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Journal articles on the topic 'Art as dialogue'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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Else, Liz. "Art–Science: a new dialogue." New Scientist 206, no. 2759 (May 2010): 44–45. http://dx.doi.org/10.1016/s0262-4079(10)61150-5.

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12

Barrett, Terry. "Improving Student Dialogue About Art." Teaching Artist Journal 2, no. 2 (June 2004): 87–94. http://dx.doi.org/10.1207/s1541180xtaj0202_3.

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13

Cai, Hengyi, Hongshen Chen, Cheng Zhang, Yonghao Song, Xiaofang Zhao, Yangxi Li, Dongsheng Duan, and Dawei Yin. "Learning from Easy to Complex: Adaptive Multi-Curricula Learning for Neural Dialogue Generation." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 2020): 7472–79. http://dx.doi.org/10.1609/aaai.v34i05.6244.

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Current state-of-the-art neural dialogue systems are mainly data-driven and are trained on human-generated responses. However, due to the subjectivity and open-ended nature of human conversations, the complexity of training dialogues varies greatly. The noise and uneven complexity of query-response pairs impede the learning efficiency and effects of the neural dialogue generation models. What is more, so far, there are no unified dialogue complexity measurements, and the dialogue complexity embodies multiple aspects of attributes—specificity, repetitiveness, relevance, etc. Inspired by human behaviors of learning to converse, where children learn from easy dialogues to complex ones and dynamically adjust their learning progress, in this paper, we first analyze five dialogue attributes to measure the dialogue complexity in multiple perspectives on three publicly available corpora. Then, we propose an adaptive multi-curricula learning framework to schedule a committee of the organized curricula. The framework is established upon the reinforcement learning paradigm, which automatically chooses different curricula at the evolving learning process according to the learning status of the neural dialogue generation model. Extensive experiments conducted on five state-of-the-art models demonstrate its learning efficiency and effectiveness with respect to 13 automatic evaluation metrics and human judgments.

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Васьківська, Галина, Світлана Паламар, and Леся Порядченко. "Psycholinguistic Aspects of Formation of Culture of Dialogical Communication." PSYCHOLINGUISTICS 26, no. 2 (November 12, 2019): 11–26. http://dx.doi.org/10.31470/2309-1797-2019-26-2-11-26.

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Introduction. The article presents the results of researching the samples of English-speaking literary heritage, which reveals psycholinguistic features of dialogical communication and peculiarities of communicants' perception of interactions meanings in dialogic speech. The technique of detecting the frequency of using different dialogues that differ in number of replicas is described. Objective. The purpose of the article is to characterize the psycholinguistic features of dialogical communication, to study units of the dialogue as means of forming a culture of communication of those who get aeducation. Methods. The methods of analysis of domestic and foreign works of art, analysis of dictionary definitions, methods of contextual and logical-semantic analyzes, elements of statistical analysis are used in the article. Results. It is substantiated that dialogue as a form of a communicative act is the most used form of verbal activity in which the text categories of communicants are implemented, their interpersonal relations are displayed, speech communication strategies appear, etc. Dialogue speech is characterized as a situational and thematic community of communicative motives in verbal statements consistently generated by two or more interlocutors in the direct act of communication. The frequency of the use of dialogues consisting of different amounts of dialogical unities is revealed. It is defined average number of dialogues consisting of dialogical unities; the frequency of dialogue with a different number of dialogical unities. It is considered the definitions of dialogue, dialogism, dialogical learning, dialogical speech, dialogical communication; it is characterized of the developed system of exercises and tasks for forming a culture of dialogical communication. Conclusions. It is concluded that for the formation of a culture of dialogical communication of the educational recipients, it is of great importance to turn to highly artistic samples of literature for the purpose of emotional perception of them; creating situations of empathy with the characters of the work by «impersonation» in these images; work on dialogical situations; the use of dialogues as a means of socialization.

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Liao, Lizi, Le Hong Long, Yunshan Ma, Wenqiang Lei, and Tat-Seng Chua. "Dialogue State Tracking with Incremental Reasoning." Transactions of the Association for Computational Linguistics 9 (2021): 557–69. http://dx.doi.org/10.1162/tacl_a_00384.

