociologie/art sociologique“. Raison présente 179, Nr. 1 (2011): 77–79. http://dx.doi.org/10.3406/raipr.2011.4327.

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