Thematische Bibliographien / Humanities -> performing arts -> animation

Auswahl der wissenschaftlichen Literatur zum Thema „Humanities -> performing arts -> animation“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "Humanities -> performing arts -> animation"

Hautopp, Heidi. „Combining graphic facilitation and animation-based sketching in higher education“. Drawing: Research, Theory, Practice 8, Nr. 2 (01.10.2023): 179–99. http://dx.doi.org/10.1386/drtp_00114_1.

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This paper explores how non-design students can benefit from using visual methods as part of collaborative group processes in higher education. Based on an exploratory study, the paper analyses how analogue hand drawing in graphic facilitation combined with animation-based sketching can support humanities students in higher education to take on the role of designer. The empirical data is based on a course in a bachelor’s degree in communication and digital media in which students were tasked with designing an event for a museum. The students were not especially trained in using graphic facilitation or animation-based sketching methods as academic tools prior to this course. Thus, the educational approach incorporated two workshops in which the students were introduced to these visual methods and design approaches. Through visual examples, the students’ experiences are analysed in relation to their view on how these methods benefited or challenged their ways of working throughout the course. The paper ends by summarizing how visual methods can be considered relevant to academic practices beyond design courses.

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Mrozewicz, Anna Estera. „Cinema as a safe vessel: Jonas Poher Rasmussen’s Flee“. Journal of Scandinavian Cinema 13, Nr. 3 (01.09.2023): 301–23. http://dx.doi.org/10.1386/jsca_00099_1.

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The article discusses strategies adopted in Jonas Poher Rasmussen’s feature-length animated documentary Flee (2021) for crossing the cultural and emotional distance between audiences and the refugee protagonist Amin. Focus is on a central scene in which a group of Afghans sailing across the Baltic Sea in the early 1990s encounters a cruise ship from Norway, the crew of which reports the refugees to the authorities. Juxtaposing the scene with a historical cornerstone of non-fiction animation, The Sinking of the Lusitania (1918), and drawing on theories developed within the blue humanities, I argue that Flee attempts to remind today’s White western audiences that their position as ‘dry’ subjects – safely elevated above sea level, socially privileged and seemingly self-sufficient – is not a given. While destabilizing the targeted audiences’ assumptions of safety and encouraging (a politics of) listening, Flee seeks to serve as a ‘safe vessel’ for Amin. It does so through the dialogic treatment of its documentary subject and its drifting storytelling, and by offering an audio-visual alternative to the dominant contemporary media depictions of people fleeing across the Mediterranean.

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Lagarde, Patricia. „Sculpting with the Sun“. Latin American and Latinx Visual Culture 5, Nr. 3 (01.07.2023): 32–49. http://dx.doi.org/10.1525/lavc.2023.5.3.32.

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In the ancient Peruvian highlands, architecture and sculpture were inextricably linked to the mountainous Andean landscape. The character of light in this environment and how it illuminates architectural sculpture can fundamentally alter the way we perceive these objects. The dimensionality and placement of the tenon heads and cornice stones at Chavín de Huántar offer a unique opportunity to understand the role of the natural environment within architectural programs. Through a discussion of the sun’s role in casting dramatic shadows in the stones at Chavín, this article shifts our focus from object to shadow and demonstrates the powerful visual effects intended for individuals approaching the site. Utilizing the strong highland sun, sculptors leveraged the shadow-producing effects of these three-dimensional pieces to create spectacularly ornamented buildings. Although these vistas are lost today, archival photographs provide glimpses of the original perspectives. The sun generated movement of otherwise static sculptures, animating the heads mounted within the walls. Utilizing phenomenology of light, this paper positions the sculptures at Chavín within a cross-cultural dialogue on the role of natural light in the built environment. Together, the sculptures with their shadows animated the structure and focused the viewer’s attention on the monument from afar.

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Griffin, George. „Concrete Animation“. Animation 2, Nr. 3 (November 2007): 259–74. http://dx.doi.org/10.1177/1746847707083421.