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Abstract Tracking dialogue states to better interpret user goals and feed downstream policy learning is a bottleneck in dialogue management. Common practice has been to treat it as a problem of classifying dialogue content into a set of pre-defined slot-value pairs, or generating values for different slots given the dialogue history. Both have limitations on considering dependencies that occur on dialogues, and are lacking of reasoning capabilities. This paper proposes to track dialogue states gradually with reasoning over dialogue turns with the help of the back-end data. Empirical results demonstrate that our method outperforms the state-of-the-art methods in terms of joint belief accuracy for MultiWOZ 2.1, a large-scale human--human dialogue dataset across multiple domains.

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16

Baggini, Julian. "Zen and the art of dialogue." Philosophers' Magazine, no. 33 (2006): 62–67. http://dx.doi.org/10.5840/tpm200633115.

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17

Mary, Myles, and Mick Wilson. "Art and Film: An Unruly Dialogue." Circa, no. 106 (2003): 28. http://dx.doi.org/10.2307/25564050.

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18

Illman, Ruth. "Encounters: The Art of Interfaith Dialogue." Journal of Contemporary Religion 34, no. 3 (September 2, 2019): 583–84. http://dx.doi.org/10.1080/13537903.2019.1661632.

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19

Joukhadar, Alaa, Nada Ghneim, and Ghaida Rebdawi. "Impact of Using Bidirectional Encoder Representations from Transformers (BERT) Models for Arabic Dialogue Acts Identification." Ingénierie des systèmes d information 26, no. 5 (October 31, 2021): 469–75. http://dx.doi.org/10.18280/isi.260506.

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In Human-Computer dialogue systems, the correct identification of the intent underlying a speaker's utterance is crucial to the success of a dialogue. Several researches have studied the Dialogue Act Classification (DAC) task to identify Dialogue Acts (DA) for different languages. Recently, the emergence of Bidirectional Encoder Representations from Transformers (BERT) models, enabled establishing state-of-the-art results for a variety of natural language processing tasks in different languages. Very few researches have been done in the Arabic Dialogue acts identification task. The BERT representation model has not been studied yet in Arabic Dialogue acts detection task. In this paper, we propose a model using BERT language representation to identify Arabic Dialogue Acts. We explore the impact of using different BERT models: AraBERT Original (v0.1, v1), AraBERT Base (v0.2, and v2) and AraBERT Large (v0.2, and v2), which are pretrained on different Arabic corpora (different in size, morphological segmentation, language model window, …). The comparison was performed on two available Arabic datasets. Using AraBERTv0.2-base model for dialogue representations outperformed all other pretrained models. Moreover, we compared the performance of AraBERTv0.2-base model to the state-of-the-art approaches applied on the two datasets. The comparison showed that this representation model outperformed the performance both state-of-the-art models.

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20

Cohen, Philip R. "Back to the Future for Dialogue Research." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 09 (April 3, 2020): 13514–19. http://dx.doi.org/10.1609/aaai.v34i09.7073.

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This “blue sky” paper argues that future conversational systems that can engage in multiparty, collaborative dialogues will require a more fundamental approach than existing technology. This paper identifies significant limitations of the state of the art, and argues that our returning to the plan-based approach to dialogue will provide a stronger foundation. Finally, I suggest a research strategy that couples neural network-based semantic parsing with plan-based reasoning in order to build a collaborative dialogue manager.

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21

Clammer, John Robert. "Dialogue through the Image." International Journal of Asian Christianity 1, no. 1 (November 1, 2018): 117–33. http://dx.doi.org/10.1163/25424246-00101007.

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This paper examines the relationship between the transmission of religion (specifically Christianity) and not texts but visual images, in this instance as embodied in Christian art. The paper is not an exercise in art history as such but an attempt to build a model of the multiple effects of the reception of a new visual culture on a range of cultural dimensions, and in particular the ways in which the new visual discourse transforms ideas about the self, the body, nature, and a wide range of other significant elements of culture. The paper explores the ways in which Christian art transformed subjectivities across wide areas of Asia and contributed in a major way to the establishment of what has become known as modernity. It argues that processes of religious conversion are not only cognitive but also involve the internalization of new forms of representation, ritual, clothing, and other forms of material culture. Studies of the transmission of Buddhism in Asia have suggested that this artistic and material dimension is critical, and the paper raises the question as to what extent the same can be said about the transmission and reception of Christianity. The paper also makes methodological suggestions about fresh ways of linking art history to the analysis of cultural change, especially as it relates to questions of religious transformation.

