Academic literature on the topic 'Art Exhibition techniques Social aspects'
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Journal articles on the topic "Art Exhibition techniques Social aspects"
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Ab Gani, Muhamad Abdul Aziz, and Ishak Ramli. "Editorial Preface." Idealogy Journal 4, no. 2 (September 28, 2019): 1. http://dx.doi.org/10.24191/idealogy.v4i2.265.
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We would like to present, with great pleasure, the third volume of a scholarly journal, journal of arts and social Science. This journal is devoted to the gamut of arts and social science issues, from theoretical aspects to application-dependent studies and the validation of emerging technologies in arts. This journal was envisioned and founded to represent the growing needs of arts and social science as an emerging and increasingly vital field, Its mission is to become a voice of the arts and social science community, addressing researchers and practitioners in areas ranging from arts to applied arts, from design to technology in design, from humanity to social science, presenting verifiable arts methods, findings, and solutions. Transactions on arts focuses on original high-quality research in the realm of social science in parallel and distributed environments, encompassing facilitation of the theoretical foundations and the applications of arts to massive daily life. The Journal is intended as a forum for practitioners and researchers to share arts techniques and solutions in the area, to identify new issues and to shape future directions for research. In this issue, is discussing about art, design, and culture in various area. This special edition focusses on several issue in Art. The writings in this issue reflect the artworks in the exhibition title STILL (A) LIVE organized by Department of Fine Art, Faculty of Art & Design, UiTM Perak. The collaborator researcher shared their in-depth description of the improvement of civilization in Asian
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained." Dance Research 36, no. 2 (November 2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.
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Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.
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Moore, Kelli. "Techniques of Abstraction in Black Arts." Meridians 21, no. 2 (October 1, 2022): 413–35. http://dx.doi.org/10.1215/15366936-9882119.
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Abstract This review essay discusses recent exhibitions and accompanying art books published at the threshold of Black philosophy and aesthetics in relation to feminist mourning practices: Nicole Fleetwood’s book and exhibition Marking Time: Art in the Age of Mass Incarceration (2020); Grief and Grievance, an exhibition (2021); a book (2020) conceived by the late Nigerian curator Okwui Enwezor; and Saturation: Race, Art, and the Circulation of Value (2020), edited by C. Riley Snorton and Hentyle Yapp. These books and several others elucidate how relationships between transnational feminism, mourning, and Black works of art speak to Frantz Fanon’s idea of “the leap into existence,” Hortense Spillers’s “dialectics of a global new woman,” and David Marriott’s psycho-political analysis of invention.
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Kordiš, Meta. "The 1980s and Present in Maribor -- Creativity and Déjà Vu." Anthropological Journal of European Cultures 24, no. 2 (September 1, 2015): 55–75. http://dx.doi.org/10.3167/ajec.2015.240205.
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The article discusses the process of setting up an exhibition presenting the fragments of alternative creative practices in 1980s Maribor (Slovenia) in an art museum. Within an interdisciplinary approach – art historical, museological and anthropological, which is in focus here – I try to understand how such a heritage of alternative creative practices is constructed and produced. Furthermore, the question of the anthropological potentiality of exhibition-making as a method for researching certain aspects of urban practices and development is considered. During the exhibition the art museum became a collaborative place for negotiating, mediating and constructing a heritage between an imagined community of (once) alternative individuals and collectives who participated in the exhibition, the museum staff, visitors and the media. The exhibition was echoed in some other events in the city as it also addressed contemporary artistic, cultural and social issues in Maribor.
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Skov, Marie Arleth. "The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice." Punk & Post-Punk 9, no. 3 (November 1, 2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.
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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.
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Waryanti, Dessy Rachma. "KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER." INVENSI 1, no. 2 (April 26, 2017): 1–12. http://dx.doi.org/10.24821/invensi.v1i2.1611.
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Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and social response at contemporary art exhibitions has been used as a base for this research. This study aims to highlight the different interest priorities as a visitor behaviour and audiens reception due to exhibition. I My respondences in this research is the exhibition visitors who had a background in art, but not necessarily in the discipline being exhibited. The results of this study will serve to determine the interest of art exhibition patrons, so that artists and curators can be made more aware of the gaps that exist between exhibit creation and viewer interest, and how those gaps can be better closed.
