Relevant bibliographies by topics / Art galleries

Academic literature on the topic 'Art galleries'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Art galleries"

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Sommer, Robert. "Art from Flotsam." Boom 3, no. 1 (2013): 56–62. http://dx.doi.org/10.1525/boom.2013.3.1.56.

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For thirty years Northern California hosted several informal galleries in which local people constructed unsigned sculpture from flotsam. The work received considerable media publicity. The premier gallery was in Emeryville, but several other locations around the Bay were used, along with subsidiary galleries in Arcata and North Bend, OR. All these tidal galleries have become state parks, nature reserves, or otherwise closed to sculpture-building. Given the creative energy of people in the area, future galleries in other tidal locations are likely to arise.
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Hightower, John B. "Are Art Galleries Obsolete?" Curator: The Museum Journal 12, no. 1 (July 9, 2010): 9–13. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01759.x.

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Toppings, M. Glenn. "Are Art Galleries Obsolete?" Curator: The Museum Journal 12, no. 1 (July 9, 2010): 69–70. http://dx.doi.org/10.1111/j.2151-6952.1969.tb01768.x.

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Carmichael, Stephen W. "Microscopes in Art Galleries?" Microscopy Today 14, no. 6 (November 2006): 3–5. http://dx.doi.org/10.1017/s1551929500058806.

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In addition to concerns about the appearance of a display, curators of art galleries are also concerned about conservation of the artwork and their authenticity. Microscopes have played a role in these latter activities since the 1930s. Various imaging techniques, including X-radiography, infrared reflectography, macrophotography, UV-fluorescence and raking light (light source at a low angle to the surface) imaging have their advantages and disadvantages. Confocal microscopy is most useful compared to the other methods for the purpose of examination of subsurface structure, but the close working distance (a few mm) makes it precarious to use on valuable masterpieces. More recently, Haida Liang, Marta Cid, Radu Cucu, George Dobre, Adrian Podoleanu, Justin Pedro, and David Sauders have demonstrated the usefulness of optical coherence tomography (OCT) for non-destructive examination of artwork. OCT, as discussed previously in this column, is more commonly used to examine biological specimens.
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Czyzowicz, J., E. Rivera-Campo, N. Santoro, J. Urrutia, and J. Zaks. "Guarding rectangular art galleries." Discrete Applied Mathematics 50, no. 2 (May 1994): 149–57. http://dx.doi.org/10.1016/0166-218x(92)00029-l.

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Aldhea Fauziah Rahma. "Analisis Bibliometrik Tentang “Art Galleries” Tahun 2018-2021 pada Scopus." Palimpsest: Jurnal Ilmu Informasi dan Perpustakaan 13, no. 2 (December 20, 2022): 111–25. http://dx.doi.org/10.20473/pjil.v13i2.40757.

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Arts galleries atau galeri seni merupakan tempat dimana para seniman dapat memamerkan hasil karyanya kepada orang-orang. Publikasi ilmiah yang membahas tentang galeri seni atau art galleries masih belum banyak dihasilkan dan publikasi ilmiah tentang art galleries pada Scopus masih belum terbilang banyak. Penelitian ini bertujuan untuk mengetahui dan menganalisis perkambangan publikasi mengenai art galleries tahun 2018-2021. Metode yang digunakan dalam penelitian ini adalah analisis bibliometrika menggunakan VOSviewer dengan sumber data yang berasal dari artikel ilmiah tentang art galleries yang terindeks oleh Scopus pada tahun 2018-2021. Hasil temuan yang didapatkan yaitu publikasi tentang art galleries tahun 2018-2021 berdasarkan data dari Scopus sebanyak 1.581 dokumen. Hasil analisis yang didapatkan berupa network visualization, overlay visualization, dan density visualization dengan dua tipe analisis yaitu co-authorship dan co-occurrence. Kesimpulan dari penelitian ini adalah topik yang paling banyak dibahas pada publikasi ilmiah art galleries tahun 2018-2020 adalah art, human, humans, person re identification, deep learning, state of the art, dan security system.
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Memili, Esra, Hanqing Fang, Gerd-Michael Hellstern, Joanna Ozga, and Dilek Zamantili Nayir. "An Empirical Analysis of Art Galleries." Zeitschrift für Kulturmanagement 2, no. 2 (November 1, 2016): 103–22. http://dx.doi.org/10.14361/zkmm-2016-0206.