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22

Arias-Alfonso, Andrés F., and Camilo A. Franco. "The Creative Act in the Dialogue between Art and Mathematics." Mathematics 9, no. 13 (June 29, 2021): 1517. http://dx.doi.org/10.3390/math9131517.

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This study was developed during 2018 and 2019, with 10th- and 11th-grade students from the Jose Maria Obando High School (Fredonia, Antioquia, Colombia) as the target population. Here, the “art as a method” was proposed, in which, after a diagnostic, three moments were developed to establish a dialogue between art and mathematics. The moments include Moment 1: introduction to art and mathematics as ways of doing art, Moment 2: collective experimentation, and Moment 3: re-signification of education as a model of experience. The methodology was derived from different mathematical-based theories, such as pendulum motion, centrifugal force, solar energy, and Chladni plates, allowing for the exploration of possibilities to new paths of knowledge from proposing the creative act. Likewise, the possibility of generating a broad vision of reality arose from the creative act, where understanding was reached from logical-emotional perspectives beyond the rational vision of science and its descriptions.

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Zyazyun, Laryssa, and Anna Razboinikova. "TEACHING ENGLISH DIALOGUE TO 10TH-GRADE SCHOOLERS: VISUAL ART ACTIVITIES IN THE CLASSROOM." АRS LINGUODIDACTICAE, no. 10 (2) (2022): 32–45. http://dx.doi.org/10.17721/2663-0303.2022.2.03.

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Background. The article investigates the educational potential of visual arts for teaching English dialogue to high school students. The analysis of literature indicates the importance of using visual arts in teaching dialogue to secondary school students as it enables increasing the motivation of students to communicate, creates favourable conditions for creativity, and also reduces anxiety in the classroom. Purpose. Numerous studies have examined the educational potential of visual arts for teaching foreign languages, but no research has been found which give insight into the impact of visual arts on teaching spoken dialogue to high schoolers. Therefore, the goal of this paper is to study the effectiveness of using painting in an English classroom for enhancing dialogic communication. Methodology. The methodology of the research rests on the experimental instruction of the 10th-graders (n=42) which was carried out in three stages. In the first stage, the survey was conducted in order to identify the difficulties that students face while doing tasks on the development of English dialogic speech. The second stage of the experimental research was the instruction in English targeted at the development of dialogic speaking skills in students using works of art. In the third stage of the experiment, the results were analyzed and the conclusions of the research were formulated. Results and discussion. The analysis of the surveyed difficulties faced by the students in the process of instruction indicates that 59.5% of the respondents feel anxiety because of fear to make a mistake, 42.9% of the students have difficulties because of limited vocabulary, 35.7% of the schoolers are passive in class for fear of receiving a poor mark, and 35.7% of the respondents feel shy to speak up. The survey made after the experimental instruction showed that 99% of students exercised positive emotions in the classroom; 88% of the students found it interesting to communicate with each other while discussing fine arts and 70% of the respondents did not feel anxious when it was necessary to participate in the dialogue. The obtained data confirm the effectiveness of using visual arts for teaching spoken dialogue to secondary school students.

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Burgueño Pereyra, Natalia, Martín Andrés Caldeiro Branda, and Lauren Isach. "Ludic practices and art-directed practices: strengthening integrality." Cuadernos de Extensión Universitaria, no. 4 (December 1, 2020): 155–76. http://dx.doi.org/10.19137/cuadex-2020-04-07.

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This article problematizes the axes of integrality proposed by the University of the Republic (Udelar), taking as a reference the Integrate Training Space Playful Practices and artistic practices: dialogues between the inside and the outside developed in Penitentiary Unit No. 6 from Punta de Rieles. To do this, some central categories such as practice and community are approached in order to tension them at first moment from different conceptual perspectives and at a second moment by making them dialogue with the proposal developed in the Unit.

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25

Shevtsova, Olena. "ARTISTIC AND CREATIVE ENVIRONMENT IN THE PROCESS OF FORMATION OF MUSIC-PERFORMANCE COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 145–49. http://dx.doi.org/10.36550/2415-7988-2021-1-195-145-149.

