Relevant bibliographies by topics / Art as dialogue

Academic literature on the topic 'Art as dialogue'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Art as dialogue"

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Bogdanova, G. G. "DIALOGUE WITH ART." Вестник Санкт-Петербургского государственного университета технологии и дизайна. Серия 3: Экономические, гуманитарные и общественные науки, no. 1 (2021): 136–44. http://dx.doi.org/10.46418/2079-8210_2021_1_23.

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Bogdanova, G. G. "DIALOGUE WITH ART." Вестник Санкт-Петербургского государственного университета технологии и дизайна. Серия 3: Экономические, гуманитарные и общественные науки, no. 1 (2021): 136–44. http://dx.doi.org/10.46418/2079-8210_2021_1_23.

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Khalil-Butucioc, Dorina. "The art of dialogueor „How the Bessarabian playwrights of the 1990s discussed with Plato." Arta 30, no. 2 (December 2021): 64–69. http://dx.doi.org/10.52603/arta.2021.30-2.09.

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The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned not only the re-definition of a new theatrical language, but also the re-writing of dialogic forms specific to theatrical art. Or, in the texts of Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Ciobanu, Dumitru Crudu, Irina Nechit, Maria Șleahtițchi and Nicolae Leahu, dialogue does not only have the classic role of triggering and motivating the action. The (sub)layers of conflict dialogues and „deaf dialogues”, parallel and echo dialogues, seemingly „absurd” association dialogues and „thesis-antithesis” dialogues, the dialogue monologues and the monologue dialogues evoke the alternation of linguistic registers and the play of languages. Completing and continuing the openness to multiple textual styles, the language of dialogues triggers and finalizes the communicative process between written and spoken, but also between text-show-audience. The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater.
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Snell, Pamela. "Video, Art, and Dialogue." International Journal of Communication and Linguistic Studies 10, no. 1 (2013): 27–38. http://dx.doi.org/10.18848/2327-7882/cgp/v10i01/43645.

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Povey, John, and Wole Soyinka. "Art, Dialogue and Outrage." African Studies Review 33, no. 2 (September 1990): 225. http://dx.doi.org/10.2307/524485.

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Krondorfer, Björn. "The Art of Dialogue." CrossCurrents 62, no. 3 (September 2012): 301–17. http://dx.doi.org/10.1111/j.1939-3881.2012.00242.x.

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Sunde, Sarah Cameron. "36.5 / Public Art Dialogue." Public Art Dialogue 6, no. 2 (July 2, 2016): 241–51. http://dx.doi.org/10.1080/21502552.2016.1205402.

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Papish, L. "Dialogue at art lessons." Art and education, no. 2 (2020): 31–37. http://dx.doi.org/10.32405/2308-8885-2020-2-31-37.

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Ramos, Santiago. "The Ion and Creativity." Epoché: A Journal for the History of Philosophy 25, no. 2 (2021): 323–38. http://dx.doi.org/10.5840/epoche202167188.

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Readings of Plato’s Ion are usually guided by one of two broad assumptions about the nature of the text. The Romantic school sees the dialogue as making explicit the idea of Genius, and of the artist as a privileged seer of hidden truths. The Rationalist tendency sees the dialogue as a Socratic attack on poetry, of a piece with other dialogues—most notably, the Republic—that also critique the art. In this paper, I claim that applying a phenomenological method to the dialogue uncovers a way beyond the impasse between these two schools. Specifically, I argue that we must turn our attention away from the question of whether poetry is a human art or divinely inspired, and toward the phenomenon at the heart of the dialogue, which is poetry itself, or better put, the creative act that generates poetic language. Moreover, the Ion itself calls for such a reading.
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Vella, Raphael. "Curating as a dialogue-based strategy in art education." International Journal of Education Through Art 14, no. 3 (September 1, 2018): 293–303. http://dx.doi.org/10.1386/eta.14.3.293_1.

