Journal articles on the topic 'Art as proposition'
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Paul Deharme and Anke Birkenmaier. ""Proposition for a Radiophonic Art”." Modernism/modernity 16, no. 2 (2009): 406–13. http://dx.doi.org/10.1353/mod.0.0102.
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Hulks, David. "World Art Studies: a radical proposition?" World Art 3, no. 2 (September 2013): 189–200. http://dx.doi.org/10.1080/21500894.2013.823886.
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Anke Birkenmaier. ""Proposition for a Radiophonic Art": Introduction." Modernism/modernity 16, no. 2 (2009): 403–5. http://dx.doi.org/10.1353/mod.0.0090.
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Hidayat, Desman, Apriani Kurnia Suci, and Gita Khadijatu Saliha. "Market Segmentation, Customers, and Value Propositions Analysis for Polymer Clay Art Business Start-Up." Binus Business Review 7, no. 1 (May 30, 2016): 89. http://dx.doi.org/10.21512/bbr.v7i1.1488.
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Polymer clay art is one of the creative businesses that are recently starting to get a lot of attentions. To prepare a startup business in this field, analysis from a lot of aspects is needed. The purpose of this article was to explain the approach of the polymer clay art business startup from the market segmentation, customer, and value proposition side of the business. The method was applied by analyzing those steps in details. The analysis started from brainstorming to choose the market matching to business, the customer side, value proposition, and between both aspects. The result of the analysis shows the business focus of the polymer clay art business, where the value propositions are focusing on unique decorations, and several types of customer segments.
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Laguarda, Alice. "Art et Politique." Emulations - Revue de sciences sociales, no. 9 (September 10, 2018): 57–68. http://dx.doi.org/10.14428/emulations.009.004.
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Le développement de pratiques artistiques participatives, relationnelles et contextuelles au sein des sociétés capitalistes démocratiques s’accompagne de multiples modes de relations entre l'artiste et le public. Mais nombre de ces propositions semblent s’être perdues dans la complexité de la matière sociale, propice à la confusion entre animation socio-culturelle, instrumentalisation du public et des artistes ou esthétique compassionnelle. Faut-il en déduire alors que l’artiste est condamné à n’être qu’un professionnel de la communication, qu’un thérapeute des maux de la société ? La poussée des projets et interventions en milieu urbain invite à se demander quelles positions existent aujourd’hui qui permettraient d'évaluer la possibilité d’une fonction critique et polémique de l'artiste. Jochen Gerz nous incite dans Les mots de Paris à réfléchir à la perte de valeur politique de l’espace public. En fondant sa proposition sur la participation d’« exclus » et en ne figeant pas son projet dans une forme conventionnelle, il inverse les règles du jeu artistique et institutionnel, instaure le trouble dans l’appréhension morale de cette « œuvre collective ». Nicolas Simarik et Jean Kerbrat élaborent quant à eux des projets qui cherchent à redéfinir l’autorité de l’artiste, invitant le public à construire un usage actif et critique de l’espace public. L’idée d’une résistance apparaît, contre les logiques de séparations, par l’élaboration de gestes de « profanation ». Ces propositions nous confrontent au sentiment de perte d’appartenance au monde commun, à l’« envahissement du social » et remettent en question, dans leurs processus comme dans leurs partis pris esthétiques, la relation souvent purement fonctionnaliste qu’entretient aujourd’hui le politique vis-à-vis de l’art.
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Yap, Sau Bin. "Artist as Purveyor of Meanings: Notes, Proposition and Reprise." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 32–38. http://dx.doi.org/10.33093/ijcm.2020.1.1.5.
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This essay is based on the author’s thoughts and notes taken over the years as an art practitioner. It is driven by referencing various texts on art theory, philosophy and criticism. Importantly it is influenced by the author’s own practice as an artist and artistic idea (gnosis). By adapting the notion of the artist as “purveyor of meanings"–the text discusses learning as a syncretic idea build on explorative intuition (and reaction) towards exposure to disparate type, style and approach of art forms. Notably, the discussion is presented in a performative manner by writing to ask, “What do I do as an artist?” instead of the expected probing of wondering what art is
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Fillis, Ian, Kim Lehman, and Morgan P. Miles. "The museum of old and new art." Journal of Vacation Marketing 23, no. 1 (August 1, 2016): 85–96. http://dx.doi.org/10.1177/1356766716634153.
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Entrepreneurial marketing is used to understand new venture creation in the vacation tourism sector through a case study of private art museum in Tasmania that has become a tourist destination of major international significance. The Museum of Old and New Art (MONA) has emerged as a major driver of tourism in the region. Interrogation of the arts and cultural tourism literature sets up a key research proposition – in arts and cultural tourism, the unique artistic tastes of the entrepreneur often trump customer needs and preferences by shaping the visitor’s experience through creative artistic innovation. The findings support our proposition, with additional grounding through the impact of the owner/manager and associated entrepreneurial marketing and effectuation impacts.
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Day, Kevin. "Reversal, Disconnect, and Proposition." Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no. 2 (July 30, 2021): 1–8. http://dx.doi.org/10.1145/3465624.
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This paper examines the potential countertactics of contemporary interactive media art to interrogate the data-mining practices that encode the everyday and exploit user data in the big data economy. It argues that noise is the "other" of information, a way to counter the operation of turning the world into data commodities. Through a Brechtian methodology informed by philosophy and critical theories of media and technology, the paper suggests that amplifying the "noise" of the digital media assemblages deviates from their everyday normative functions and estranges our relationship to them, inviting critical ways of understanding, relating to, and engaging these ubiquitous systems. All three noted artworks destabilize the protocols of data-mining to examine data politics. Specifically, the paper looks at three different tactics that amplify the "noise" of digital culture in different ways: reversing roles, disconnecting, and proposing viable alternatives.