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The article substantiates the pedagogical conditions determined by the essence and content of musical performance activity of the future teachers of musical art. The effective pedagogical condition is the creation of art-creative environment, which integrates competence and personality oriented scientific approaches and is based on the principle of art-pedagogical dialogue. The scientific analysis of the investigated problem allowed determining the pedagogical conditions, which are determined by the essence and content of professional training, peculiarities of art education and allow effectively building the process of formation of musical and performing competence of future teachers of musical art. Such pedagogical condition is determined by the creation of art-creative environment on the basis of competence, personality-oriented and developing learning as pedagogically organized environment, which is conditioned by the specificity of professional activity of a future music art teacher characterized by the systemic interconnection of its objects, integrity, art and aesthetic functionality, provides the use of a set of pedagogical influences, which in turn contribute to the development of professionally significant personal qualities, the formation of artistic and communicative skills, the ability to communicate in a dialogue, creative activity, and to create opportunities for creative self-expression and self-realisation. Dialogue in music pedagogy is the essential basis of music education process, its methodological principle, as the music itself is an act of interpersonal communication. The art-pedagogical dialogue presupposes subject-subject interaction of all the participants of the art communication process, provides its spiritual and emotional richness, contributes to the formation of interpreting skills, development of creative activity of every student. Creating an artistic and creative environment is an effective pedagogical condition based on interdependent scientific approaches to learning, in particular, competence and personality-oriented. Dialogue principles of interaction between teacher and student involve the creation of a new type of communication – artistic and pedagogical dialogue, based on mutual understanding, exchange of views and judgments, evaluative approaches to artistic creativity. The result of such joint activities is the organization of independent creative and exploratory activities of students, knowledge, assimilation and acquisition of creative and executive experience, ability to independent creative activity, self-regulation, self-development, self-expression and self-realization in further professional and life activities.

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Žukauskienė, Odeta. "Transhistorical Dialogue Concerning Images: Baltrušaitis and Kircher." Art History & Criticism 16, no. 1 (December 1, 2020): 5–17. http://dx.doi.org/10.2478/mik-2020-0001.

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SummaryThe article explores the works of Jurgis Baltrušaitis on depraved perspectives. In particular, it examines his references to Jesuit scholar Athanasius Kircher in the books dedicated to anamorphoses, aberrations, Egyptomania and distorting mirror’s reflections. The paper questions what led Baltrušaitis to the dialogue with the German visionary. The close reading of Baltrušaitis works reveals that in Kircher’s pre-modern thinking the art historian found those domains of between-the-two, communalities of art and science, art and nature, art and social imaginary that have become more important in postmodernist period. Kircher’s treatises, previously uninterpreted in the context of art history, encouraged the development of the broader studies of images focused on visual phenomena that remained for a long time outside the autonomous field of art history. Without privileging an aesthetic and evolutionary approach in art history, Baltrušaitis’ works reveal anthropological and ontological dimensions of images. They disclose that the image is always related to visual experience and imagination, which takes us beyond the horizon of reality.

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Jang, Youngsoo, Jongmin Lee, and Kee-Eung Kim. "Bayes-Adaptive Monte-Carlo Planning and Learning for Goal-Oriented Dialogues." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 2020): 7994–8001. http://dx.doi.org/10.1609/aaai.v34i05.6308.

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We consider a strategic dialogue task, where the ability to infer the other agent's goal is critical to the success of the conversational agent. While this problem can be naturally formulated as Bayesian planning, it is known to be a very difficult problem due to its enormous search space consisting of all possible utterances. In this paper, we introduce an efficient Bayes-adaptive planning algorithm for goal-oriented dialogues, which combines RNN-based dialogue generation and MCTS-based Bayesian planning in a novel way, leading to robust decision-making under the uncertainty of the other agent's goal. We then introduce reinforcement learning for the dialogue agent that uses MCTS as a strong policy improvement operator, casting reinforcement learning as iterative alternation of planning and supervised-learning of self-generated dialogues. In the experiments, we demonstrate that our Bayes-adaptive dialogue planning agent significantly outperforms the state-of-the-art in a negotiation dialogue domain. We also show that reinforcement learning via MCTS further improves end-task performance without diverging from human language.

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28

Botes, Janet. "Art Expressing Human Dialogue with the Land." Ecozon@: European Journal of Literature, Culture and Environment 12, no. 1 (February 14, 2021): 206–9. http://dx.doi.org/10.37536/ecozona.2021.12.1.4225.