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Contemporary artists are increasingly engaging in curatorial work and strategies while curators interpret the exhibition as an artistic medium in its own right. The teaching of art in schools and art education programmes in universities, however, does not often integrate curating as an activity or field of study within more conventional studio classes or methodologies for teaching and learning art. After briefly outlining a history of key artist-curators, this article suggests that curating – particularly its collaborative, social qualities – can enrich art pedagogies and curricula, and proposes four curatorial processes that could positively expand the remit of art education. These processes are understood as integral aspects of art-making and focus on the development of a pedagogy of dialogue, creating dialogues between different artworks and objects, dialogues between curatorial positions, dialogues between works of art and various publics, and finally, facilitating the etymological notion of ‘care’ within the art class.
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Dissertations / Theses on the topic "Art as dialogue"

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Knowles, Rachelle Marie Viader. "A translocal approach to dialogue-based art." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10269.

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This thesis is a practice-led investigation into a translocal approach to dialogue-based art. The research has been undertaken through the practice of the ‘artist/academic’, drawing on my professional experience in artistic research, academic leadership and teaching, each informing my methods and findings. The problem which emerged through the practice is how to devise an approach to dialogue-based art that is responsive to twenty-first century social relations and telecommunications and attendant to the politics of mobility that constrain and control human movement. The research develops and tests out the application of ideas from the interdisciplinary field of translocality to the practice of dialogue-based art through the production of three collaborative projects. I argue that the practice of dialogue-based art, when informed by translocality, is better placed to critically reflect and act upon the conditions of contemporary life within networked and globalised society. In Translocal Geographies: Spaces, Places and Connections (2011) Brickell and Datta argue for a multi-scalar understanding of translocality beyond the discourse of national borders and international migrations, deploying the term as an expression of “simultaneous situatedness across different locales” (2011: 4). Viewed this way, the theory and practice of translocality presents a framework to understand the activities and goals of artists and artist-led networks seeking to bridge difference towards shared spaces of meaning. As the translocal research perspective develops towards ideas of local-to-local connectivities and a discourse of circulations and transfers, so translocality as applied to dialogue-based art proposes an expanded understanding of dialogue-based art across spatial, temporal and cultural distance. Through three practice-based projects, QR Code Project, Let Me Tell You The Story Of My Neighbour and #3CityLink, presented within the thesis as case studies, the research reveals a set of characteristics that articulate a translocal approach to dialogue-based art. I argue that this approach enables the ‘translocal artist’ to draw on multiple modes of dialogue-based practice, contributing to understandings of ‘simultaneous situatedness’ within the translocal research perspective.
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Cubie, David Livingstone Jr. "Inner Dialogue." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1209230788.

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Björkquist, Tova, and Elisabet Jonsved. "Invisible aesthetics : art as a catalyst for dialogue." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-523.

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Through an exchange partnership between Konstfack, University College of Arts, Crafts and Design and Wits University we had the opportunity to stay in Johannesburg from July to October 2007. We arrived in this city with a prior interest in questions relating to public space and the politics of access to these spaces. In a city which continues to be segregated and in many ways difficult to access, these questions felt even more relevant. Through artistic research and the theories of Michel Foucault and Rosalyn Deutsche we address the question: How can art negotiatespace in order to alter power relationships? Our research is based on artistic practices, namely our own experiments and interviews with the two members of the Trinity Session, Stephen Hobbs and Marcus Neustetter, in which we interrogate an aspect of one of their projects. We have analysed these artistic practices through three keywords: public space, power relationships and embodied experience. Deutsche stresses the notion of public space being based in and on conflict. Foucault describes power as something we always produce through our actions. Embodied experience can be seen as a kind of lasting knowledge in the span between unspoken experience and outspoken knowledge. Some contemporary art projects have the capacity to offer people an embodied experience and through this, disturb the production of power because these mechanisms are working on the same level. Given Foucault’s argument that power is not one big entity but rather a series of small practices, these disturbances can be seen as the embryo for something new. To put it simply: micro power can be fought by micro actions. In the longer term we envisage these process-based art practices as having possibilities for the kind of work taking place in schools. We propose that this kind of contemporary art practice can make the art education of today more vivid. We also argue that the notion of embodied experience enriches pedagogical possibilities in school. A CD is attached to this paper which includes documentation from our artistic research and from the final exhibition we installed at Konstfack. We didn’t want to exhibit a representation of our work but rather attempted to produce an experience for people to demonstrate the notion of embodied experience. The form in which we had to work didn’t allow us to initiate a happening. Therefore our exhibition became a necessary reconfiguration where we used similar strategies and artefacts to the ones we have described in the paper but we also encouraged people to participate by sending pictures to a cell phone exhibited in the gallery. In this way our exhibition was interactive at the same time as it showed strategies we have been working with in our exam thesis.