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Washburn, Dorothy K. "An Interactive Test of Color and Contour Perception by Artists and Non-Artists." Leonardo 33, no. 3 (June 2000): 197–202. http://dx.doi.org/10.1162/002409400552504.
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The author explores Richard Latto's proposition that art com-municates effectively because art-ists manipulate basic features of form that the human perceptual system has evolved to detect. She offers an empirical test of the correlated proposition-that view-ers of art use these same fea-tures to assess art. The author presents the results of an experi-ment in which both artists and non-artists were asked to discern and draw shapes in patterns de-fined by iterating dots. She finds that both groups used color in the case of positive shape and form edge in the case of negative space, thereby confirming that both makers and viewers of art fo-cus on the same kinds of features to recognize and assess form.
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Joselit, David. "Conceptual Art of the Press Release, or Art History without Art." October 158 (October 2016): 167–68. http://dx.doi.org/10.1162/octo_a_00276.
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As in neoliberal market theory, where maximal information is said to make markets more efficient, what Joselit calls “Conceptual art of the press release” (in which the artwork is “translated” into text as a proposition about its meaning) makes even difficult art easy to consume. The once radical proposal of Conceptual art—that objects exist in a transactional relation with text (and prosaic photographic documents)—has now become business as usual. But this is not merely the result of the now-standard practice of training artists in MFA programs, where learning consists of verbally justifying one's artworks before a cohort of peers and artist-instructors, nor the demands of a global and increasingly virtual art market. It is also a condition of today's academic practice in which art history is little more than the weaving together of primary and secondary sources that “historicize” and “theorize” objects without attending to them specifically. The current challenge for artists and critics is not to forego engaging with information, but rather to resist the allure of its transparency in favor of tracking its plasticity—in other words, the shapes of social governance and aesthetic speculation that its myriad overlapping channels assume.
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Grant, L. G. "Application of State of the Art Simulation Technology to Railway Driver Training." Proceedings of the Institution of Mechanical Engineers, Part D: Transport Engineering 200, no. 3 (July 1986): 159–65. http://dx.doi.org/10.1243/pime_proc_1986_200_177_02.
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Recent advances in computer and visual system design have made locomotive driver training by simulator a viable proposition. This paper discusses the design objectives of such a simulator and describes recent experience in this area.
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Hodson, Elizabeth A. "Prisms of the abstract: Material relations in Icelandic art." Journal of Material Culture 22, no. 1 (November 30, 2016): 72–92. http://dx.doi.org/10.1177/1359183516679185.
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This article seeks to re-imagine the concept of abstraction as a material mechanism for art-making. Abstraction is traditionally divorced from the discipline of anthropology, which is rooted in social context and descriptive particulars. Within this debate, abstraction, as a mental capacity, is contrasted with contextual understanding and entails a removal from the life of the people studied. But, for the artist, this conclusion may be premature and abstraction is more accurately regarded as a constitutive function of art-making. The author draws explicitly on this proposition and proposes that abstraction affords artists a material means of transforming how they relate and re-imagine the world, offering them a means of separating the properties of things from the things themselves. Integral to these affordances is abstraction as an art historical construct. Thus abstraction is not the erasure of context, whether conceptual or material, but its imbrication. To illuminate this proposition, this article focuses on the working practice of one Icelandic artist, through which the author suggests that abstraction can be envisaged as a prism of open connections that lead from the artist into the world.
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Finney, John. "Music and the Arts: a Way Forward." British Journal of Music Education 9, no. 3 (November 1992): 195–200. http://dx.doi.org/10.1017/s0265051700009074.
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This paper explores the proposition that kinaesthetic gesture is at the root of art making and is thus an integrating factor in both a music and an arts curriculum. Examples of art making are examined and a basis for collaborative arts learning established before implications for teaching and learning style in the arts are considered.
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Shachar, Yoram. "Sentencing as Art." Israel Law Review 25, no. 3-4 (1991): 638–61. http://dx.doi.org/10.1017/s0021223700010670.
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Thomas Aquinas, in his famous argument on human law, classified the process of sentencing as an art, as opposed to a science. Human law, he argued, or at least good human law, “has the force of law in that it flows from natural law”. And yet, Aquinas further maintained that “commands can be traced to natural law in two ways; one, drawn deductively like conclusions from premises; two, grounded on it like constructional implementations of general directives. The first process is like that of the sciences. … The second process is like that of the arts where a special shape is given to a general idea, as when an architect determines that a house should be in this or that style”. Hence while a proposition such as “you must not commit murder” can be deduced from “you must not commit harm”, no similar deduction can determine the appropriate punishment for the crime: “Natural law pronounces that crime has to be punished without deciding whether this or that should be the penalty; the punishment selected is like a determinate form given to natural law”, concludes Aquinas.
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Cooper, W. E. "Is Art a Form of Life?" Dialogue 24, no. 3 (1985): 443–53. http://dx.doi.org/10.1017/s0012217300040312.
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Basic to Richard Wollheim's theory of art in Art and Its Objects is the proposition that “art is, in Wittgenstein's sense, a form of life”. This sense of the expression “a form of life” (“ein Lebensform”) is elusive; Wittgenstein uses it only a few times in his Investigations, leaving such mysteries as how to interpret the famous gnomicism, “What has to be accepted, the given, is—so one could say—forms of life.” Wollheim's way of dispelling some of the mystery is to draw two fairly sharp implications from the thought that art is a form of life. It implies that artistic social institutions neither dominate artists in virtue of the stuffs and processes that they sanction and accredit, nor suffer them to work within languages or media which are arbitrary. I will be denying both implications.
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Turshen, Meredeth. "Out of Time, Out of Place: Primitivism and African Art." Journal of Arts and Humanities 6, no. 9 (September 18, 2017): 16. http://dx.doi.org/10.18533/journal.v6i9.1251.