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Evens, Jonathan. "An Interpretive Dialogue Between Art and Scripture." Expository Times 133, no. 6 (March 2022): 262–63. http://dx.doi.org/10.1177/00145246211068334.

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김형년. "Net art Character as ambiguity of dialogue." Journal of Korea Design Knowledge ll, no. 18 (June 2011): 11–22. http://dx.doi.org/10.17246/jkdk.2011..18.002.

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Härkönen, Elina, and Antti Stöckell. "Cultural Sustainability in Art‐Based Interdisciplinary Dialogue." International Journal of Art & Design Education 38, no. 3 (August 2019): 639–48. http://dx.doi.org/10.1111/jade.12246.

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Smith, Dennis. "Norbert Elias and the Art of Dialogue." Current Sociology 53, no. 5 (September 2005): 851–54. http://dx.doi.org/10.1177/0011392105055025.

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33

Goren-Bar, Avi. "Expressive art therapy: A call for dialogue." Arts in Psychotherapy 24, no. 4 (January 1997): 319–21. http://dx.doi.org/10.1016/s0197-4556(97)00039-7.

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34

Bellenger, Lionel, Arnaud Stimec, and Christian Thuderoz. "Art du dialogue et pratiques de négociation." Négociations 30, no. 2 (2018): 89. http://dx.doi.org/10.3917/neg.030.0091.

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Hillings, Valerie L. "Komar and Melamid's Dialogue with (Art) History." Art Journal 58, no. 4 (1999): 48. http://dx.doi.org/10.2307/777911.

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Clark, Andrew F., and John Crossfield. "Art and mental states: meaning requires dialogue." Advances in Psychiatric Treatment 15, no. 5 (September 2009): 398. http://dx.doi.org/10.1192/apt.15.5.398.

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37

Ibrahimi, Zekria. "Art and mental states: meaning requires dialogue." Advances in Psychiatric Treatment 15, no. 5 (September 2009): 398–99. http://dx.doi.org/10.1192/apt.15.5.398a.

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38

Farrington, Julia. "Imagine Art After: a Dialogue Between Artists." Index on Censorship 35, no. 2 (May 2006): 133–47. http://dx.doi.org/10.1080/03064220600746854.

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Hillings, Valerie L. "Komar and Melamid's Dialogue with (Art) History." Art Journal 58, no. 4 (December 1999): 48–61. http://dx.doi.org/10.1080/00043249.1999.10791965.

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40

Todi, Cristina. "Ipostases of The Choreographic Dialogue." Review of Artistic Education 17, no. 1 (March 1, 2019): 171–82. http://dx.doi.org/10.2478/rae-2019-0018.

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Abstract The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show.

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Wikström, Britt-Maj. "The Dynamics of Visual Art Dialogues: Experiences to Be Used in Hospital Settings with Visual Art Enrichment." Nursing Research and Practice 2011 (2011): 1–7. http://dx.doi.org/10.1155/2011/204594.

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Objectives. Given that hospitals have environmental enrichment with paintings and visual art arrangement, it would be meaningful to develop and document how hospital art could be used by health professionals.Methods. The study was undertaken at an art site in Sweden. During 1-hour sessions, participants () get together in an art gallery every second week five times.Results. According to the participants a new value was perceived. From qualitative analyses, three themes appear: raise association, mentally present, and door-opener. In addition 72% of the participants reported makes me happy and gives energy and inspiration, and 52% reported that dialogues increase inspiration, make you involved, and stimulate curiosity.Conclusion. The present study supported the view that visual art dialogue could be used by health care professionals in a structured manner and that meaningful art stimulation, related to a person’s experiences, could be of importance for the patients. Implementing art dialogues in hospital settings could be a fruitful working tool for nurses, a complementary manner of patient communication.

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Zhong, Ming, Yang Liu, Yichong Xu, Chenguang Zhu, and Michael Zeng. "DialogLM: Pre-trained Model for Long Dialogue Understanding and Summarization." Proceedings of the AAAI Conference on Artificial Intelligence 36, no. 10 (June 28, 2022): 11765–73. http://dx.doi.org/10.1609/aaai.v36i10.21432.