BI/Konst

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Hammersley, John. "Dialogue as practice and understanding in contemporary art." Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/8076.

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This study investigates how social constructionist dialogue as art demonstrates a layered mode of practical inquiry, which weaves together interactive and explorative, re-presentational and reflective modes of dialogue in the performance of knowledge. Recent art debates present dialogue as a relational, collaborative and situated mode of meaning-making, and an alternative to traditional constraining frameworks of art. However, artists have been criticised for idealised interpretations of dialogue, which present it as something essentially good and democratic, for insufficiently scrutinising dialogical relationships, and for not providing adequate process accounts for secondary audiences. This study’s multi-layered performance of knowledge draws on thematic insights developed through fourteen interviews and five field conversation artworks from 2008 onwards. Research material from conversational encounters was combined and presented as three constructed written dialogues, which reflect the tensions and questions that emerge out of enacting such a layered mode of dialogue as art. These tensions are re-presented, and discussed in three central thematic chapters, which frame these themes as issues of context, competing characteristics of meaningmaking and relating. The constructed written dialogues provide a platform for further discussion and reflective analysis, which in turn are proposed as an invitation to continued dialogue and socially grounded interaction. The central implication of this study’s contribution to knowledge is that such an approach to practice-led inquiry articulates how dialogue may contribute to the increasing shift in critical art practices towards to more imbricated, uncertain, and performative approaches to knowledge, and provide an alternative to essentialised and foundationalist interpretations of dialogue.
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Allmer, Patricia M. "Correspondences : René Magritte's dialogue with art and tradition." Thesis, Loughborough University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416688.

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Worley, Taylor. "Theology and contemporary visual art : making dialogue possible." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.

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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.
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King, Barbara Amelia. "Space Art + Space Science a polymathic paradigm shift in the art/science dialogue." Master's thesis, Faculty of Engineering and the Built Environment, 2021. http://hdl.handle.net/11427/32739.

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Perhaps no other field of scientific endeavor has been more influenced by the arts than space exploration. The artistic visions of yesteryear are the technological realities of today. These realities in turn create new possibilities for artistic expression. However, Space Art and Space Science have shared a convoluted history. Their forerunner disciplines of the Humanities and Natural Sciences and their practitioners were entrenched as polar opposites for centuries. Recent research, however, has revealed the reverse; that the psychological profile and the creative processes of artists and scientists are actually similar, often to the point of the practitioners being polymathic. Moreover, it has been discovered that polymathic ability nurtures two qualities essential for the survival of both Space Art and Space Science: that of creativity and innovation. Current literature has taken note of the commonality of polymathic ability between the practitioners of the arts and sciences. Academic and industry think tanks have examined the virtues of artists as space researchers, and conversely, scientists developing an artistic approach as a design strategy. Thought leaders have expressed faith in trans-disciplinary collaboration as the way forward in the global affairs of space. Yet, therein lies the problem. These various studies individually lack a cohesive strategy to leverage their findings and transform the Art/Sci dialogue into a disruptive force that sustains a paradigm shift in the arts, space and society agendas going forward. The impetus for this dissertation is the unique opportunity to amalgamate those disparate studies by utilizing the momentum of New Space culture, and its focus on societal inclusion and environmental concerns to serve as anchors for space research and sustainability. Further, we argue that the next logical step is to inculcate a fundamental Art/Sci paradigm shift within the space community to exploit the unprecedented global drive towards space exploration and colonization, thereby solidifying the influence of the space art and space science agendas in the service of the global commons on Earth and in space.
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Halford, Jacob. "'Of dialogue, that great and powerful art' : a study of the dialogue genre in seventeenth-century England." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87927/.