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Fleisch, Thorsten. „Borderline Animation“. Animation 4, Nr. 2 (Juli 2009): 191–202. http://dx.doi.org/10.1177/1746847709104648.

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Hosea, Birgitta. „Drawing Animation“. Animation 5, Nr. 3 (November 2010): 353–67. http://dx.doi.org/10.1177/1746847710386429.

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Wolfe, Graham. „Biopolitical Animation“. Performance Research 27, Nr. 1 (02.01.2022): 122–30. http://dx.doi.org/10.1080/13528165.2022.2092304.

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Zhuang, Muyang. „Animation of Experiment: The Science Education Film and Useful Animation in China“. Animation 18, Nr. 2 (Juli 2023): 152–66. http://dx.doi.org/10.1177/17468477231182914.

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From the early 1950s to the mid-1990s, the People’s Republic of China (PRC) produced numerous science education films. Many utilized animated effects, such as illustrations, maps and cartoons, to promote the reception of scientific knowledge and ideological messages by audiences. Current scholarship on Chinese animation history stresses films made by the Shanghai Animation Film Studio, neglecting animation created by filmmakers in science education film studios. In this article, the author argues that the history of useful animation in science education films provides a different approach to understanding Chinese animation as the animation of experiment. Animation functioned as scenes of experiment that enabled science education films to deliver messages of knowledge; they also inspired amateur experiment with animated filmmaking and experimental animation practices in the post-socialist era. This article analyses animation for science education films, amateur animation practices and experimental works inspired by, or that benefited from, science education filmmaking. It will enrich the scholarship on Chinese animation and shed new light on the history of Chinese animation and film culture in the PRC.

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Gaudreault, André, und Philippe Gauthier. „Special issue: Could Kinematography be Animation and Animation Kinematography?“ Animation 6, Nr. 2 (Juli 2011): 85–91. http://dx.doi.org/10.1177/1746847711408232.

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Herhuth, Eric. „The Politics of Animation and the Animation of Politics“. Animation 11, Nr. 1 (18.02.2016): 4–22. http://dx.doi.org/10.1177/1746847715624581.

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Dissertationen zum Thema "Humanities -> performing arts -> animation"

Massuet, Jean-Baptiste. „Quand le dessin animé rencontre le cinéma en prises de vues réelles : modalités historiques, théoriques et esthétiques d'une scission-assimilation entre deux régimes de représentation“. Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00935335.

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Cette thèse propose une réflexion autour de la relation entre le dessin animé et le cinéma en prises de vues réelles, en faisant reposer le propos sur l'étude d'une forme cinématographique hybride, présentant un entremêlement ou encore une rencontre entre personnages graphiques et acteurs réels. Cette recherche interroge, du cinéma des premiers temps aux expériences plus contemporaines, l'évolution d'une forme reposant sur une frontière technique constamment mouvante au gré d'innovations technologiques et de perspectives théoriques historiquement variables. En s'intéressant tout autant aux films qu'à leur réception et leur contexte de production, l'objectif est de de mettre à jour et de comprendre les raisons pour lesquelles l'animation se trouve perçue à l'heure actuelle, à la fois comme une forme radicalement différente de la prise de vues réelles, rattachée à une institution qui lui est propre, et à la fois comme une forme potentiellement assimilable au cinéma photographique, en particulier dans le cadre de certains films à effets spéciaux. L'enjeu est de creuser les racinesde cette relation singulière, de cette scission-assimilation comme nous choisissons de la nommer, qui s'explique selon des modalités à la fois historiques, théoriques et esthétiques, et que la forme hybride permet de mettre particulièrement en évidence. Notre objectif est d'analyser, à travers l'évolution de cette forme et l'usage qu'en dévoilent les films, l'émergence d'une séparation plus esthétique, discursive et institutionnelle que véritablement ontologique entre ce que divers mouvements historiques et entreprises théoriques ont pu contribuer à définir, tout au long de l'histoire du cinéma, comme deux régimes de représentation aussi séparés que potentiellement assimilables

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Chin, Min-Zhi. „Naga: Combining 2D and 3D Animation“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/119.