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<p>This article debates the proposition that artistic production mirrors humanity’s maturation from primitive superstition to scientific rationality. This effort sits at the intersection of demography, political economy and aesthetics. According to traditional demographic theory, primitive peoples are caught in a poverty trap of high birth rates, a condition inimical to industrialization, well-planned urbanization, universal education, women’s emancipation and cultural production. The analysis focuses on three dynamics: the demographic effects of mass migration on creativity: the trajectories of declining populations and their places in cultural hierarchies; and slavery and colonialism’s reduction to penury of skilled artists in pre-industrial societies. The method interrogates self-reinforcing trends of the canons of demography, political economy and aesthetics and the resulting concurrence on the path of progress, which assumes that art is a reflection of liberal historical advancement. The overarching argument of the article is that by setting the criteria and suppressing alternative accounts of the history of African art, these canons narrow and misrepresent our global cultural legacy. Background: sub-Saharan African art is classified as “primitive” according to the canons of art history, demography and political economy. This label is problematic because it conveys faulty demographic assumptions about sub-Saharan Africa and reflects the ways in which theories of human progress reinforce analyses underlying the designation of primitive. The proposition advanced is that these canons narrow, suppress alternative accounts of the history of African art, and misrepresent our global cultural legacy.</p>
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Saidi, Acep Iwan. "Narrative Patterns in Indonesian Fine Art." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (March 26, 2021): 77–87. http://dx.doi.org/10.33258/biolae.v3i1.411.
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This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on the syntagmatic axis of language (visual) interrelated to form associations or groups of narrative connotations on the paradigmatic axis (community knowledge system). This proposition, as well as several other formulations found in the analysis, has a significant contribution to the development of fine art, both theoretically and practically, both in Indonesia and the world.
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Rizzo, Jessica. "Immanent Utopia/Utopia Imminent: Thomas Hirschhorn’s Gramsci Monument." TDR/The Drama Review 58, no. 4 (December 2014): 170–76. http://dx.doi.org/10.1162/dram_a_00410.
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Thomas Hirschhorn’s Monuments are works of art that demand new nomenclature. His Gramsci Monument in the South Bronx was at once physical structure and pure idea, community center and philosophical proposition, reality and dream. What does it take to build a utopia we can see, feel, and inhabit?
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Everaert-Desmedt, Nicole. "Sens d’une oeuvre et sens d’une exposition." Protée 33, no. 2 (August 31, 2006): 41–46. http://dx.doi.org/10.7202/012291ar.
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Résumé Dans cet article, nous envisageons, à la lumière de la théorie peircienne, un parcours artistique proposé par un plasticien belge, Patrick Corillon, pour une exposition qui s’est déroulée à Luxembourg en 2001. Nous décrivons d’abord brièvement le dispositif mis en place par l’artiste et nous rappelons le cadre à partir duquel nous ferons notre analyse. Nous précisons à quel type d’art contemporain nous pouvons rattacher la proposition de P. Corillon (art contextuel), en insistant particulièrement sur deux aspects : (a) cette proposition donne un sens nouveau à la traditionnelle visite d’exposition ; (b) une activité artistique centrée sur la notion de parcours détermine nécessairement une réflexion sur la spécificité de l’art.
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Kost, Franklin C. "Two Solutions to a Problem of Huygens." Mathematics Teacher 78, no. 2 (February 1985): 144–45. http://dx.doi.org/10.5951/mt.78.2.0144.
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In 1657 (Todhunter 1949), Christian Huygens (1629 1695) published a treatise, the fourteenth proposition of which contained a probability problem. This article presents two solutions to that problem, one by Huygens and the other by James Bernoulli (1654-1705), whose Art of Conjective was published in four parts in 1713.
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Carter, Michelle, and Chris Carter. "The Creative Business Model Canvas." Social Enterprise Journal 16, no. 2 (March 11, 2020): 141–58. http://dx.doi.org/10.1108/sej-03-2019-0018.
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Purpose Creative and cultural producers, like social enterprises, operate in a complex business environment where the value proposition is difficult to define, and the organisational motivations are not always financially driven. In the case of Australian visual artists, low incomes and limited access to government funding magnify the importance of developing sustainable business models. This paper aims to present the Creative Business Model Canvas (CBMC), a reinterpretation of Osterwalder and Pigneur’s CBMC (2010), for the benefit of a visual artist’s business planning. Design/methodology/approach This qualitative study uses data from semi-structured interviews to analyse and evaluate the effectiveness of the Osterwalder and Pigneur’s BMC (2010) for use by creative artists to understand the value of their artwork beyond traditional profit-driven business models. A modified canvas is presented to capture a clearer snapshot of creative arts practice with a focus on value propositions that possess dimensions of symbolic value. Findings This study found that the symbolic value of an artist’s practice is difficult to capture using Osterwalder and Pigneur’s CBMC (2010). An artist value proposition is composed of the artifact, artistic services and the artist’s identity. The creative CBMC, as a modified CBMC, captures aspects of the artistic identity such as professional achievements, personal life and the artist’s authenticity. Originality/value This study builds on Osterwalder and Pigneur’s CBMC and reimagines it for use by visual artists and art-based social enterprise organisations where the notion of value can be challenging to articulate.
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Rusdianti, Endang, Sri Purwantini, and Paulus Wardoyo. "Kajian Kritis Keputusan Mahasiswa Studi S-1 Fakultas Ekonomi Reguler Sore Usm." Jurnal Dinamika Sosial Budaya 19, no. 1 (November 21, 2017): 40. http://dx.doi.org/10.26623/jdsb.v19i1.686.