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This thesis examines the dialogue genre in seventeenth-century England. In 1681 when Henry Care established his periodical The Popish Courant he chose the format of a dialogue because people were ‘so set upon dialoging.’ Care’s choice of dialogue for his periodical is indicative of the popularity of dialogue in the seventeenth century. Yet, despite the popularity that dialogue enjoyed in this period it has not received comparative attention by scholars. This thesis seeks to address this gap and make two specific historiographical contributions. Firstly, it demonstrates how the digitization of early modern sources can enable scholars to approach literary history from perspectives that physical books prevent. Using the digital collections of Early English Books Online, British Periodicals Online, and Eighteenth Century Collections Online for its source material this thesis has used a database of dialogues to analyze the genre and provide contextual knowledge about the genre as a whole that can illuminate the rhetorical objectives behind specific uses of dialogue. This is particularly exposed in the final chapter that utilizes this contextual information to understand the appeal of dialogue in Roger L’Estrange’s Observator. Secondly this thesis adds to the growing number of studies of early modern genres such as pamphlets, newspapers, ballads, and chapbooks. The period under discussion was one of significant change in terms of political and social circumstances and this thesis demonstrates that dialogue was sensitive to these political events. By situating the dialogue within the broader print landscape of seventeenth-century England the thesis maps how dialogue adapted to changing circumstances with pamphlet dialogues, periodical dialogues, and dialogues of the dead, in particular emerging in response to social and political events. Looking at the dialogue in the context of other literary forms this thesis argues that the appeal of dialogue was its flexibility and ability to educate a broad range of people across all demographics of seventeenth-century England.
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Morris, Traci L. "Indian Art As Dialogue: The Tricky Transgressions of Bob Haozous." Diss., Access to the online version of the thesis, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1090%5F1%5Fm.pdf&type=application/pdf.

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Bueno, Delgado Patricia. "Towards a professional learning dialogue in Mexican contemporary art museums." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.

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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.
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Books on the topic "Art as dialogue"

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Gonçalves, Susana, and Suzanne Majhanovich, eds. Art and Intercultural Dialogue. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-423-7.

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Blechman, Nicholas. Fresh dialogue. New York: Princeton Architectural Press, 2000.

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Dialogue: Writings in art history. North Sydney, NSW: Allen & Unwin, 1991.

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Burn, Ian. Dialogue: Writings in art history. Sydney: Allen & Unwin, 1991.

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Whatley, Sarah, Imogen Racz, Katerina Paramana, and Marie-Louise Crawley, eds. Art and Dance in Dialogue. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44085-5.

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Mahsun, Carol Anne Runyon, 1938-, ed. Pop art: The critical dialogue. Ann Arbor: UMI Research Press, 1989.

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Turco, Lewis. Dialogue: A socratic dialogue on the art of writing dialogue in fiction. Cincinnati, Ohio: Writer's Digest Books, 1989.

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Turco, Lewis. Dialogue: A Socratic Dialogue on the Art of Writing Dialogue in Fiction. Cincinnati: Writer's Digest Books, 1989.

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Turco, Lewis. Dialogue: A Socratic dialogue on the art of writing dialogue in fiction. London: Robinson, 1991.

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Archibald, McKenzie, ed. Dialogue. Hong Kong: Hong Kong University Press, 2010.

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Book chapters on the topic "Art as dialogue"

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Tucker, Paul. "11. Justificatory arguments in writing on art." In Dialogue Studies, 185–202. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/ds.21.19tuc.

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Stelter, Reinhard. "Dialogue practices." In The Art of Dialogue in Coaching, 123–34. New York, NY : Routledge, 2019. | Series: Coaching psychology |: Routledge, 2018. http://dx.doi.org/10.4324/9781351006545-13.

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Hubard, Olga. "The Structure of Open Dialogue." In Art Museum Education, 22–38. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_3.

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Pava, Moses L. "The Art of Ethical Dialogue." In Jewish Ethics as Dialogue, 35–56. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100794_3.

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Löwner, Gudrun. "Buddhist-Christian Dialogue in Art." In The Routledge Handbook of Buddhist-Christian Studies, 323–36. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003043225-32.

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Stelter, Reinhard. "The foundation of dialogue and the dialogue guide’s virtues." In The Art of Dialogue in Coaching, 111–21. New York, NY : Routledge, 2019. | Series: Coaching psychology |: Routledge, 2018. http://dx.doi.org/10.4324/9781351006545-12.

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Hubard, Olga. "Three Kinds of Dialogue about Art." In Art Museum Education, 9–21. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_2.

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XU, Bing, and Sarah E. Fraser. "In Dialogue with Xu Bing." In Chinese Contemporary Art Series, 25–35. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3064-7_2.