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O.A., Kostjuchenko, Bolotov G.I., and Birillo I.V. "SPECIAL ASPECTS OF ARCHITECTURAL AND PLANNING ARRANGEMENT OF ART CENTRES IN UKRAINE." International Journal of Engineering Technologies and Management Research 7, no. 2 (March 17, 2020): 103–10. http://dx.doi.org/10.29121/ijetmr.v7.i2.2020.523.
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The authors of the article investigate the special aspects of architectural and planning arrangement of art centres in Ukraine in comparison with the arrangement of art centres in the US, taking into account peculiar cultural, ethnic, and mentality features. The research technique is based on a method of comparative analysis to identify common features and differences and further develop recommendations. It has been established that introvert nature of Ukrainians, which is one of their key features, is the prerequisite for the use of certain techniques in the arrangement of space in art centres and, thus, has an effect on their architectural and planning arrangement. The use of certain subjects, the use of subject boundaries between parts of the exhibition, and other functional areas are one of such techniques. It has been suggested to use scripts of visual practices used, based on the studying of types of interrelations between humans and the outside world and their perception of the architectural space. The conducted research, dedicated to art centres in Ukraine, shows the need to take into account the peculiarities of Ukrainian culture and mentality in the development of architectural and planning arrangement of buildings for the art centres.
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Hornyik, Sándor. "Miklós Erdély, Ernst Bloch, Kurt Gödel, and Hidden Green." ARTMargins 11, no. 1-2 (February 2022): 94–101. http://dx.doi.org/10.1162/artm_a_00316.
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Abstract The introductory text interprets Eszter Bartholy's article about Miklós Erdély's exhibition Hidden Green. Bartholy's article is based on an interview with Erdély, and contain direct and indirect quotes from one of the most significant Hungarian neo-avant-garde artist. The introductory text describes how Erdély's own interpretation of his exhibition Hidden Green is present in Bartholy's article. Bartholy's analysis of Hidden Green sheds light on the way that Erdély combines ars poetica and art theory, while directly reflecting on utopia and on the social function and significance of art. While the text about Hidden Green seems like the interpretation of an exhibition, Bartholy and Erdély, in a virtual dialogue with thinkers including Ernst Bloch, Kurt Gödel, and Allan Kaprow, also make categorical claims about art theory and social theory. The introductory text argues that Erdély's Hidden Green and Bartholy's article connected and confronted–in the spirit of neo-avant-garde montage techniques–Hungarian popular and folk culture, Marxist aesthetic theories of utopias, and the paradoxes of modern natural sciences.
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Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.
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The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.
Dissertations / Theses on the topic "Art Exhibition techniques Social aspects"
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Weier, Katrina. "Lessons from an interactive exhibition: Defining conditions to support high quality experiences for young children." Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/36628/1/36628_Digitised%20Thesis.pdf.
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During their early years, young children are exposed to a range of learning settings, both formal and informal. This study focused on young children's engagement and reflection in an informal museum context. Using qualitative research methodology, a three-week community art project, The Art of Eric Carle, was examined. This setting combined an interactive art exhibition and an art studio workshop, to resemble the informal learning context characteristic of popular, contemporary, interactive museum venues of all kinds. Through a descriptive interpretative analysis, the study aimed to document the experiences and abilities of young children (aged birth to eight years) as artists and art appreciators within this environment. A broader aim of the study was to identify a range of conditions that support high quality experiences for young children in informal learning settings in general. A detailed set of ideal criteria, encompassing the physical, programming and social components of the learning setting was developed and applied to The Art of Eric Carle project.
The findings of the study clearly demonstrated that certain conditions enhance young children's engagement and reflection in informal learning settings. While physical, programming and social factors all play a role in forming young visitors' experiences, it is the social component of the learning environment, specifically children's interactions with adults, that determines the quality of their encounters. Social exchanges assist children to interpret the museum environment and its exhibits and to successfully take part in the learning experiences offered. A synergistic relationship exists between physical, programming and social factors, and with equal attention given to each of these aspects of the informal learning setting, high quality experiences can be provided for young children.