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<p>Higher education is a continuation of secondary education held to prepare learners to become members of the community who have academic and / or professional skills who can apply, develop and or create science of technology and or art. This research is designed as a qualitative research by using phenomenalisis and grounded approach. So that the phenomenon can be used as a study material on the factors that give rise to the interest and quality of service and the decision to choose the study program. As for the research partner as many as eight students active class regular afternoon. The results of this study resulted in two propositions of interest in continuing studies in universities and service quality in universities. Each proposition comes with a picture of the theory building. Which ultimately led to the theoretical model of the decision to continue the study which is a study for further empirical research.</p>
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Zittoun, Tania, and Paul Stenner. "Vygotsky’s Tragedy: Hamlet and the Psychology of Art." Review of General Psychology 25, no. 3 (July 29, 2021): 223–38. http://dx.doi.org/10.1177/10892680211013293.
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Lev S. Vygotsky is one of the major figures of psychology; however, his deep engagement with the arts is less known. This is surprising, given the fact that the arts, and especially Shakespeare’s Hamlet, are present throughout his career. In this article, we argue, first, that Hamlet was a major symbolic resource for Vygotsky in times of liminal transitions, and second, that it is this very deep experience of having been transformed by means of Hamlet that grounds his psychology of art, which aims precisely to show how Hamlet works as a “technique of emotions.” Our demonstration is organized into three main movements. In Part 1, we retrace the historical and cultural context in which Vygotsky grew up as a young man. We emphasize his experiences of liminality and transitions, due to transformations of the social world and his own life. In Part 2, we examine Vygotsky’s proposition itself through a close analysis of his Psychology of art. Finally, in Part 3, we further explicate the relation between art and life at play in Vygotsky’s approach and relate this to Vygotsky’s broader psychology.
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Kelly, Mary. "Concentric Pedagogy: Toward an ethics of the Observer." October 168 (May 2019): 43–46. http://dx.doi.org/10.1162/octo_a_00345.
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Critical pedagogies have been informed by feminism since the 1970s, but artist Mary Kelly considers what this means as a tactic rather than a specific content. Focusing on one of the central curricular components of studio art in an institutional context, the critique, she argues that the work of art is a visual proposition, legible on its own terms, and that the artist's verbal defense does not necessarily give him/her a voice. Instead, the process of deciphering must begin with looking and understanding this as a form of listening to the artist through the work. Moreover, Kelly suggests that not to do so is, in some sense, unethical.
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Janigian, Aris. "Come See California’s Future." Boom 6, no. 1 (2016): 102–7. http://dx.doi.org/10.1525/boom.2016.6.1.102.
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Fresno is moving beyond its agriculture roots, transforming itself from the inside out, taking strands from its past, present, and future to build a new kind of California urbanism. The city has the bones upon which to construct an appealingly Californian city, but more importantly, it has the conditions that make living there an attractive proposition: affordable housing, short commutes, new jobs, and a vibrant art and food scene.
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Amadea, Natalie, and Mustika Sufiati Purwanegara. "Business Strategy Formulation for Art Merchandise Brand (Case Study: Gutsy Prune)." International Journal of Management, Entrepreneurship, Social Science and Humanities 3, no. 1 (June 30, 2020): 41–47. http://dx.doi.org/10.31098/ijmesh.v3i1.189.
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A part of Indonesia's creative industries is the art merchandise industry which is dominated by independent visual artists who establish their art merchandise brands to market original art merchandise. Visual artists try to apply the principles of entrepreneurship in their practice since entrepreneurship has a fundamental role in their artistic careers. A business strategy is needed for any art merchandise brand. To develop a business strategy that is based on the empirical case, an Indonesian art merchandise brand called Gutsy Prune is analyzed as a case study. Gutsy Prune needs to develop a business strategy to boost the sales stagnation and to ensure the business continuity within the art merchandise market. The methodology for the research is a qualitative method and it is executed by conducting in-depth interviews with Gutsy Prune's potential and current customers. The results from the interview will be treated as the primary data along with observation and competitor analysis, while information from literature research will be used as secondary data to support the primary data. The focus of the research is the formulation of a business strategy for the art merchandise brand and the data collection was conducted by using interviews, observation, competitor analysis, and literature research. Gutsy prune needs to have a business strategy to tackle the sales stagnation that is caused by the low rate of inventory turnover. Before formulating a business strategy to boost sales stagnation, a series of analysis that includes environmental scanning and customer analysis is performed. The result from the aforementioned analysis is further examined by using SWOT Analysis to discover the root causes of the sales stagnation. It has been concluded that Gutsy Prune possesses some weaknesses in its segmentation, targeting, positioning, value proposition, marketing mix, and organizational structure. To resolve the root causes, Gutsy Prune develops a business strategy that contains STP Strategy, Value Proposition Canvas, Marketing Mix Strategy, organizational structure design, and a generic competitive strategy to sums up the business strategy's direction. From the research, Gutsy Prune can establish a one-year implementation plan to execute the business strategy.
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Read, Stephen. "Richard Kilvington and the Theory of Obligations." Vivarium 53, no. 2-4 (September 16, 2015): 391–404. http://dx.doi.org/10.1163/15685349-12341306.
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Kretzmann and Spade were led by Richard Kilvington’s proposed revisions to the rules of obligations in his discussion of the 47th sophism in his Sophismata to claim that the purpose of obligational disputations was the same as that of counterfactual reasoning. Angel d’Ors challenged this interpretation, realising that the reason for Kilvington’s revision was precisely that he found the art of obligation unsuited to the kind of reasoning that lay at the heart of the sophismatic argument. In his criticism, Kilvington focused on a technique used by Walter Burley to force a respondent to grant an arbitrary falsehood and similar to Lewis and Langford’s famous defence of ex impossibili quodlibet. Kilvington observed that just as in obligational disputation one may be obliged to grant a false proposition and deny a true one, so in counterfactual reasoning one may be obliged to doubt a proposition whose truth or falsity one knows, on pain of contradiction.