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Stelter, Reinhard. "Meaning-making in dialogue." In The Art of Dialogue in Coaching, 41–55. New York, NY : Routledge, 2019. | Series: Coaching psychology |: Routledge, 2018. http://dx.doi.org/10.4324/9781351006545-6.

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Kröber, Cindy. "German Art History Students’ Use of Digital Repositories: An Insight." In Diversity, Divergence, Dialogue, 176–92. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71305-8_14.

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Conference papers on the topic "Art as dialogue"

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Liu, Kexin. "Public Art Dialogue." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.029.

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Tholander, Jakob, Jarmo Laaksolahti, and Stina Nylander. "Experiencing art through kinesthetic dialogue." In DIS '14: Designing Interactive Systems Conference 2014. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2598510.2598550.

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Larsson, Staffan. "User-initiated Sub-dialogues in State-of-the-art Dialogue Systems." In Proceedings of the 18th Annual SIGdial Meeting on Discourse and Dialogue. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-5503.

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Solovtsova, Irina A. "Pedagogical Potential Of Contemporary Art In The Spiritual And Moral Education Of Schoolchildren." In Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.97.

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Kondratova, Tatiana I. "Overcoming Interpersonal And Inter-Ethic Conflicts Throuhg The Art Of Reading Foreign Literature." In Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.43.

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Liu, Kexin. "The Social Implication of Public Art Dialogue." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.052.

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Kirilova, Anna Vladimirovna. "Creative Dialogue In Informal Art Associations: Axiological Aspect." In International Conference on Language and Technology in the Interdisciplinary Paradigm. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.12.8.

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Min, Qingkai, Libo Qin, Zhiyang Teng, Xiao Liu, and Yue Zhang. "Dialogue State Induction Using Neural Latent Variable Models." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/532.

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Dialogue state modules are a useful component in a task-oriented dialogue system. Traditional methods find dialogue states by manually labeling training corpora, upon which neural models are trained. However, the labeling process can be costly, slow, error-prone, and more importantly, cannot cover the vast range of domains in real-world dialogues for customer service. We propose the task of dialogue state induction, building two neural latent variable models that mine dialogue states automatically from unlabeled customer service dialogue records. Results show that the models can effectively find meaningful dialogue states. In addition, equipped with induced dialogue states, a state-of-the-art dialogue system gives better performance compared with not using a dialogue state module.
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Mirzoeva, V. M., A. A. Kuznecova, E. D. Aksenova, and E. Z. Mirzoeva. "Request speech act in a doctor-patient dialogue." In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/spc-26-11-2019-03.

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Young, S. "Speech understanding and spoken dialogue systems." In IEE Colloquium Speech and Language Engineering - State of the Art. IEE, 1998. http://dx.doi.org/10.1049/ic:19980960.

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Reports on the topic "Art as dialogue"

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 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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Bellwood-Howard, Imogen, Peter Taylor, Julie Doyle, Aminata Niang, Haoussa Ndiaye, Fatoumata Sow, and Lansine Sountoura. Citizen Voice and the Arts: Opportunities and Challenges for Citizen–Policy Engagement on Environmental Issues in Sahelian West Africa. Institute of Development Studies, December 2022. http://dx.doi.org/10.19088/ids.2022.088.

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Citizen and policy groups address environmental challenges in the Sahel, but rarely together. In Sahelian West Africa, including in Mauritania, Senegal, and Mali, artists and citizens have used protest art to make their voices heard, in contexts where this can carry risks of conflict with authorities. Artists sometimes act as engaged citizens, who can draw on their artistic talents to communicate a message. This paper explores how far art may be used as a tool for dialogue between different groups on environmental concerns in the Western Sahel.
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Walker, Marilyn, and Rebecca Passonneau. DATE: A Dialogue Act Tagging Scheme for Evaluation of Spoken Dialogue Systems. Fort Belvoir, VA: Defense Technical Information Center, January 2001. http://dx.doi.org/10.21236/ada460992.

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Sow, Fatoumata, Lansine Sountoura, Aminata Niang, Haoussa Ndiaye, Imogen Bellwood-Howard, Peter Taylor, and Julie Doyle. L’usage des arts pour le dialogue environnemental au Sahel. Institute of Development Studies, December 2022. http://dx.doi.org/10.19088/ids.2022.082.