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Kidd, Verity. "Perfection? - Recreating the human : an exhibition of works by Orlan, Patricia Piccinini, Margi Geerlinks and Jake and Dinos Chapman." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0036.
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Perfection? - Recreating the Human is an exhibition of recent works of art by Orlan, Patricia Piccinini, Margi Geerlinks and Jake and Dinos Chapman. Each of the artists engages, in various ways, with issues relating to biotechnology and the body. The convergence of technology and the body arouses both utopian desires and dystopian nightmares; many of these desires and fears are prefigured in ancient myth and legend. The artists and artworks are therefore discussed with reference to reoccurring tropes from both ancient myth and science fiction.
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Milton-Smith, Melissa. "A conversation on globalisation and digital art." University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.
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Globalisation is one of the most important cultural phenomena of our times and yet, one of the least understood. In popular and critical discourse there has been a struggle to articulate its human affects. The tendency to focus upon macro accounts can leave gaps in our understanding of its micro experiences.1 1 As Jonathon Xavier Inda and Renato Rosaldo argue there is a strong pattern of thinking about globalisation 'principally in terms of very large-scale economic, political, or cultural processes'. (See: Jonathon Xavier Inda and Renato Rosaldo (Eds.), The Anthropology of Globalisation: A Reader, Malden, Blackwell Publishing, 2002, p. 5.) In this thesis, I will describe globalisation as a dynamic matrix of flows. I will argue that globalisation's spatial, temporal, and kinetic re-arrangements have particular impacts upon bodies and consciousnesses, creating contingent and often unquantifiable flows. I will introduce digital art as a unique platform of articulation: a style borne of globalisation's oeuvre, and technically well-equipped to converse with and emulate its affects. By exploring digital art through an historical lens I aim to show how it continues dialogues established by earlier art forms. I will claim that digital art has the capacity to re-centre globalisation around the individual, through sensory and experiential forms that encourage subjective and affective encounters. By approaching it in this way, I will move away from universal theorems in favour of particular accounts. Through exploring a wide array of digital artworks, I will discuss how digital art can capture fleeting experiences and individual expressions. I will closely examine its unique tools of articulation to include: immersive, interactive, haptic, and responsive technologies, and analyse the theories and ideas that they converse with. Through this iterative process, I aim to explore how digital art can both facilitate and generate new articulations of globalisation, as an experiential phenomenon.
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Knutson, Karen Leslie. "Hanging Emily : exhibition strategies and Emily Carr." Thesis, 1999. http://hdl.handle.net/2429/10784.
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This study examines the impact of new museological theory on museum education
practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a
case study that concerns both the negotiation of meanings around Emily Carr's work as they
are situated within current and traditional art historical/ historical beliefs, and the desire to offer
museum visitors a more sufficient or comprehensive educational experience.
The dissertation examines the installation of Carr in a variety of galleries across
Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver
Art Gallery) as a means of contextualizing a range of problems associated with museum
practice. The National Gallery chapter explores issues of ideology raised by the new
museology. The chapter concerning the display at the Art Gallery of Greater Victoria
concerns the particularities of site and place (Victoria was Carr's birthplace) as well as
notions of resonance and contextualization in art displays. The discussion of the Art Gallery
of Ontario concerns contextualization of a different sort, the display created with a solid
foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with
that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of
subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the
Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in
the earlier chapters, by the challenges of post-modem theorists to historical understanding,
historiography, and museum practice.
Books on the topic "Art Exhibition techniques Social aspects"
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space.time.narrative: The exhibition as post-spectacular stage. Burlington: Ashgate Publishing Company, 2011.
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Museum skepticism: A history of the display of art in public galleries. Durham: Duke University Press, 2006.
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Manasseh, Cyrus. The problematic of video art in the museum, 1968-1990. Amherst, NY: Cambria Press, 2009.
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The problematic of video art in the museum, 1968-1990. Amherst, NY: Cambria Press, 2009.
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Manasseh, Cyrus. The problematic of video art in the museum, 1968-1990. Amherst, N.Y: Cambria Press, 2009.