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Naga is an animated short about a lively dragon that roams about the lands embracing it’s surroundings dearly. It discovered a barren land while out exploring and was saddened by the sight. After pondering for a while, it then realized it could revive the land with it’s ability to summon rain using it's dragon ball. The short blends traditional animation and computer animation, where the look is similar to 2D animation but the character and a few environment elements are done in 3D. Software utilized to complete the short were Autodesk Maya, Adobe Photoshop, Clip Studio Paint, Adobe After Effects, and Adobe Premiere Pro. The short showcases a stylized Chinese traditional ink painting style, key frame animation, and particle effects.

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Baroin, Gilles. „Applications de la théorie des graphes à des objets musicaux : modélisations, visualisations en hyperespace“. Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00943407.

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A la frontière entre musique et mathématiques, cette étude présente un espace musical géométrique original utilisé pour l'analyse et la pédagogie.En utilisant différentes méthodes, les mathématiciens et théoriciens de la musique ont démontré que notre espace des hauteurs tempéré à douze notes peut être considéré comme une combinaison de tierces mineurs et majeures. Nous utilisons le produit cartésien de deux graphes circulaires C3□C4 pour construire le graphe Planet qui répond à ce concept. Comme la décomposition implique deux ensembles et que chaque classe de hauteur est la combinaison unique de ces deux sous-groupes, nous utilisons une coloration en termes de graphes par des nombres complexes et introduisons le concept d'idéogrammes à deux dimensions. Nous effectuons une analyse spectrale du graphe Planet pour déterminer ses espaces propres et obtenir des coordonnées géométriques. Le modèle qui en résulte est appelé Planet-4D, il offre à chaque symbole une position physiquement équivalente. Il comporte plus de symétries que tout modèle discret 3D. A partir de ce modèle, nous construisons une représentation en quatre dimensions où les accords parfaits se trouvent en surface d'une hypersphère. Nous étendons enfin le concept principal pour afficher n'importe quel agrégat de notes sur l'hypersphère dans un cadre atonal. Dans une seconde partie, nous modélisons sous forme de graphes des objets musicaux existants : claviers, réseaux de notes (Tonnetze) ou d'accords ainsi que des schémas de modulation. Nous appliquons des projections spectrales afin de visualiser les symétries inhérentes à ces objets et terminons par des études d'œuvres tonales et atonales, effectuées avec le système de visualisation inventé.

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Singleton, Joe. „Ascension: A Fine and Performing Art Scholar Thesis“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.

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Correro, Augustine III. „Performing Tennessee Williams“. VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.

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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.

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Southall, Sally. „Pedagogy and Performing Shakespeare's Text: A Comparative Study“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1832.

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ABSTRACT PEDAGOGY AND PERFORMING SHAKESPEARE’S TEXT: A COMPARATIVE STUDY By Sally Parrish Southall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2009 Director: Dr. Noreen C. Barnes Professor, Director of Graduate Studies School of the Arts In the Master of Fine Arts program in Theatre Pedagogy at Virginia Commonwealth University, and in a second program, the Master of Letters/Master of Fine Arts in Shakespeare and Renaissance Literature in Performance at Mary Baldwin College - two specific pedagogical approaches to accessing and performing Shakespeare’s text, both in the post-graduate setting - provide significant analysis tools and performance techniques, yet they use different points of departure and areas of focus. Chapter 1 will give the background, design, and focus of the graduate programs at Virginia Commonwealth University and at Mary Baldwin College. Chapter 2 will discuss and describe Janet B. Rodgers’ teaching orientation and her particular pedagogy in “Shakespeare and Text: The War of the Roses” class at viii ix Virginia Commonwealth University. Chapter 3 will provide Dr. Ralph Alan Cohen’s professional background and the foundational structure and focus of the pedagogy in his class “Language and Performance” at Mary Baldwin College. Chapter 4 explores the parallel and overlapping methods demonstrated in these two classes as well as the contrasting specifics of their particular methodologies. Chapter 5 describes the value of the two approaches, both of which exemplify the individual strengths of the professors.