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L’art a été utilisé pour communiquer les préoccupations environnementales dans les pays sahéliens. Néanmoins, le dialogue dirigé par les arts entre les acteurs politiques et les citoyens est cependant rare, bien qu’il ait le potentiel de trouver des solutions aux problèmes socio-environnementaux complexes. Il est indispensable d’exploiter ce potentiel, alors que des défis, tels que le changement climatique, s’accélèrent et touchent les populations. La sensibilisation aux processus de dialogue menés par les arts pourrait être renforcée, parallèlement à davantage de recherches sur les contextes dans lesquelles ils sont appropriés et sur la meilleure façon de les utiliser.
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Daiya, Kavita. Empowerment, Entrepreneurship, and Transnational Dialogue: Reframing South Asian Textile Arts. Critical Asian Studies, February 2021. http://dx.doi.org/10.52698/ibxk1739.

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Haider, Huma. Transitional Justice and Reconciliation in the Western Balkans: Approaches, Impacts and Challenges. Institute of Development Studies (IDS), January 2021. http://dx.doi.org/10.19088/k4d.2021.033.

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Countries in the Western Balkans have engaged in various transitional justice and reconciliation initiatives to address the legacy of the wars of the 1990s and the deep political and societal divisions that persist. There is growing consensus among scholars and practitioners that in order to foster meaningful change, transitional justice must extend beyond trials (the dominant international mechanism in the region) and be more firmly anchored in affected communities with alternative sites, safe spaces, and modes of engagement. This rapid literature review presents a sample of initiatives, spanning a range of sectors and fields – truth-telling, art and culture, memorialisation, dialogue and education – that have achieved a level of success in contributing to processes of reconciliation, most frequently at the community level. It draws primarily from recent studies, published in the past five years. Much of the literature available centres on Bosnia and Herzegovina (BiH), with some examples also drawn from Serbia, Kosovo and North Macedonia.
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Бакум, З. П., and В. О. Лапіна. Educational Dialogue in the Process of Foreign Language Training of Future Miners. Криворізький державний педагогічний університет, 2014. http://dx.doi.org/10.31812/0564/395.

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On the basis of scientific analysis the article authors develop a scheme that allows planning and organizing the process of learning foreign languages with the use of dialogic didactic means during foreign language training of future miners. The article gives a definition of „educational dialogue‟, observes its structure, and defines its stages: modeling (a future educational dialogue model designing and ways of its implementation at a lesson); motivational (identifying problem, task for solving which encourage further active learnsearch activity of educational dialogue participants); searching (finding out/discovering an effective or new method of problem solving; searching answers to the question); disputing (presenting and discussing results, different positions, viewpoints); concluding (analyzing results, summarizing, substantiating the best chosen way of solving tasks, versions, and opinions). The authors give recommendations for dialogic interaction organizing in the process of forming a foreign professionally oriented speech competence of mining students
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Rejuvenate, Rejuvenate. Responding and Reflecting on Child Rights. Institute of Development Studies (IDS), November 2021. http://dx.doi.org/10.19088/rejuvenate.2021.001.

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The series of Rejuvenate dialogues are intended to foster debate across a community of practice working on child and youth rights. Our first dialogue examined the principles that can help support child and youth-centred research and community development. During the dialogue, we highlighted two key REJUVENATE principles: the importance of relationships, and the energy that young people can contribute to building new visions of the future. We met online on 14th September 2021. Presenters and participants joined from around the world, reflecting the diversity and breadth of experience in the field. We invited reflection on what the REJUVENATE principles get right, where they need to expand, and what they could improve on.
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Dhillon, Rajdip, Sonali Bhagat, Hannah Carvey, and Elizabeth Shriberg. Meeting Recorder Project: Dialog Act Labeling Guide. Fort Belvoir, VA: Defense Technical Information Center, February 2004. http://dx.doi.org/10.21236/ada607947.

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Shriberg, Elizabeth, Raj Dhillon, Sonali Bhagat, Jeremy Ang, and Hannah Carvey. The ICSI Meeting Recorder Dialog Act (MRDA) Corpus. Fort Belvoir, VA: Defense Technical Information Center, January 2004. http://dx.doi.org/10.21236/ada460980.

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