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Chronik einer Nicht-Ausstellung: Between (1969-73) in der Kunsthalle Düsseldorf. Berlin: Reimer, 2006.
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Spaces of experience: Art gallery interiors from 1800-2000. New Haven: Yale University Press, 2009.
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Depositions: Scenes from the late medieval church and the modern museum. New York: Zone Books, 2012.
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Boyce, Sonia. Peep: 29 April - 1 August 1995. London: Institute of International Visual Arts, 1995.
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Bolland, Denise Dillon, and Daryll Bellingham. Expo '88 revisited: A compilation of stories, reports and newspaper articles relating to homelessness, affordable housing and community spirit in South Brisbane and West End 1983-2008. Brisbane, Qld: Brisbane City Council, 2008.
Find full textBook chapters on the topic "Art Exhibition techniques Social aspects"
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Broeckmann, Andreas. "Toward the Art and Aesthetics of the Machine." In Machine Art in the Twentieth Century. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035064.003.0003.
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This chapter provides an analysis of the basic aspects of an “aesthetics of the machine”. It focuses on two pivotal moments in the twentieth century history of machine art, one being the 1968 exhibition “The Machine as Seen at the End of the Mechanical Age”, curated by Pontus Hultén. The other example is the opening scene of Filippo Marinetti’s first futurist manifesto, published in 1909, in which the advent of futurism is marked by a symbolically charged car accident that preceded Marinetti’s hymn to the new technical culture. From here, and drawing mainly on artistic examples from Hultén’s exhibition (incl. Francis Picabia, Marcel Duchamp and Jean Tinguely), the author highlights five distinct aspects that have characterized the “machine aesthetic” until the 1960s: the “associative” reference to the social meanings of technology, often used to make a provocative claim against the assumptions of artistic ingenuity; the “symbolic” reference to mechanics as a way to describe aspects of human culture and psychology; the “formalist” appraisal of the beauty of functional forms; the play with “kinetic” functions as a way to broaden the expressive potentials of sculpture; and the “automatic” operation of machines that underpins their functional independence and their existential strangeness.
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Manogaran, Gunasekaran, Chandu Thota, and Daphne Lopez. "Human-Computer Interaction With Big Data Analytics." In Advances in Human and Social Aspects of Technology, 1–22. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2863-0.ch001.
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Big Data has been playing a vital role in almost all environments such as healthcare, education, business organizations and scientific research. Big data analytics requires advanced tools and techniques to store, process and analyze the huge volume of data. Big data consists of huge unstructured data that require advance real-time analysis. Thus, nowadays many of the researchers are interested in developing advance technologies and algorithms to solve the issues when dealing with big data. Big Data has gained much attention from many private organizations, public sector and research institutes. This chapter provides an overview of the state-of-the-art algorithms for processing big data, as well as the characteristics, applications, opportunities and challenges of big data systems. This chapter also presents the challenges and issues in human computer interaction with big data analytics.
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Hussain, Mumtaz, Samrina Siddiqui, and Noman Islam. "Social Engineering and Data Privacy." In Fraud Prevention, Confidentiality, and Data Security for Modern Businesses, 225–48. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-6581-3.ch010.
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This paper presents the concept of social engineering. The internet has completely changed the mode of operations of modern-day systems. There are billions of internet users and this number is rising every day. Hence, ensuring the security is very important for any cyber physical systems. This paper focuses on one of the very important aspects of cyber security, i.e., social engineering. It is defined as a set of techniques of human manipulation by exploitation of the basic emotions of human beings. Different institutions deploy state-of-the-art systems to protect the data housed in their datacenter. However, it is also essential that an individual must secure their personal information from the social engineers. Hence, this paper discusses the data privacy issues and various relevant techniques under the umbrella of social engineering. It discusses various social engineering techniques and summarizes those techniques, thus concluding the paper.
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Alves da Veiga, Pedro, Mirian Tavares, and Heitor Alvelos. "Toward a B-Society Model." In User Innovation and the Entrepreneurship Phenomenon in the Digital Economy, 194–216. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2826-5.ch010.