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Kozłowski, Jarosław, and Klara Kemp-Welch. "NET, Jarosław Kozłowski in Conversation with Klara Kemp-Welch." ARTMargins 1, no. 2–3 (June 2012): 14–35. http://dx.doi.org/10.1162/artm_a_00016.
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Jarosław Kozłowski discusses his role in 1960s and 1970s alternative networks with Klara Kemp-Welch. The conversation begins with an overview of independent artists' initiatives in the period, then moves on to Kozłowski's early correspondence pieces, the conceptual proposition NET initiated in 1971 with Andrzej Kostolowski and mailed to hundreds of international recipients, the reception of the materials received through the NET, Kozłowski's experience of running the gallery Akumulatory 2 in Poznań, and wider issues relating to mail art and 1970s Polish artists' networks.
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Johnston, D. K. "Propositions and Propositional Acts." Canadian Journal of Philosophy 39, no. 3 (September 2009): 435–62. http://dx.doi.org/10.1353/cjp.0.0056.
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Suppose that John asks, ‘Is the window open?’ and Mary replies, ‘The window is open.’ Then John and Mary have produced two distinct utterances, and in doing so, they have performed two different kinds of speech act. But clearly there is something that these utterances have in common. According to the standard theory of speech acts, in these utterances different illocutionary forces have been applied to the same propositional content. Similarly, if John and Mary both believe that roses are red, the same propositional content is attributed to their individual mental states.The propositional contents of utterances and beliefs have traditionally been identified with propositions. In turn, propositions have been characterized as language-independent particulars that can be re-identified in different contexts. In this article, I will argue that various phenomena that have hitherto been explained by propositions are better understood in terms of propositional acts.
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Batchelor, Simon, Md Talukder, Md Uddin, Sandip Mondal, Shemim Islam, Rezwanul Redoy, Rebecca Hanlin, and M. Khan. "Solar e-Cooking: A Proposition for Solar Home System Integrated Clean Cooking." Energies 11, no. 11 (October 27, 2018): 2933. http://dx.doi.org/10.3390/en11112933.
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This paper presents the feasibility of using solar photovoltaics (Solar PV) as the energy source for cooking with special focus on the loss mechanisms and possible remedial measures. If the heat loss is minimized, to reduce the temperature losses, it is possible to cook with a low power source less than 500 W. A slogan has been adopted by the researchers—‘It is temperature that cooks food not heat’, meaning that it is not the flow of energy that cooks food, but rather, that food is cooked when held at a key temperature for a time. The slogan draws attention to the core concept that if heat loss is minimized, maintaining the temperature inside the cooker and the cooking pan, then the cooking process becomes very energy efficient. The paper considers ways to maintain temperature, but with due reference to the ‘art of cooking’, those all-important cultural processes that determine how meals are made. A prototype solar home system e-cooker was designed, fabricated and tested for cooking different foods in Bangladesh. Experimental results are presented to show that cooking is possible using much less power and energy than is commonly thought. A cost analysis is also presented to show that such a cooker can be cost effective in off-grid areas if connected to a properly designed Solar Home System.
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Motta, Ana Paula. "From Top Down Under: New Insights into the Social Significance of Superimpositions in the Rock Art of Northern Kimberley, Australia." Cambridge Archaeological Journal 29, no. 3 (February 18, 2019): 479–95. http://dx.doi.org/10.1017/s0959774319000052.
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Rock-art researchers have long acknowledged the importance of discerning superimposition sequences as a means for exploring chronology. Despite their potential for reconstructing painting events and thus informing on a site's production sequences, the social significance of superimpositions and their associated meanings have been little explored. In the Kimberley Region of northwestern Australia, interpretations of superimpositions as an analytical lens have often lingered on the ‘negative’ connotations of this practice (e.g. to destroy supernatural power embedded in previous paintings and/or to show cultural dominance). As a result, it has been proposed that the overpainting of previous images was tantamount to defacing, leading to the proposition that new images constituted a form of vandalism of older art. In this paper, a sample of rock-art sites from the northwestern and northeastern Kimberley is analysed with the aim of grounding the study of superimpositions in more nuanced practices, leading researchers to contemplate the role they played among populations within the same area. It is argued here that superimpositions brought together past and present experiences that served to reinforce the links between contemporary art production and the inherited landscape.
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Fritz, Darko. "Vladimir Bonačić: Computer-Generated Works Made within Zagreb's New Tendencies Network (1961–1973)." Leonardo 41, no. 2 (April 2008): 175–83. http://dx.doi.org/10.1162/leon.2008.41.2.175.
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Scientist Vladimir Bonačić began his artistic career in 1968 under the auspices of the international New Tendencies movement (NT). From 1968 to 1971 Bonačić created a series of “dynamic objects”—interactive computer-generated light installations, five of which were set up in public spaces. The author shows the context of Bonačić's work within the Zagreb cultural environment dominated by the New Tendencies movement and network (1961–1973). The paper shows his theoretical and practical criticism of the use of randomness in computer-generated art and describes his working methods as combining the algebra of Galois fields and an anti-commercial approach with custom-made hardware. It seems that Bonačić's work fulfills and develops Matko Meštrović's proposition that “in order to enrich that which is human, art must start to penetrate the extra-poetic and the extra-human.”
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Hashim, Mohd Ekram AlHafis Bin, Muhammad Zaffwan Bin Idris, and Che Soh Bin Said. "The Potential of Integrating User Experience (UX) and Aesthetic Experience (AX) in Augmented Reality Comic (AR Comic)." International Journal of e-Education, e-Business, e-Management and e-Learning 11, no. 1 (2021): 34–41. http://dx.doi.org/10.17706/ijeeee.2021.11.1.34-41.