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Abstract Despite the extant research on entrepreneurial orientation (EO) and its performance consequences, cultural industries have been under researched. In our paper, we examine the impact of the Entrepreneurial Orientation (EO) on performance as well as performance deviation from industry average in art galleries. The findings of our exploratory study based on responses from 113 art galleries in Istanbul showing that EO improves performance only in galleries with above industry average performance. We further find that the relationship between EO and performance deviation of galleries is U-shaped.
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Terreni, Lisa. "Beyond the Gates: Examining the Issues Facing Early Childhood Teachers when they Visit Art Museums and Galleries with Young Children in New Zealand." Australasian Journal of Early Childhood 42, no. 3 (September 2017): 14–21. http://dx.doi.org/10.23965/ajec.42.3.02.

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EXCURSIONS TO CULTURAL CENTRES, such as art museums and galleries, can add new and valuable learning opportunities for young children. This paper presents the findings from a large scale national questionnaire that asked early childhood (EC) teachers in New Zealand about their engagement with art museums and galleries for learning experiences, outside of their EC centres. As part of a mixed methods research project, the questionnaire also sought to ascertain the degree to which the EC sector uses art museums and galleries as excursion destinations, and the ways in which they are used (or not). The findings suggest that key factors that both help and hinder visiting art museums and galleries with young children include: the pedagogical approaches EC teachers have in relation to visual art education, the ways in which teachers view successful learning opportunities for young children, and a teacher's own perceptions and fears of art museums and galleries. This study suggests that teachers have mixed views about whether visiting art museums and galleries will provide appropriate experiences for young children.
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Hutchinson, Joan P., and Andre Kundgen. "Art Galleries with Walls: 10478." American Mathematical Monthly 105, no. 3 (March 1998): 274. http://dx.doi.org/10.2307/2589095.

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Żyliński, Paweł. "Cooperative guards in art galleries." Dissertationes Mathematicae 450 (2007): 1–132. http://dx.doi.org/10.4064/dm450-0-1.

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Dissertations / Theses on the topic "Art galleries"

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Jonsson, Håkan. "Guarding art galleries with one guard." Licentiate thesis, Luleå tekniska universitet, Datavetenskap, 1995. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-17769.

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Jun, Jinhee. "Perceived constraints to art museums/galleries participation." Texas A&M University, 2003. http://hdl.handle.net/1969.1/1173.

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Research on constraints to leisure and recreation participation has focused on various types of activities in which people would like to participate, are currently participating, or have stopped participating. However, little attention has been made to identify constraints associated with art activities participation. The objectives of this study were to 1) identify factors which limit people's attendance to art museums/galleries; 2) address the issue of the internal heterogeneity between two constrained leisure behaviors; 3) reveal the role of previous participation, interest in future participation, gender and lifecycle in the perception of constraints to art activities; and 4) show the validity of segmentation criteria which are previous participation, interest in future participation, gender and lifecycle. Data from the Survey of Public Participation in the Arts (SPPA 1997) was used in this study. Total sample was divided into four categories by previous participation and interest in future participation. Further, the categories 'participants with interest' and 'non-participants with interest' were sub-divided based on gender and lifecycle. The results revealed that time, cost, access and availability were considered as the most significant constraints to art activity participation across all segments. However, the array and intensity of constraints differed depending on the types of constrained leisure. In addition, different types of constraints were experienced with different intensity by segments defined by previous participation, interest in future participation, gender and lifecycle. The analyses demonstrated that previous participation, interest in future participation, gender and lifecycle were important segmentation criteria in constructing homogeneous groups with respect to perceived leisure constraints.
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Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.

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This thesis attempts to analyze the emergence of private art galleries in Turkey by focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquo
s Gallery, and Society of Artlovers&rsquo
Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.
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Krueger, Pamela. "Counterfeit cultures, cultural appropriation, art by Native artists and Canadian art galleries." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ31446.pdf.

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Kim, Yong-Seung. "An approach to evaluating exhibition spaces in art galleries." Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303059.

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Riding, Deborah. "Challenging the rules of engagement : co-creation of knowledge in the public art museum." Thesis, University of Chester, 2017. http://hdl.handle.net/10034/620832.