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Wetterbrandt, Oskar. „Förmedling av känslor genom animation på simplistisk modell : En studie med avsikt att utöka användningsområden för traditionell lära inom animation“. Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-13603.

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Denna studie undersöker ifall det är möjligt att illustrera känslor genom animation på en simplistisk modell, i detta fallet en kub. Animationerna som genomförs baseras i Disneys animationsprinciper samt Labans rörelseteori, två olika teorier angående hur högkvalitativ animation kan skapas och analyseras. Två animationer skapades, en som är tänkt att illustrera sorg och en som är tänkt att illustrera glädje. Dessa animationer tillsammans med en kort enkät nådde 84 respondenter och fick väntat resultat. Majoriteten av respondenterna läste in känslor i animationerna, men ett par av respondenterna som läste in känslor i animationerna läste in andra känslor än de som var tänkta att representeras. Slutsatsen är att det är möjligt att förmedla känslor genom animation på en simplistisk modell, men arbetet kan utökas ytterligare genom att nå ut till fler, basera animationerna på en bredare vetenskaplig grund samt att animationerna i sig recenseras och revideras av fler animatörer.

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Rogers, Brendan. „Technique arms the imagination developing an acting theory best suited for motion capture performance and the creation of a virtual character“. Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5029.

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The untrained body, like the sculptor's marble, can express nothing but its own limitations (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a "gripping performance," one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques, not surprisingly, tend to build on previous theories, beliefs and practices. Etienne Decroux's corporeal mime technique builds on the teachings of Jacques Copeau, but as a result, takes the art form into a radically new direction. Vsevolod Meyerhold studied with Stanislavski, learning his inside-out approach to performance, and, with biomechanics, creates a performance technique that turns Stanislavski's approach on its head. The point is not that these theorists developed something that undermines the previous work, but that they built their theories from knowledge of older techniques. In essence, these theorists learned from the past to prepare for the future. Advancements in film technology have dramatically changed both the nature of film, and performance, itself. Computer-generated characters and environments are becoming more commonplace in film due to the flexibility they provide in composing shots, and the relatively low price tag that comes with them. Technology still can't replace the subtlety that comes from a human performance, so currently, actors find themselves in the unique position of having one foot in the real world and the other foot in the virtual world. The motion-capture process, or moCap, is the best example of this unique relationship.; By placing sensors at key joints on an actor's body, their performance can be tracked by a computer and then directly applied to a computer-generated model (Hooks 30). In a sense, it's digital puppetry. Because only the movements are being recorded and not the actor's physical appearance, performers can play parts that are not necessarily their physical type or even their own species. Director Peter Jackson cast Andy Serkis to play a forty-foot-tall ape in the 2005 remake of King Kong, and thanks to the motion-capture process, the result is a perfect blend of live acting and computer-generated graphics. The relatively low cost and flexibility of this process has made it available, not just to filmmakers in Hollywood, but also to the independent market. I am currently directing a feature length film that utilizes both computer-generated backgrounds and virtual characters accomplished through the motion-capture process. This production has been in the works since I started graduate school. As I learn more and more about specific acting techniques in class, I am always looking for something that I could apply specifically to motion-capture performance. Currently there is little research on the topic and certainly, there's no specific acting theory that applies to this medium. In this paper I hope to formulate an acting technique that is tailored for the field of motion-capture performance, building upon theories of the past. Further study in this technique will better prepare future performers in this field, as well as provide insights for directors new to the medium. The following three techniques in particular, each with their emphasis on an outside-in approach to acting, will provide the basis for this theory: Meyerhold's biomechanics; Decroux's corporeal mime; and Edward Gordon Craig's uber-marionette concept.; I will provide detailed sections on each one of these approaches, discussing the theoretical sides of each, as well as specific exercises students in these schools are asked to perform. Next, I will provide a detailed section on the motion-capture process, discussing how it works and the challenges it presents to performers. Finally I will apply each one of the three theories to the motion-capture process, finding points where the theories apply and also where they fall short. By choosing specifically what applies to the moCap process from each one of the techniques, we will be left with a new theory that specifically relates to virtual performance. This will not only serve as an invaluable guide to both future performers and directors entering the field of motion capture, but will hopefully be the beginnings of an acting theory that can bring performance education programs into the 21st century. Working in the virtual realm requires a performer to use his imagination, but having training and knowledge in theories of the past will mean the imagination is not the only thing actors have to work with.
ID: 030422726; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-92).
M.F.A.
Masters
Theatre
Arts and Humanities
Acting