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The purpose of this paper is to explore the potential of synergising of two major theories that sprang from two entirely different disciplines, namely the human-computer interaction (HCI) and the arts. Indeed, there are vast and diverse gaps when two different theories, such as technology and art, are to be combined to develop a new element that complements to both disciplines. In this paper, the proposition is to measure the user experience when dealing with an art object that infuses with digital technology. Augmented reality (AR) derived from the HCI discipline and customarily to UX as a measurement tool. On the other hand, a comic is an aesthetic object that requires an aesthetic-friendly method as its measurement tool. Ultimately, this paper proposes an integration of the UX and AX theories to evaluate an AR comic.
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Gramstadt, Marie-Therese. "Zandra Rhodes’ ‘Works of Art’ (1979–1988): From Feminine Frills to Goddess Saris." Costume 50, no. 2 (July 1, 2016): 244–64. http://dx.doi.org/10.1080/05908876.2016.1165954.
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By 1979 the British fashion designer Zandra Rhodes (b. 1940) was well established and internationally renowned for her colourful hand screen-printed silk chiffon crinoline dresses. The femininity of her chiffon dresses ensured their continuation as best–sellers beyond 1979, but little has been written about her other dress designs during the 1980s. During this period Rhodes introduced new styles including her heavily beaded ‘exotic tunics’ and designer saris worn over hip panniers. Zandra Rhodes’ designs were perceived as feminine when worn by the designer herself, her models and her clientele; and represented as feminine in their portrayal in magazines and newspapers at the time. Using original records held in the Zandra Rhodes Archives, London, as well as material gathered during the Zandra Rhodes Digital Study Collection project (Jisc, 2011–2013), this article examines the period 1979–1988 within a framework of feminine representation and also considers Rhodes’ proposition that her designs are ‘works of art’.
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Hodgson, Derek. "Altered States of Consciousness and Palaeoart: an Alternative Neurovisual Explanation." Cambridge Archaeological Journal 16, no. 1 (January 26, 2006): 27–37. http://dx.doi.org/10.1017/s0959774306000023.
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There has been much controversy recently regarding Lewis-Williams's assertion that altered states of consciousness and shamanism can explain Palaeolithic art. Evidence now seems to be accumulating that this account is unable to provide a sustainable explanation for Upper Palaeolithic depictions. This proposition will be explored and substantiated by examining further weaknesses contained therein. Additionally, in response to claims by those defending altered states that no alternative explanation for palaeoart has been proposed as a viable alternative, it will be shown that such a description does exist but has not been given the attention it deserves because of a misplaced concern for shamanism.
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Marquez, Renata. "A LÍNGUA DAS ONÇAS E DAS LONTRAS / The language of jaguars and otters." arte e ensaios 26, no. 40 (December 2, 2020): 361–73. http://dx.doi.org/10.37235/ae.n40.25.
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O artigo reflete sobre a relação entre estética e política tendo como ponto de inflexão a proposição cosmopolítica apresentada por Isabelle Stengers em 1997. A partir do diálogo com obras de Denilson Baniwa e de Isael Maxakali, este ensaio discute o encontro de conceitos da filosofia política com conceitos antropológicos, no intuito de vislumbrar outra história da arte, em presença da epistemologia estética indígenas.Palavras-chave: Arte e política; Cosmopolítica; Isael Maxakali; Denilson Baniwa.AbstractThe article reflects on the relationship between aesthetics and politics with the cosmopolitical proposition presented by Isabelle Stengers in 1997 as a turning point. Based on the dialogue with works by Denilson Baniwa and Isael Maxakali, this essay discusses the meeting of concepts of political philosophy with anthropological concepts, in order to glimpse another history of art, in the presence of indigenous aesthetic epistemology.Keywords: Art and politics; Cosmopolitics; Isael Maxakali; Denilson Baniwa.
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Simonsen, Karen-Margrethe. "OVERVÅGNING SOM LOVGIVNING - HASAN ELAHI OG SURVEILLANCE CAMERA PLAYERS SOM EKSEMPEL." K&K - Kultur og Klasse 38, no. 110 (December 29, 2010): 129–46. http://dx.doi.org/10.7146/kok.v38i110.15778.
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SURVEILLANCE AS LAW. CASE-STUDIES OF HASAN ELAHI AND THE SURVEILLANCE CAMERA PLAYERSThis article traces sousveillance strategies in two pieces of contemporary art, namely in Hasan Elahi’s Tracking Transience (2002), and 1984 by The Surveillance Camera Players. It discusses the ways that contemporary art reflects surveillance in an ironic and metareflective way. The article is based on the idea that the conditions for understanding the logics of surveillance have changed since World War II. It takes its point of departure in Gilles Deleuze’s proposition that we live in post-disciplinarian societies and that contemporary surveillance should be understood not according to the logic of the panopticon but according to the logic of a coded ‘control society’ based on modulations. It also follows the idea, proposed by Larry Catá Backer that surveillance not only is a phenomenon facilitated by law but is also a phenomenon that creates its own law and regulation.
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Leone, Grace. "Application to Occupy." Journal of Public Space 3, no. 1 (April 30, 2018): 103–8. http://dx.doi.org/10.5204/jps.v3i1.321.
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Urban Animators: Living Laboratory (UA:LL) was a public art research project that actively engaged with the RMIT University New Academic Street capital works project, undertaken at the Melbourne city campus from 2015-2017. The construction site and the surrounding campus were envisaged as a living laboratory encouraging research that engaged with the internal infrastructure, process and community of RMIT University.As curator of the UA:LL public art program I created a framework that encouraged collaboration, provocation, solidarity and exchange amongst RMIT University students, staff and alumni. This was achieved through the process of open expression of interests, learning and teaching, invited artists and industry research partnerships all resulting in public artworks embedded in the construction zone. The artistic installations included public artworks on construction hoardings and projections within the constriction zone that positively activated the site condition and helped mitigate the disruption occurring on the campus.As a curator, artist and designer I proposed a spatial curatorial proposition to the city via a public art installation titled ‘Gantry Section D’ as part of the UA:LL program. ‘Gantry Section D’ was the result of an intensive period of practice based investigation into the condition created when a city is undergoing transformation.