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This research examined perceptions of knowledge about art in the gallery and explored the potential of co-creation as a possible model with which to genuinely learn with our audience. Data for the study was generated at a gallery I have been based at throughout the period of undertaking the research. Participants were recruited from this gallery from groups implicated in knowledge co-creation: educators, curators, gallery assistants and audience members. Participants took part in a group workshop at the gallery facilitated by an artist educator, designed to provide opportunities to develop new knowledge together. Following the workshop, participants were interviewed and their experiences analysed. Other data generated through the workshop, as well as analysis of organisational documentation, and reflection on my own practice as a gallery educator, have been drawn together through a bricolage approach. Through analysis of data, I have constructed a situated taxonomy of knowledge types in the gallery and a conceptual model of co-creation. Key paradigms of knowledge have been identified, and the issues associated with the authoritative nature of institutional knowledge presented as a significant barrier to co-creation. Findings indicate that a fundamental shift in the epistemological stance of the gallery is required. A new not-knowing paradigm has been constructed to accommodate models of co-creation shown to be successful in generating a collaborative learning experience, which I have termed ‘learning-with’.The material being presented for examination is my own work and has not been submitted for an award of this or another HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis was undertaken collaboratively, the nature and extent of my individual contribution has been made explicit.
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Liu-Devereux, Pauline Carol. "Galleries and drift : mapping undermined landscapes." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.

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This is a creative/critical project, a collection of narratives inspired by critical discourse that map a local landscape and chart a personal topography. As a result of interdisciplinary study, particularly in the area of cultural geography and map making, I found new ways to explore ideas about Cornwall’s heritage, her undermined landscape and expand upon issues raised in my MA dissertation. Recognising the instability and partiality of maps provided insight and mapping became method as newly revealed pathways and subtly shifting perspectives inspired fresh narratives which challenge stereotypical images of Cornwall and reveal the sometimes dark realities of rurality. The more personal narratives in this collection reveal a different undermined landscape: ideas about romantic constructions and inheritance led to explorations of nostalgia, memory and identity. Life events became life writing and many of these narratives reflect a search for direction and for a missing person: the artist I once was. But there are other disappearances in these narratives and the final chapter gives an account of family events that had to be recorded but which raise ethical questions that life writers cannot ignore. We must take responsibility for the way we write about vulnerable subjects and recognise what this writing tells us about ourselves: that, as Nancy K. Miller has suggested, by exposing our lives to others through life writing, we too become vulnerable subjects. The essay accompanying these narratives reflects upon process and finds ways of giving an account of the writer writing. It uncovers contemporary theories that are embedded in the narratives and I describe it as an orouboros, a creature that continuously eats its own tail. Like the text it subjects to scrutiny, the essay is a life narrative, an autobiographical act that merges creative and critical thinking and this amalgamation has been my aim since my studies began.
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Iordanidou, Chrysavgi. "Daylight openings in art museum galleries : A link between art and the outdoor environment." Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215338.

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This thesis is investigating how the typology of daylight openings in art museum galleries is affecting the connection to the outdoor environment. Museum architecture nowadays emphasizes on the museum’s public role and interaction with the urban context, with transparency as the key to this approach. Considering the benefits and challenges of introducing natural light in art museum galleries, its controlled use enhances the experience of both the artworks and the space. The different typologies of daylighting and their design parameters have a direct impact on the connection to the outdoor environment and the shaping of views. Two case studies are analyzed in order to investigate various daylight openings designs, their integration in the exhibition space and the relationship they form with the exterior. Examining the findings, a discussion is developed on the range of factors that affect the connection to the outdoors. The thesis concludes that the design of daylight openings determines the way and the degree the galleries communicate with the exterior environment.
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Scott, Helen E. "Confronting nightmares : responding to iconoclasm in Western museums and art galleries." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/788.

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Kruse, Markus. "Museums, Galleries, Art Sites, Virtual Curating and the World Wide Web." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394727380.

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Books on the topic "Art galleries"

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Paisley Museum and Art Galleries. Paisley Museum & Art Galleries. Paisley: Renfrew District Council Museums & Art Galleries Service, 1985.

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Market Segment Specialization Program (U.S.), ed. Artists and art galleries. [Washington, D.C.?]: Dept. of the Treasury, Internal Revenue Service, 1997.

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Elowitch, Annette. Barridoff Galleries contemporary. Portland, Me: Barridoff Galleries, 1989.

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Norman, Rosenthal, Wigram Max, and Royal Academy of Arts (Great Britain), eds. The galleries book. London: Royal Academy of Arts, 2002.