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Dialogue is an essential part of human communication and cooperation. Existing research mainly focuses on short dialogue scenarios in a one-on-one fashion. However, multi-person interactions in the real world, such as meetings or interviews, are frequently over a few thousand words. There is still a lack of corresponding research and powerful tools to understand and process such long dialogues. Therefore, in this work, we present a pre-training framework for long dialogue understanding and summarization. Considering the nature of long conversations, we propose a window-based denoising approach for generative pre-training. For a dialogue, it corrupts a window of text with dialogue-inspired noise, and guides the model to reconstruct this window based on the content of the remaining conversation. Furthermore, to process longer input, we augment the model with sparse attention which is combined with conventional attention in a hybrid manner. We conduct extensive experiments on five datasets of long dialogues, covering tasks of dialogue summarization, abstractive question answering and topic segmentation. Experimentally, we show that our pre-trained model DialogLM significantly surpasses the state-of-the-art models across datasets and tasks. Source code and all the pre-trained models are available on our GitHub repository (https://github.com/microsoft/DialogLM).

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Liu, Bo, Lejian He, Yafei Liu, Tianyao Yu, Yuejia Xiang, Li Zhu, and Weijian Ruan. "Transformer-Based Multimodal Infusion Dialogue Systems." Electronics 11, no. 20 (October 20, 2022): 3409. http://dx.doi.org/10.3390/electronics11203409.

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The recent advancements in multimodal dialogue systems have been gaining importance in several domains such as retail, travel, fashion, among others. Several existing works have improved the understanding and generation of multimodal dialogues. However, there still exists considerable space to improve the quality of output textual responses due to insufficient information infusion between the visual and textual semantics. Moreover, the existing dialogue systems often generate defective knowledge-aware responses for tasks such as providing product attributes and celebrity endorsements. To address the aforementioned issues, we present a Transformer-based Multimodal Infusion Dialogue (TMID) system that extracts the visual and textual information from dialogues via a transformer-based multimodal context encoder and employs a cross-attention mechanism to achieve information infusion between images and texts for each utterance. Furthermore, TMID uses adaptive decoders to generate appropriate multimodal responses based on the user intentions it has determined using a state classifier and enriches the output responses by incorporating domain knowledge into the decoders. The results of extensive experiments on a multimodal dialogue dataset demonstrate that TMID has achieved a state-of-the-art performance by improving the BLUE-4 score by 13.03, NIST by 2.77, image selection Recall@1 by 1.84%.

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Darenskiy, V. Yu. "The Dialogic Structure of Artistic Reflection." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 14, no. 1 (2014): 14–18. http://dx.doi.org/10.18500/1819-7671-2014-14-1-14-18.

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This article is devoted to analysis of dialogic dimensions of art as an essential phenomenon in artistic experience of contemporary man. The concept of «dialogue» is analyzed to be the fundamental principle of the relation of a person with art. The concept of «artistic reflection» is considered as a key to problem of the dialogic interpretation of artistic work. Phenomenon of artistic dialogue is interpreting here as a unity of individual and common in artistic experience. The author also promises the conception of essential levels of this dialogue as a factor of personal development. The author promises the conception of basic levels of «artistic language», which are defined as a image, symbol and artistic mythos. In article new understanding of essential specific of universal artistic forms of human experience and worldview is offered. The fundamental specifics of artistic conception of human being is defined as a growing of sense in artistic «image of world». Thus, only artistic conception of human being enables to consider every single event of life as the unique which is inwardly integral and has its own special sense in worldview context.

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Zurbrugg, Nicholas. "A Dialogue with Lois Oppenheim’s The Painted Word: Samuel Beckett’s Dialogue with Art." Journal of Beckett Studies 11, no. 1 (January 2001): 84–93. http://dx.doi.org/10.3366/jobs.2001.11.1.8.

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Méry, Marie-Claire. "Rudolf Kassner : “Stil – Ein Dialog” (1900). Dialogue sur l’art et art du dialogue." Cahiers d’études germaniques 47, no. 2 (2004): 235–49. http://dx.doi.org/10.3406/cetge.2004.1667.

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Franzenburg, Geert. "The Art of Intersubjective Dialogue: How to Make Partnership Sustainable." Discourse and Communication for Sustainable Education 12, no. 2 (December 1, 2021): 54–61. http://dx.doi.org/10.2478/dcse-2021-0016.