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Vinodan, A., and S. Meera. "Exploring the Relevance of Cultural Resource Management: A Case Study of Kalaripayattu." Journal of Heritage Management 3, no. 1 (June 2018): 71–86. http://dx.doi.org/10.1177/2455929618773388.
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Kalari is the Malayalam (language spoken in Kerala) word for a special kind of gymnasium, where the martial art known as Kalaripayattu is practised based on the idea of a sound mind in the sound body. It is one of the most ancient and comprehensive art form of India rather the world, because it has an excellent system of physical training, effective self-defence techniques, both armed and unarmed, training for excellent flexibility for physical and mental strength and is based on the Dravidian culture of India. Kalaripayattu is considered as the basis for all martial arts. This martial art has been practised on the basis of a scientific system of medicine called Kalarichikilsa ( Kalari-related treatment). This article investigates the potential of cultural heritage resources from a supply and demand perspective, as cultural resource management is the need of the hour to preserve and commercialize cultural and heritage resources. The study reveals that cultural heritage resources like Kalaripayattu could become a unique selling proposition of Indian tourism market, provided these resources are protected, preserved and encouraged through effective promotion strategies in various target markets.
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Cristiano Lanza Savegnago, Lorena Inês Peterini Marquezan, and Daniel Luís Arenhardt. "Knowledge management in the context of academic libraries: the state of the art in brazilian studies." Revista Tempos e Espaços em Educação 13, no. 32 (March 27, 2020): 1–21. http://dx.doi.org/10.20952/revtee.v13i32.13069.
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The objective is to identify and analyze, based on the state of the art, how Knowledge Management (KM) has been approached in university libraries. This is a bibliographic search, based on theses, dissertations and papers available in the Digital Library of Theses and Dissertations of the Higher Education Personnel Improvement Coordination, as well as in the Journal Portal, from 2009-2018. We found 13 papers (dissertations and theses), of which 6 were selected due to their proximity to the research theme. In the Journal Portal were recovered 584 papers that, after a “floating reading”, were selected 9. The results show that Knowledge Management has been approached through comparative study, instrument proposition to diagnose or manage information and knowledge in an integrated way, experience reports on Knowledge Management practices, among others. However, in most of the investigated institutions, KM is adopted in a non-systematic way, decreasing it effectiveness.
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Christophe, Sidonie, and Charlotte Hoarau. "Expressive Map Design Based on Pop Art: Revisit of Semiology of Graphics?" Cartographic Perspectives, no. 73 (September 1, 2012): 61–74. http://dx.doi.org/10.14714/cp73.646.
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Is aesthetics an objective in the map design process? This question echoes our long-term research: does aesthetic quality improve map efficiency? In this paper, we discuss the notions of aesthetic response, objective and experience proposed by Kent (2005), and their relevance for making more expressive personalized maps. We first present the state of present research related to these notions and our interpretations. Then we present asystematic approach for rendering geographic data in a cartographic style based on the visual properties of Pop Art; the resulting maps are more vibrant and expressive. We consider this result a first step towards enhancing map quality. The proposition of a Pop Art cartographic style leads us to revisit some theoretical and practical principles of Semiology of Graphics (Bertin 1967), considering our experience with color contrasts and new approach for using texture. We conclude that expressive cartographic renderings would be useful for every mapmaker, and in the context of personalized map design, providing more elaborate tools could improve the design process and the resultant maps. Improving map quality is a question of managing visual variables in a traditional way—according to Bertin’s Semiology of Graphics—but also in a more artistic way, in order to find better cartographic representation according to the preferences, needs, and purposes of the mapmaker.
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Davis, Wayne A. "Cognitive propositions and semantic expressions." Intercultural Pragmatics 18, no. 3 (June 1, 2021): 337–58. http://dx.doi.org/10.1515/ip-2021-2012.
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Abstract Building on their well-known act theory of propositions, Soames and Hanks have proposed a theory of what it is for sentences to express propositions, thereby answering a central question about the foundations of semantics. The basic idea is that for a sentence to express a proposition in a language is for speakers of the language to use the sentence to perform the act that is the proposition. I argue that this general account of expression fails to explain how incorrect usage is possible, how what sentences express differs from what they implicate, how unused sentences can express propositions, how compositional meanings are possible, and how to specify who the speakers of L are without circularity. I go on to show how these things can be explained within the structured cognitive proposition framework.
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Makarius, Michel. "Les pierres du temps." Protée 35, no. 2 (February 5, 2008): 75–80. http://dx.doi.org/10.7202/017469ar.
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« C’est tout l’attrait des ruines de permettre qu’une oeuvre humaine soit presque perçue comme un produit de la nature ». Tout en confirmant cette thèse de Simmel, le premier Romantisme (Novalis, Schiller) développe une « rêverie minéralogique » (Breton) où nature et culture échangent leurs signes : l’art est apprécié pour son matériau naturel tandis que les formes de la nature sont envisagées sous leur aspect esthétique. En interrogeant cette rêverie dans le cadre de la modernité du Land Art de Robert Smithson, nous voyons comment, là encore, la proposition de Simmel s’inverse de telle sorte que c’est tout l’attrait des ruines de permettre qu’une oeuvre de la nature soit presque perçue comme un produit de l’art.