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Tourism, Leeds City, ed. The art galleries of Leeds. Leeds: Leeds City Tourism, 1985.

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Żyliński, Paweł. Cooperative guards in art galleries. Warszawa: Institute of Mathematics, Polish Academy of Sciences, 2008.

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Żyliński, Paweł. Cooperative guards in art galleries. Warszawa: Institute of Mathematics, Polish Academy of Sciences, 2008.

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T, Bhagwani Ernesto, ed. Art galleries of the Philippines. [San Juan, Metro Manila, Philippines: GV Productions, 2002.

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Leeds (England). Leisure Services Department., ed. The great galleries of Leeds: Featuring the 'Art galleries are fun' competition.... Leeds: Leeds Leisure Services, Leeds City Council, 1986.

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Wojciech, Makowiecki, and Starzyński Roman, eds. Galerie Poznania =: Galleries of Poznań = Galerien in Poznań = Galleries de Poznań. Poznań: Galeria Miejska Arsenał, 1997.

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Book chapters on the topic "Art galleries"

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de Rezende, Pedro J., Cid C. de Souza, Stephan Friedrichs, Michael Hemmer, Alexander Kröller, and Davi C. Tozoni. "Engineering Art Galleries." In Algorithm Engineering, 379–417. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-49487-6_12.

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Rachleff, Melissa. "Managing Art Galleries." In Managing the Arts and Culture, 179–206. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003108641-9.

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Taylor, Jeffrey. "Secondary Market Galleries." In The Art Business, 34–46. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003431756-3.

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Taylor, Jeffrey. "Primary Market Galleries." In The Art Business, 18–33. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003431756-2.

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Connock, Alex. "Museums and Art Galleries." In Media Management and Live Experience, 305–27. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003435167-20.

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Illeris, Helene. "Adult Education in Art Galleries." In Adult Education, Museums and Art Galleries, 229–41. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_19.

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Bertschinger, Daniel, Nicolas El Maalouly, Tillmann Miltzow, Patrick Schnider, and Simon Weber. "Topological Art in Simple Galleries." In Symposium on Simplicity in Algorithms (SOSA), 87–116. Philadelphia, PA: Society for Industrial and Applied Mathematics, 2022. http://dx.doi.org/10.1137/1.9781611977066.8.

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Chwa, Kyung-Yong, Byung-Cheol Jo, Christian Knauer, Esther Moet, René van Oostrum, and Chan-Su Shin. "Guarding Art Galleries by Guarding Witnesses." In Algorithms and Computation, 352–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-30551-4_32.

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Muhamad, Noor A’yunni, Ishak Ramli, Salwa Ayob, and Noor Enfendi Desa. "Characteristics of Multifunction Malaysian Art Galleries." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 279–90. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_29.

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Stewart, Paul. "Art and Commitment: Galleries without Walls." In Adult Education, Museums and Art Galleries, 39–51. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_4.

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Conference papers on the topic "Art galleries"

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Schmidt, Tobias. "High CRI Spotlight for Art Galleries." In Solid-State and Organic Lighting. Washington, D.C.: OSA, 2013. http://dx.doi.org/10.1364/soled.2013.dt3e.2.

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Ganguli, A., J. Cortes, and F. Bullo. "Distributed deployment of asynchronous guards in art galleries." In 2006 American Control Conference. IEEE, 2006. http://dx.doi.org/10.1109/acc.2006.1656416.

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Zhou, Ada, and Joshua Lai. "Arthub: An Interactive Visual Art Gallery to Display Student Works and Support Art Education using Virtual Reality." In 5th International Conference on Advanced Natural Language Processing. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.141019.

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The expression of art is incredibly important for young students. Equally important is allowing these students to showcase what they’ve done to peers and others. It helps them gain confidence in their own abilities and gives them motivation to practice their skills. The best way to do this is typically an in-person art gallery, but this is not always convenient. Those who wish to view the art may not always have the opportunity to travel to a physical location, and there are numerous costs associated with setup and cleanup. To address this issue, we propose ArtHub, a hybrid desktop and virtual reality application that allows anyone to upload their artwork to a virtual gallery that may then be explored by others. It makes use of the Unity game engine and is compatible with the Meta Quest 2 headset. In order to allow different people to view each other’s work, it features a remote database that users may save their artwork to. Galleries are associated with a passcode to prevent different galleries from interfering. Unlike physical galleries ArtHub may be accessed from anywhere, requires little logistical setup, and is infinitely expandable. Our application will help support young artists in schools who otherwise may not have had the chance to show their work to a wider audience.
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Arora, Gauri, and Megha Purohit Attray. "Art Museums and Galleries: Retrospective Repertoire of Imaginative Freedom." In International Conference on Arts and Humanities. The International Institue of Knowledge Management (TIIKM), 2021. http://dx.doi.org/10.17501/23572744.2020.7102.