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Jin, Rui. „Memoir of a marionette /“. Online version of thesis, 2008. http://hdl.handle.net/1850/8039.

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Gadd, Jordan. „Performing Violence: The (Un)reality of War - Chris Burden, Edward Kienholz, Wafaa Bilal“. Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/pomona_theses/29.

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Bücher zum Thema "Humanities -> performing arts -> animation"

Muir, Shannon. Gardner's Guide to Pitching and Selling Animation. Chicago: Garth Gardner Company, 2008.

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1968-, Hykade Andreas, Hrsg. The animation pimp. Boston, MA: AWN Press, 2007.

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Zhŭraev, Ashurali. Tanimading-a?!: Mashḣur qiziqchi Ḣ. Tozhiboev ḣaqida ḣangomalar qissasi. Toshkent: Sharq, 2005.

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Rostot︠s︡kai︠a︡, M. Aspekty kulʹtury: Klassika i sovremennostʹ: kurs lekt︠s︡iĭ, prochitannykh na fakulʹtete dopolnitelʹnogo obrazovanii︠a︡. Moskva: Vserossiĭskiĭ gos. in-t kinematografii im. S.A. Gerasimova, 2001.

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Rose, Riley Shannon, und Hunter Lynette, Hrsg. Mapping landscapes for performance as research: Scholarly acts and creative cartographies. New York: Palgrave Macmillan, 2009.

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Rösing, Lilian Munk. Pixar with Lacan: The hysteric's guide to animation. New York: Bloomsbury Academic, 2015.

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V, Bartoshevich A., Hrsg. Spektakli dvadt︠s︡atogo veka. Moskva: GITIS, 2004.

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MAXON CINEMA 4D S24: A Tutorial Approach, 8th Edition. CADCIM Technologies, 2021.

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MAXON CINEMA 4D R20 Studio: A Tutorial Approach, 7th Edition. CADCIM Technologies, 2019.

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Basics Animation 03: Drawing for Animation. Bloomsbury Publishing Plc, 2008.

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Buchteile zum Thema "Humanities -> performing arts -> animation"

Crawford, Paul, Brian Brown, Charley Baker, Victoria Tischler und Brian Abrams. „Performing Arts and the Aesthetics of Health“. In Health Humanities, 82–105. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137282613_5.

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Yuwana, Setya, Titik Indarti, Arief Sudrajat und Buntas Pradoto. „Masks in Thathakan Performing Arts in Tuban: Ethnosemiotics Study“. In Proceedings of the International Joint Conference on Arts and Humanities 2022 (IJCAH 2022), 1695–706. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-008-4_183.

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Karyawanto, Harpang Y., Warih Handayaningrum, I. Nengah Mariasa und Dhani Kristiandari. „Visitors’ Perceptions of Performing Arts in Tourism Village: An Indonesian Experience“. In Proceedings of the International Joint Conference on Arts and Humanities 2022 (IJCAH 2022), 1635–41. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-008-4_176.

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Nerosti, Jamaris, Delfi Elfiza und Hendra Afriwan. „Explore The Performing Arts In The Orange Agro-Tourism Area Of Nagari Setara Nanggalo“. In Advances in Social Science, Education and Humanities Research, 104–11. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-124-1_16.