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This chapter seeks to legitimize the biological ecosystem concept as an expanded analogy for representing relationships between agents of the social, cultural and artistic systems involved in the creation, research, exhibition, enjoyment, experimentation and education of digital media art, including organisational, participatory and socio-economic integration aspects. It also aims at demonstrating the virtual/material dichotomy anachronism, proposing as an alternative the blended reality concept. By exploring the mechanisms of individual artistic and intellectual emancipation of the digital media art universe, it seeks to demonstrate how the relationships between the various ecosystem agents are becoming increasingly blended, leading to the creation of b-ecosystems, in short, a b-society.
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Jabin, Suraiya, and K. Mustafa. "A Survey of Semantic Web Based Architectures for Adaptive Intelligent Tutoring System." In Multidisciplinary Computational Intelligence Techniques, 239–56. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-1830-5.ch015.
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Most recently, IT-enabled education has become a very important branch of educational technology. Education is becoming more dynamic, networked, and increasingly electronic. Today’s is a world of Internet social networks, blogs, digital audio and video content, et cetera. A few clear advantages of Web-based education are classroom independence and availability of authoring tools for developing Web-based courseware, cheap and efficient storage and distribution of course materials, hyperlinks to suggested readings, and digital libraries. However, there are several challenges in improving Web-based education, such as providing for more adaptivity and intelligence. The main idea is to incorporate Semantic Web technologies and resources to the design of artificial intelligence in education (AIED) systems aiming to update their architectures to provide more adaptability, robustness, and richer learning environments. The construction of such systems is highly complex and faces several challenges in terms of software engineering and artificial intelligence aspects. This chapter addresses state of the art Semantic Web methods and tools used for modeling and designing intelligent tutoring systems (ITS). Also it draws attention of Semantic Web users towards e-learning systems with a hope that the use of Semantic Web technologies in educational systems can help the accomplishment of anytime, anywhere, anybody learning, where most of the web resources are reusable learning objects supported by standard technologies and learning is facilitated by intelligent pedagogical agents, that may be adding the essential instructional ingredients implicitly.
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Park Huntington, Yumi. "Mapping Motifs and Techniques: Tracing the Development and Transmission of Cupisnique-style Engraved Head Images." In Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder, 196–232. University of Houston Libraries, 2022. http://dx.doi.org/10.52713/aram8873.
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Archaeologists have long identified the ceramics of the ancient Chancay, Zaña, Jequetepeque, and Chicama Valleys of Peru as being in the <jats:italic>Cupisnique</jats:italic> style. Many of these ceramics also exhibit variations of thinly engraved head motifs, which I have previously argued serve as emblems of a unified cultural identity in the region. The appearance and frequency of such post-fired engravings has not previously been specifically quantified or mapped to the specific locations where these objects were unearthed. Through a number of charts, this paper maps the origins of 62 engraved <jats:italic>Cupisnique</jats:italic>-style vessels, including 30 examples currently held in the collection of the Museo Arqueológico Rafael Larco Herrera, for which archaeological data is available, showing distinct regional differences even within the <jats:italic>Cupisnique</jats:italic> style and suggesting that it may be possible to trace more precisely the development and dissemination of post-firing engraved motifs, which are still little understood. Beyond just identifying a singular <jats:italic>Cupisnique</jats:italic> style, then, a more precise mapping of the available archaeological record allows us to trace local developments and transmissions even within a region previously defined only by a single cultural/stylistic identity. Indeed, differences in imagery between sites suggest noteworthy variations in social, economic, and symbolic aspects of each community.
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Monteiro, Stephen. "Private Dis-Pleasures: Mona Hatoum, Mediated Bodies and the Peep Show." In Screen Presence. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403375.003.0004.
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In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn peepshows and MRI, both of which were newsworthy in Britain (for very different reasons) when Hatoum left Lebanon to study art in London in the 1970s, this chapter provides a close analysis of a handful of her installations, chief among them her Corps Etranger of 1994. It examines how Hatoum’s heavily mediated images and carefully constructed environments raised questions about gender, sexuality, and the identity politics of social space. Just as peepshows became political battlegrounds eliciting heavy government regulation by testing the rules of public space and social interaction, Hatoum’s installations tested the rules and expectations of art exhibition spaces. These works opened zones where visitors would become equally aware of the potential for transgression and surveillance in their own daily performance of body and self.