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Karavelas, Menelaos I. "Guarding curvilinear art galleries with edge or mobile guards." In the 2008 ACM symposium. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1364901.1364950.

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Whiteside, Kevin, Gentry Atkinson, Mary Mikel Stump, Dan Tamir, and Grayson Lawrence. "Musing: Adaptable Mobile Augmented Reality Application for Museums and Art Galleries." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.56.

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Ploşniţă, Elena. "Folk art gallery — an eff ective means of promoting traditional culture." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.12.

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Traditional culture is an important element of the Romanian identity. Th ere are dozens of concepts and defi nitions for traditional culture; even any culture can be considered traditional. No matter how we defi ne it, one thing is certain: in the era of globalization, it must be protected, because traditional culture, with its inherent changes, continues to exist, and society is called upon to promote it. In this article, the author touches upon the issue of promoting traditional art by organizing folk art galleries in the form of sales exhibitions. Art galleries are a modern solution for promoting the values of folk art, and their creation would solve several problems: — make a signifi cant contribution to the development of traditional culture through an exhibition approach; — promote authentic traditional culture in the country and abroad; — solve a number of problems related to the sale of traditional art works of folk craft smen; — facilitate the process of studying and learning about traditional culture through organizing some workshops and seminars within them.
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Platonova, Maria A. "Art gallery in the scientific library providing cultural and recreation activities." In Twenty Fifth International Conference and Exhibition «LIBCOM-2021». Russian National Public Library for Science and Technology, 2022. http://dx.doi.org/10.33186/978-5-85638-247-0-2022-47-49.

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The cultural and recreation activities in the scientific libraries enable to build new functional spaces and widen their possibilities. By organizing art exhibitions (picture galleries), the libraries offer users to enjoy beauty and introduce them to cultural values. The author provides examples of art spaces in regional science libraries and describes the art gallery at RNPLS&T.
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Andriyana, Eka, Nuning Damayanti, and Ira Adriati. "Analysis of Popo Iskandar’s Works as Collections of National and International Museum and Galleries." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338079.

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Esteban, Alvaro Belloso, Mario Silvestre Delgado, Xinrui Yu, Won-Jae Yi, and Jafar Saniie. "Design Flow and Implementation of an AI-Enabled Smart Guidance System for Art Galleries." In 2022 IEEE International Conference on Electro Information Technology (eIT). IEEE, 2022. http://dx.doi.org/10.1109/eit53891.2022.9813828.

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Reports on the topic "Art galleries"

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Yonemura, Ann. Art in Context: Aesthetics, Environment and Function in the Arts of Japan. Inter-American Development Bank, March 1995. http://dx.doi.org/10.18235/0007915.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Kharkivska, Alla A., Liudmyla V. Shtefan, Muntasir Alsadoon, and Aleksandr D. Uchitel. Technology of forming future journalists' social information competence in Iraq based on the use of a dynamic pedagogical site. [б. в.], July 2020. http://dx.doi.org/10.31812/123456789/3853.

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The article reveals scientific approaches to substantiating and developing technology to form social information competence of future Iraqi journalists based on using a dynamic pedagogical site. After pre-interviewing students of the Journalism Faculty at Al-Imam Al-Kadhim University College for Islamic Sciences in Baghdad, the authors came to the conclusion there are issues on defining the essence of social information competences. It is established that the majority of respondents do not feel satisfied with the conditions for forming these competences in the education institutions. At the same time, there were also positive trends as most future journalists recognized the importance of these professional competences for their professional development and had a desire to attend additional courses, including distance learning ones. Subsequently, the authors focused on social information competence of future journalists, which is a key issue according to European requirements. The authors describe the essence of this competence as an integrative quality of personality, which characterizes an ability to select, transform information and allows to organize effective professional communication on the basis of the use of modern communicative technologies in the process of individual or team work. Based on the analysis of literary sources, its components are determined: motivational, cognitive, operational and personal. The researchers came to the conclusion that it is necessary to develop a technology for forming social information competence of future journalists based on the use of modern information technologies. The necessity of technology implementation through the preparatory, motivational, operational and diagnostic correction stages was substantiated and its model was developed. The authors found that the main means of technology implementation should be a dynamic pedagogical site, which, unlike static, allows to expand technical possibilities by using such applications as photo galleries, RSS modules, forums, etc. Technically, it can be created using Site builder. Further research will be aimed at improving the structure of the dynamic pedagogical site of the developed technology.
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Ward, Kimiora. Sierra Nevada Network high elevation white pine monitoring: 2021 annual report. National Park Service, 2024. http://dx.doi.org/10.36967/2302327.