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Juwariyah, Anik, Trisakti Trisakti und Retnayu P. Sekti. „Cultural Value in the Performing Arts Langen Tayub as a Strengthening of Preservation of Traditional Arts and Cultural in Nganjuk District“. In Proceedings of the International Joint Conference on Arts and Humanities 2022 (IJCAH 2022), 1623–34. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-008-4_175.

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Soikun, Teddy Marius, und Verly Veto Vermol. „Adaptation of Kansei Engineering Concept in Designing Appealing Computer Animation on Sabah Oral Tradition“. In Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 351–56. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_35.

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Kelemen, Mihaela, Martin Phillips, Deborah James und Sue Moffat. „Performing the legacy of animative and iterative approaches to co-producing knowledge“. In Valuing Interdisciplinary Collaborative Research. Policy Press, 2017. http://dx.doi.org/10.1332/policypress/9781447331605.003.0006.

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This chapter advances a distinctive conceptual framework for defining legacy, seeing it as co-produced and co-performed in relational processes and dialogical encounters between scholars and community partners, facilitated by creative methodologies of knowledge co-production. Nicolini’s (2009) idea of ‘zooming in’ serves as a theoretical anchor to co-define legacy in a pluralistic way by using five distinct yet inter-related lenses that have informed our collaborative research (i.e. Theatre Studies, American Pragmatism, Critical Theory, Deleuzian Studies and Actor Network Theory). Legacy is thus defined as ‘the reproduction and transformation of a theatre tradition for new contexts such as research’, ‘changes inideas or practices (or both)’, ‘the empowerment of individuals and groups through the intersubjective development of understandings’,‘novelty and change through repetition’, and ‘the enrolment of new actants into a network’, respectively. This chapter illustrates how legacy was co-defined, co-performed and co-evaluated with various community partners and suggest how and why our conceptualisation of legacy may appeal beyond arts and humanities subjects.

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„Performing Research in the Creative Arts, Design and Digital Humanities: A Dialogue“. In Performing Digital, 253–64. Routledge, 2016. http://dx.doi.org/10.4324/9781315599960-24.

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Allen, Aaron S. „Diverse Ecomusicologies“. In Performing Environmentalisms, 89–116. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252044038.003.0005.

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This chapter outlines the burgeoning subfields of the environmental humanities and liberal arts and, particularly, of ecomusicology, a convergence of music/sound studies, culture studies, and environmental/ecological studies. In this time of ecological crisis, the author argues that it is essential to reorient the ways we understand the humanities away from anthropocentric thinking and toward an ecocentric approach that recognizes the inherent value of ecological systems within which humans are but one part. The author calls for an environmental liberal arts education that equips people to live well and to care for, nurture, and enhance life itself. In this interdisciplinary endeavor, ethnomusicologists and folklorists can offer the arts of listening well to human and nonhuman subjects.

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Hooker, Claire, und James Dalton. „The performing arts in medicine and medical education“. In Routledge handbook of the medical humanities, 205–19. Routledge, 2019. http://dx.doi.org/10.4324/9781351241779-20.

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Konferenzberichte zum Thema "Humanities -> performing arts -> animation"

Ong, Tee Chuan. „INCORPORATING CONSTRUCTIVISTS LEARNING ENVIRONMENT WITH ROLE PLAYING ELEMENTS INTO 3D ANIMATION CLASSROOMS“. In International Conference on Arts and Humanities. The International Institute of Knowledge Management (TIIKM), 2018. http://dx.doi.org/10.17501/icoah.2017.4105.

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Purwaningsih, Dominika Anggraeni. „Sustainable Animation Production: Movement Effectiveness and Durability of Stop-Motion Puppet Using Alternative Materials for Animation Production“. In The IAFOR International Conference on Arts & Humanities – Hawaii 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2432-4604.2023.34.