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Pirrone, Roberto, Vincenzo Cannella, Giuseppe Russo, and Arianna Pipitone. "A Cognitive Dialogue Manager for Education Purposes." In Conversational Agents and Natural Language Interaction, 107–27. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-60960-617-6.ch005.
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A conversational agent is a software system that is able to interact with users in a natural way, and often uses natural language capabilities. In this chapter, an evolution of a conversational agent is presented according to the definition of dialogue management techniques for the conversational agents. The presented conversational agent is intended to act as a part of an educational system. The chapter outlines the state-of-the-art systems and techniques for dialogue management in cognitive educational systems, and the underlying psychological and social aspects. We present our framework for a dialogue manager aimed to reduce the uncertainty in users’ sentences during the assessment of his/her requests. The domain is the development of a new generation of Intelligent Tutoring Systems (ITS) enabled with meta-cognitive abilities to make the learning process more effective. The architecture of the developed systems is explained in detail, along with some experimental results, and a possible vision for the future of these systems is presented.
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Klock, Ana Carolina Tomé, Isabela Gasparini, Marcelo Soares Pimenta, and José Palazzo M. de Oliveira. "Adaptive Hypermedia Systems." In Encyclopedia of Information Science and Technology, Fourth Edition, 6424–34. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2255-3.ch558.
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Adaptive Hypermedia Systems are systems that modify the different visible aspects based on the user profile. To provide this adaptation, the system is modeled according to a user model, which stores the information about each user. This information can include knowledge, interests, goals and tasks, background and skills, behavior, interaction preferences, individual traits and context of the user. This chapter goal is to introduce Adaptive Hypermedia Systems fundamentals and trends. In this context this chapter identifies some methods and techniques used to adapt the content, the presentation and the navigation of the system. In the end, some applications (ELM-ART, Interbook, AHA!, AdaptWeb®) and trends (standardization, data mining, social web, device adaptation and gamification) are exposed. As a result, this chapter highlights the importance of the improvement and the use of adaptive systems.
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Klock, Ana Carolina Tomé, Isabela Gasparini, Marcelo Soares Pimenta, and José Palazzo M. de Oliveira. "Adaptive Hypermedia Systems." In Advanced Methodologies and Technologies in Media and Communications, 217–28. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7601-3.ch018.
Full textAbstract:
Adaptive hypermedia systems are systems that modify the different visible aspects based on the user profile. To provide this adaptation, the system is modeled according to a user model, which stores the information about each user. This information can include knowledge, interests, goals and tasks, background and skills, behavior, interaction preferences, individual traits, and context of the user. This chapter's goal is to introduce adaptive hypermedia systems fundamentals and trends. In this context, this chapter identifies some methods and techniques used to adapt the content, the presentation, and the navigation of the system. In the end, some applications (ELM-ART, Interbook, AHA!, AdaptWeb®) and trends (standardization, data mining, social web, device adaptation, and gamification) are exposed. As a result, this chapter highlights the importance of the improvement and the use of adaptive systems.
Conference papers on the topic "Art Exhibition techniques Social aspects"
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Darulová, Jolana. "Kultúrne dedičstvo bývalých banských oblastí v zážitkovom lokálnom turizme." In XXIV. mezinárodního kolokvia o regionálních vědách. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9896-2021-39.
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Mining activities in the territory of central Slovakia have left many monuments of technical, architectural, and urbanistic character. These are rich in socio-cultural traditions, too. They formed a significant component of cultural heritage. The study aims to monitor the heritage use in selected localities of Banská Bystrica and Špania Dolina in experience-based local tourism. The starting point was both institutionalized activitie (e.g. museums) and the activities of civic associations. We have used the techniques of participatory observation and semi-standardized interviews with local government representatives and administrators of the researched events in repeated ethnological research. The first part of the study mentions theoretical and methodological aspects of mountain sites usage in tourism. The second part presents selected examples of good practice - from expositions and exhibitions realized in interactive form, educational trails, animations to the elaboration of mining issue in festivals and the socio-cultural calendar of the village. Technical monuments enriched with experiences and stories with the possibility of involving tourists in old technological procedures, or in monitoring the underground working environment of miners, etc., together with consistent popularization, give the presumption that interest in this part of cultural heritage will increase.