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Five-needle white pines (Family Pinaceae, Genus Pinus, Subgenus Strobus), and in particular whitebark pine (Pinus albicaulis), limber pine (P. flexilis), and foxtail pine (P. balfouriana) are foundation species in upper subalpine and treeline forests of several National Park Service Pacific West Region parks, including Sequoia and Kings Canyon National Parks (SEKI) and Yosemite National Park (YOSE). The Sierra Nevada Network Inventory & Monitoring Program, in collaboration with the Klamath Network, Upper Columbia Basin Network, and Mojave Desert Network have implemented a joint long-term monitoring protocol to assess the current status and future trends in high elevation white pine communities. Key demographic parameters within white pine forest communities will be estimated by monitoring individual trees within permanent plots through time. This report documents the results of the 2021 field season, which was the eighth year of monitoring in Sequoia and Kings Canyon National Parks (SEKI) and Yosemite National Park (YOSE). The 2021 goal was to complete the third full re-measure of the second of three rotating panels (Panel 2) for each species-park population: YOSE-whitebark pine, SEKI-whitebark pine, and SEKI-foxtail pine. Each panel consists of 12 permanent 50 x 50 m (2,500 m2) plots that were randomly selected for each of the three populations. The full sampling array thus includes a total of 36 whitebark pine plots in YOSE, 36 whitebark pine plots in SEKI, and 36 foxtail pine plots in SEKI. Data from plot surveys will be used to characterize white pine forest community dynamics in SEKI and YOSE, including changes in tree species composition, forest structure, forest health, and demographics. The first full measure of all Panel 2 plots was completed over two years in 2013-2014, then a full remeasure of both parks? whitebark pine Panel 2 was conducted in 2016, with 10 of 12 SEKI-foxtail plots sampled that year. A third remeasure of all Panel 2 plots was not possible in 2021 because a smaller crew size was necessary during the COVID-19 pandemic. In total, the crew visited 37 sites, and sampled 31, during the 2021 field season. One plot in the YOSE whitebark pine frame was uninstalled before reading and one plot in the SEKI whitebark pine frame was uninstalled after reading, both for safety concerns. Four plots were not visited due to lack of capacity with the reduced crew size: one in each of the YOSE and SEKI whitebark frames, and three in the SEKI foxtail frame. A plot from Panel 3 in each of the parks? whitebark frames was measured, for a total of 11 plots measured in each whitebark pine frame. Nine plots were measured in the SEKI foxtail pine frame. Within the 31 plots completed, a total of 5,728 trees was measured. Species composition, forest structure, and factors affecting tree health and reproduction, including incidence and severity of white pine blister rust (Cronartium ribicola) infection, mountain pine beetle (Dendroctonus ponderosae) infestation, dwarf mistletoe (Arceuthobium spp.) infection, canopy kill, female cone production and regeneration were recorded. During the 2021 field season, crews continued to count the total number of mature cones per tree for whitebark and foxtail pine, use crown condition codes to assess crown health, and tag individual seedlings to be tracked through time. All three of these procedures started in 2017 and are to be evaluated by each of the three participating networks over several years, to determine whether they should become permanent changes to the monitoring protocol. In YOSE, 11 whitebark pine plots were re-measured, from Panels 2 and 3. A total of 2,810 trees were sampled, which included 586 live whitebark pine trees and 2,097 other live conifers. An additional 127 trees (including 17 whitebark pine) were recorded as dead. The forest crew noted little sign of white pine blister rust (WPBR) in Yosemite in 2021, and just a single inactive canker was observed on one whitebark pine in Panel 3, Plot 42, near Dana Meadows. This infection was new to plot 42, and it expands the total number of plots where white pine blister rust has been documented in Yosemite to six. The crew also noted little mountain pine beetle activity, documenting beetle galleries on 15 lodgepole pines in three Panel 2 plots. Dwarf mistletoe was not observed. The average number of live whitebark pine trees per plot was 53 (SD = 56). This was a low cone crop year for whitebark pine, with two percent of live whitebark pine trees producing female cones. Cone bearing trees averaged 2 (SD = 1) cones per tree. Whitebark pine seedling density averaged 90 (SD = 157) seedlings per hectare. The largest number of whitebark pine seedlings found in a plot was four, and three of the eleven plots contained whitebark seedlings. In SEKI, 10 of 12 Panel 2, and one Panel 3, whitebark pine plots were re-measured. Within these plots, 1,246 live whitebark pine, 30 live foxtail pine, and 861 other live conifers were sampled. WPBR was infrequently documented in the SEKI whitebark frame as well, with indicators of infection in Plot 31 near Window Creek and Plot 44 near Upper State Lake. These were the first infections documented in these plots, bringing the number of plots where WPBR has been documented in the SEKI whitebark panel to nine. Although WPBR was documented in Plot 27 near Charlotte Dome in 2016, it was not documented this year because putative cankers showing three signs of infection in 2016 showed only two or fewer signs in 2021. Mountain pine beetle activity was observed in one live lodgepole pine and two recently dead whitebark pine, within three plots in the SEKI whitebark sample frame. An exception to the low levels of mountain pine beetle activity was outside Plot 31 in the Window Creek area, where the forest crew noted many recently dead whitebark pine with signs of beetle activity. Dwarf mistletoe was not encountered. The average number of live whitebark pine trees per plot was 113 (SD = 86). Less than one percent of live whitebark pine trees produced female cones, each producing on average 2 (SD = 1) cones. Whitebark seedling regeneration averaged 303 (SD = 319) seedlings per hectare. The largest number of whitebark seedlings found in a plot was eight, and eight of the 11 plots contained whitebark seedlings. Nine of the 12 SEKI foxtail Panel 3 plots were remeasured. Within these plots, 413 live foxtail pine, 67 live whitebark pine, and 402 other live conifers were sampled. Ninety-two dead or recently dead trees were also documented, 65 of which were foxtail pine. No signs of blister rust infection, mistletoe, or mountain pine beetle were observed in the foxtail plots sampled. The average number of foxtail pine trees per plot was 46 (SD = 33). Fifty-four percent of the foxtail pine trees produced female cones, averaging 14 (SD =15) cones/tree. Only one foxtail pine seedling was recorded within the 9 foxtail pine plots, resulting in an estimated 14 (SD = 41) seedlings per hectare. Eight whitebark pine seedlings were also found within two plots.
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5