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Abstract Since human beings communicate, dialogue is a central topic, mainly in terms of partnerships in private, political or business contexts. Often, however, dialogue means double monologue. In order to transform it into a real dialogue, particular strategies are helpful, which can be found during the last centuries. Modern communication partners, thus, can evaluate dialogue-experiences from Biblical time until today to make their relationship sustainable and to apply open, personal, and symmetrical communication as a kind of cultural participation. As demonstrated in this paper, all dialogue participants can draw benefit from such evaluation by transferring and transforming past experiences into current situations, Therefore, the article evaluates texts from both religious and psychological perspectives, and emphasizes both, religious and secular narratives, values, models, rituals and attitudes. Thus, it invites people to make experiences with communication strategies in their relationships and daily life.

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Zheng, Yinhe, Rongsheng Zhang, Minlie Huang, and Xiaoxi Mao. "A Pre-Training Based Personalized Dialogue Generation Model with Persona-Sparse Data." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 2020): 9693–700. http://dx.doi.org/10.1609/aaai.v34i05.6518.

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Endowing dialogue systems with personas is essential to deliver more human-like conversations. However, this problem is still far from well explored due to the difficulties of both embodying personalities in natural languages and the persona sparsity issue observed in most dialogue corpora. This paper proposes a pre-training based personalized dialogue model that can generate coherent responses using persona-sparse dialogue data. In this method, a pre-trained language model is used to initialize an encoder and decoder, and personal attribute embeddings are devised to model richer dialogue contexts by encoding speakers' personas together with dialogue histories. Further, to incorporate the target persona in the decoding process and to balance its contribution, an attention routing structure is devised in the decoder to merge features extracted from the target persona and dialogue contexts using dynamically predicted weights. Our model can utilize persona-sparse dialogues in a unified manner during the training process, and can also control the amount of persona-related features to exhibit during the inference process. Both automatic and manual evaluation demonstrates that the proposed model outperforms state-of-the-art methods for generating more coherent and persona consistent responses with persona-sparse data.

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Kyrychenko, Olena. "CULTURAL DIALOGUE IN MODERN ART AS A WAY TO UNDERSTANDING A NEW ARTISTIC REALITY." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 134–37. http://dx.doi.org/10.36550/2415-7988-2022-1-204-134-137.

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The article is devoted to the actual problem of identifying ways of cultural dialogue in modern art. The relevance of the topic is explained primarily by the complexity of the perception of the works of modern artists by an unprepared viewer. The author considers how this process took place at different stages of updating the artistic language of art. Four main chronological periods are proposed for consideration; in each of them the ways of cultural dialogue with archaic and classical pictorial traditions are considered. The author emphasizes that despite the manifest refusal of avant-garde artists from all forms previous art, at the same time they are all one way or another oriented towards certain images and symbols that already existed in art. Thus, forms of cultural dialogue with the art of the past were carried out. The renewal of the artistic language of modern art was not only due to the forms of dialogue with predecessors in art. Avant-garde artists, like those who followed them, turned to discoveries in various fields of science. Science contributed to the emergence of entire trends in art, including the birth of abstract painting. This is how the abstract systems of K. Malevich and V. Kandinsky appeared. In the middle of the twentieth century, under the influence of the discoveries of physics, the so-called "nuclear painting" appeared. Some types of abstraction of this period are born under the influence of human space exploration. The artists also showed particular interest in music, which should have led to a synthesis of all forms of creativity. The methods of cultural dialogue in the latest art are also influenced by social processes, which were reflected in different ways in the creative searches of the creators of a new artistic reality. The impact of the Second World War was especially tangible. Of interest are the forms of cultural dialogue between representatives of the avant-garde and modern artists with classical art. Each appeal to the classics gives rise to new meanings. Cultural dialogue is important in introducing the viewer to the ways of creating a new artistic reality. The artist's involvement of the viewer in the process of the birth of new meanings makes it possible to realize the changes; that take place in the creative mind. Modern art provides the viewer with the opportunity to participate in the creation of a new artistic reality. However, this process requires the viewer to be ready and make an effort to perceive a new artistic language, including through cultural dialogue.

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Shumakova, Svetlana. "Circus Art: an Aspect of Cross-Cultural Dialogue." Dialogue and Universalism 24, no. 2 (2014): 205–12. http://dx.doi.org/10.5840/du201424239.

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