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Rodríguez Echavarria, Karina, and Jaime Kaminski. "Deploying 3D technologies for the documentation of tangible cultural heritage." Virtual Archaeology Review 3, no. 5 (May 13, 2012): 116. http://dx.doi.org/10.4995/var.2012.4539.
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<p>Increasingly, visitors and cultural heritage professionals expect more from 3D technologies. The 3D-COFORM project aims to make 3D technology a practical proposition for use in the cultural heritage sector. While developing state of the art tools targeted to a diverse group of users, the project is also researching on the practical issues for the technologies’ implementation on heritage organisations. This paper describes the methodology to achieve this; as well as different types of testing conducted by the project. Moreover, it proposes three deployment models and describes one of them in more detail. Although, these results are preliminary they are expected to contribute towards the sector considering 3D technologies as a sustainable option.</p>
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Dong-Ho Chang. "A Proposition and the Problem of Textbooks and the Curriculum of Elementary School Art in the View of Creative Expression." Journal of Research in Art Education 13, no. 2 (July 2012): 153–74. http://dx.doi.org/10.20977/kkosea.2012.13.2.153.
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Boltz, Valerie F., Cristina Ceriani, Jason W. Rausch, Wei Shao, Michael J. Bale, Brandon F. Keele, Rebecca Hoh, et al. "CpG Methylation Profiles of HIV-1 Proviral DNA in Individuals on ART." Viruses 13, no. 5 (April 29, 2021): 799. http://dx.doi.org/10.3390/v13050799.
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The latent HIV-1 reservoir is comprised of stably integrated and intact proviruses with limited to no viral transcription. It has been proposed that latent infection may be maintained by methylation of pro-viral DNA. Here, for the first time, we investigate the cytosine methylation of a replication competent provirus (AMBI-1) found in a T cell clone in a donor on antiretroviral therapy (ART). Methylation profiles of the AMBI-1 provirus were compared to other proviruses in the same donor and in samples from three other individuals on ART, including proviruses isolated from lymph node mononuclear cells (LNMCs) and peripheral blood mononuclear cells (PBMCs). We also evaluated the apparent methylation of cytosines outside of CpG (i.e., CpH) motifs. We found no evidence for methylation in AMBI-1 or any other provirus tested within the 5′ LTR promoter. In contrast, CpG methylation was observed in the env-tat-rev overlapping reading frame. In addition, we found evidence for differential provirus methylation in cells isolated from LNMCs vs. PBMCs in some individuals, possibly from the expansion of infected cell clones. Finally, we determined that apparent low-level methylation of CpH cytosines is consistent with occasional bisulfite reaction failures. In conclusion, our data do not support the proposition that latent HIV infection is associated with methylation of the HIV 5′ LTR promoter.
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MANNING, PETER. "The significance of techné in understanding the art and practice of electroacoustic composition." Organised Sound 11, no. 1 (March 15, 2006): 81–90. http://dx.doi.org/10.1017/s1355771806000112.
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The birth of electroacoustic music is associated with an era of creativity which is now firmly embedded in the past. As the years advance so the opportunities for evaluating the pioneering years of the medium become increasingly remote. Few can now claim first-hand experience of working with the technologies that shaped and influenced the evolution of the early repertory, and many commentators are content to see them consigned to the museum. Others are less sure, having become aware of a number of features that appear to have no parallels in the modern all-digital domain. This article is predicated on the proposition that the functional characteristics of the equipment available during the formative years materially influenced the ways in which composers developed their compositional aesthetic. By studying the characteristics of the resulting interactions, important clues emerge as to the true nature of this engagement. Central to this study is the nature of the techné involved in these processes of creativity, and the significance of this is evaluated in the context of establishing a case for further research in this area. Particular attention is paid to the role of the tape recorder in this context, in particular its influence on the development of spatialisation techniques.
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Schönher, Mathias. "Gilles Deleuze’s Philosophy of Nature: System and Method in What is Philosophy?" Theory, Culture & Society 36, no. 7-8 (February 14, 2019): 89–107. http://dx.doi.org/10.1177/0263276418820954.
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For its elliptical style, What is Philosophy? appears to be fragmentary and inscrutable, and its reception has been correspondingly contentious. Following an intimation by Gilles Deleuze himself, this article proposes that his final book, written in collaboration with Félix Guattari, contains a philosophy of nature. To address this proposition, the article begins by outlining the comprehensive system of nature set out in What is Philosophy?, defining it as an open system in motion that conjoins philosophy with the historical preconditions and intersects it with science and art. The article then addresses the precise method whereby the philosopher as an individual subject, emerging from nature, can succeed in becoming creative – that is, in creating concepts to bring forth new events. Finally, the brain turns out to be the pivot between the system and this method. What is Philosophy? thus presents an account of the brain based on a theory of the three specific planes of philosophy, science and art, and uses it to expand upon the idea of assemblage for a philosophy of nature.
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Whalley, Ian. "Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages." Organised Sound 17, no. 1 (February 14, 2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.
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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.
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Allen, Barry. "To Really see the Little Things: Sage Knowledge in Action." Journal of Chinese Philosophy 42, no. 3-4 (March 3, 2015): 359–70. http://dx.doi.org/10.1163/15406253-0420304008.
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Sage knowledge knows the evolution of circumstances from an early point, when tendencies may be inconspicuously, “effortlessly” diverted. This knowledge is expressed, not “represented,” being an intensive quality of action rather than of belief, proposition, or theory, and its effortlessness is not a matter of effort versus no effort, but of the intensity with which effort tends to vanish. The value of such knowledge and the explanation of its accomplishment in terms of perceiving incipience or “really seeing the little things” crisscross lines among Confucians, Neo-Confucians, Daoists, and Art of War thinkers. What distinguishes these currents arises not from different definitions or justifications of knowledge but instead different ideas about how to acquire such knowledge and especially how to train it for wisdom.