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Kusmayati, A. M. Hermien, und Raharja. „The Attractive and Adaptable Indonesia Traditional Performing Art“. In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008763402810287.

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Pocius, K., T. Davis und V. Cusson. „eTu{d,b}e: DEVELOPING AND PERFORMING SPATIALIZATION MODELS FOR IMPROVISING MUSICAL AGENTS“. In International Conference on Arts and Humanities. The Institute of Knowledge Managment, 2024. http://dx.doi.org/10.17501/23572744.2023.10102.

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Trisakti, Eva Rahmawati und Anik Juwariyah. „Performing Arts Appreciation Literacy In Millennium Era“. In Proceedings of the 1st International Conference on Education Social Sciences and Humanities (ICESSHum 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icesshum-19.2019.48.

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„Study on the Audiovisual Language Style of Chinese Animation Works“. In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.006.

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„Research on Performing Techniques and Philosophical Connotation of Mahler’s Symphony“. In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.052.

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„The exploring of animation movie subtitles translation strategies with skopos theory perspective“. In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.70.

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„The Application of Chinese Traditional Literati Painting in Animation Design“. In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.26.

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Kim, Eugenia S. „Constructing a Dance Pathography: Integrating the performing arts, multimedia and digital medical humanities“. In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.20.

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Berichte der Organisationen zum Thema "Humanities -> performing arts -> animation"

Lynch, Clifford, und Diane Goldenberg-Hart. Beyond the Pandemic: The Future of the Research Enterprise in Academic Year 2021-22 and Beyond. Coalition for Networked Information, August 2021. http://dx.doi.org/10.56561/mwrp9673.

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In early June 2021, representatives from a number of CNI member institutions gathered for the third in a series of Executive Roundtable discussions that began in spring 2020, during the early days of the COVID-19 emergency. The conversations were intended to inform our understanding of how the pandemic had impacted the research enterprise and to share information about how institutions were planning to shape investments and strategies surrounding the research enterprise going forward. Previous Roundtables were held in April and September 2020 and reports from those conversations are available from http://www.cni.org/tag/executive-roundtable-report. As with the earlier Roundtables on this topic, June participants primarily included senior library administrators, directors of research computing and information technology, and chief research officers from a variety of higher education institutions across the US and Canada; most participating member institutions were public universities with high research activity, though some mid-sized and private institutions participated as well. The June Roundtable took place in a single convening, supplemented by an additional conversation with a key institution unable to join the group meeting due to last-minute scheduling conflicts. As before, we urged participants to think about research broadly, encompassing the humanities, social sciences, and fieldwork activities, as well as the work that takes place in campus laboratories or facilities shared by broader research communities; indeed, the discussions occasionally considered adjacent areas such as the performing arts. The discussion was wide-ranging, including, but not limited to: the challenges involving undergraduate, graduate and international students; labs and core instrumentation; access to physical collections (libraries, museums, herbaria, etc.) and digital materials; patterns of impact on various disciplines and mitigation strategies; and institutional approaches to improving research resilience. We sensed a growing understanding and sensitivity to the human toll the pandemic has taken on the research community. There were several consistent themes throughout the Roundtable series, but shifts in assumptions, planning, and preparation have been evident as vaccination rates have increased and as organizations have grown somewhat more confident in their ability to sustain largely in-person operations by fall 2021. Still, uncertainties abound and considerable notes of tentativeness remain, and indeed, events subsequent to the Roundtable, such as the large-scale spread of the Delta variant of COVID-19 in the US, have eroded much of the confidence we heard in June 2021, though probably more around instructional strategies than the continuity of the research enterprise. The events of the past 18 months, combined with a growing series of climate change-driven disruptions, have infused a certain level of humility into institutional planning, and they continue to underscore the importance of approaches that emphasize resilience and flexibility.

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Report on Grouped Peer Review of Scholarly Journals in Humanities II: Visual and Performing Arts. Academy of Science of South Africa (ASSAf), 2018. http://dx.doi.org/10.17159/assaf.2018/0028.

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