Vive Haïti!: Contemporary Art of the Haitian Diaspora. Inter-American Development Bank, May 2004. http://dx.doi.org/10.18235/0005959.

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The IDB Cultural Center paid tribute to the Haitian people and the country's bicentennial with this exhibition of 11 outstanding contemporary Haitian artists. The show focused primarily on the work of artists belonging to recent generations who live abroad. They have synthesized inherited traditions, such as Vodoo, while living the present with uncertainty and seeing the future as elusive. The exhibit includes the work of a few artists who, although living in Haiti, depend on outside sources such as commercial galleries and collectors interested in Haitian art for professional recognition and their economic livelihood.
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Artful Diplomacy: Art as Latin America's Ambassador in ton, D.C. Inter-American Development Bank, January 2008. http://dx.doi.org/10.18235/0006398.

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This exhibition gathers a number of artworks belonging to a diverse group of Latin American embassies and diplomats and their delegations and organizations in Washington, D.C. For a city that boasts such a wealth of artistic institutions on the National Mall, representing art from all corners of the world (the National Museum of African Art, the Freer and Sackler Galleries for Asian arts, and the National Gallery of Art with its impressive collection of European art from the Middle Ages to the present, to name a few), the absence - for whatever reason- of a major institution in the nation¿s capital representing the arts of Latin America is, in itself, a rather negative statement of sorts. This fact, combined with the proclivity of the press to report on the usually not-so-positive aspects of the social, political, and economic realities of the region, tends to indiscriminately put the prestige of Latin American countries at risk, and creates an unappreciative feeling among the public toward a region that, despite its inconsistencies, has excelled culturally for centuries.
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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, January 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States collaborated with the exhibit.
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