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Mendes, Paulo Renato C., Eduardo S. Vieira, Pedro Vinicius A. de Freitas, Antonio José G. Busson, Álan Lívio V. Guedes, Carlos de Salles Soares Neto, and Sérgio Colcher. "Shaping the Video Conferences of Tomorrow With AI." In Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação, 2020. http://dx.doi.org/10.5753/webmedia_estendido.2020.13082.
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Before the COVID-19 pandemic, video was already one of the main media used on the internet. During the pandemic, video conferencing services became even more important, coming to be one of the main instruments to enable most social and professional human activities. Given the social distancing policies, people are spending more time using these online services for working, learning, and also for leisure activities. Videoconferencing software became the standard communication for home-office and remote learning. Nevertheless, there are still a lot of issues to be addressed on these platforms, and many different aspects to be reexamined or investigated, such as ethical and user-experience issues, just to name a few. We argue that many of the current state-of-the-art techniques of Artificial Intelligence (AI) may help on enhancing video collabo- ration services, particularly the methods based on Deep Learning such as face and sentiment analyses, and video classification. In this paper, we present a future vision about how AI techniques may contribute to this upcoming videoconferencing-age.
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Li, Hang, Haozheng Wang, Zhenglu Yang, and Haochen Liu. "Effective Representing of Information Network by Variational Autoencoder." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/292.
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Network representation is the basis of many applications and of extensive interest in various fields, such as information retrieval, social network analysis, and recommendation systems. Most previous methods for network representation only consider the incomplete aspects of a problem, including link structure, node information, and partial integration. The present study proposes a deep network representation model that seamlessly integrates the text information and structure of a network. Our model captures highly non-linear relationships between nodes and complex features of a network by exploiting the variational autoencoder (VAE), which is a deep unsupervised generation algorithm. We also merge the representation learned with a paragraph vector model and that learned with the VAE to obtain the network representation that preserves both structure and text information. We conduct comprehensive empirical experiments on benchmark datasets and find our model performs better than state-of-the-art techniques by a large margin.
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Sexton, Mitra N., Mark I. Scott, David M. Stubbs, and Ab Hashemi. "Integrated Thermal Deformation Modeling and Measurement of Space Optical Systems." In ASME 2005 Summer Heat Transfer Conference collocated with the ASME 2005 Pacific Rim Technical Conference and Exhibition on Integration and Packaging of MEMS, NEMS, and Electronic Systems. ASMEDC, 2005. http://dx.doi.org/10.1115/ht2005-72816.
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A computational and experimental study of the thermal, response and thermally induced deformation of a circular plano mirror (101.6 mm in diameter) undergoing mW heat loading was performed to verify the capability to model the response of a representative imaging optic on the Space Interferometry Mission (SIM) spacecraft. Novel state of the art experimental and computational techniques provided milliKelvin and picometer precision in temperature and deformation prediction and experimental measurement. Mirrors of two different substrates, initially at ambient temperature, were subjected to nominal thermal loading profiles of three 5 hour steps of 12 mW, 54 mW, and 295 mW respectively, representing flight-like and overdrive thermal disturbance conditions. The experimental setup measured milliKelvin level temperature changes using the mKTMS (milliKelvin Temperature Measurement System) instrument and picometer level deformation responses using the CoPHI (Common Path Heterodyne Interferometer) instrument. I-deas/TMG was used to generate an integrated model to predict milliKelvin level temperature changes of the mirror and picometer level deformation responses of the mirror surface. This paper focuses on the thermal modeling and correlation to thermal experimental data of the optical system. Comparison between experimental results and computational models for the thermal aspects of the test show good agreement for the two test mirror materials, fused silica and Zerodur. In particular for the flight-like regime of primary interest, agreement between the experimental temperatures and computational thermal results was within 14%.