Academic literature on the topic 'Artworks geneses'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Artworks geneses.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Artworks geneses":
1
Pilarová, Terezie. "Vznik florentských renesančních památek z pohledu práva." PRÁVNĚHISTORICKÉ STUDIE 51, no. 2 (August 10, 2021): 11–26. http://dx.doi.org/10.14712/2464689x.2021.16.
Abstract:
This paper deals with the legal side of the genesis of Florentine Renaissance artworks from the 14th to 16th centuries. The content falls into three blocks. Firstly, attention is focused on the legal nature of renaissance contracts which were essential for the origin of artworks, and the basic principles of these contracts. The second part describes the workings of the renaissance artistic competition, focusing on the congruency of some of its aspects with modern tendering processes. The pivotal third part examines the contracts themselves, their form and content. The analysis is determined by its legal focus, endeavouring, in the first place, to disprove the usual mistaken interpretation of these contracts as one-sided and provide a firmer structure to avoid the common haphazard manner of describing their content.
2
Verstegen, Ian, Tamara Prest, and Laura Messina Argenton. "Pictorial Continuous Narratives: Perceptual–Representational Strategies." Art and Perception 7, no. 2-3 (November 29, 2019): 238–50. http://dx.doi.org/10.1163/22134913-20191113.
Abstract:
This qualitative report concerns a larger study on pictorial continuous narrative devised by Alberto Argenton and developed by the authors in his memory, reporting only a synthesis of the main findings obtained through the study of a corpus of 100 artworks on the Genesis story of Adam and Eve. The study was aimed at identifying the perceptual–representational strategies used by artists to visually tell this story in the continuous narrative mode. The pilot study, accomplished by three independent judges (the authors) on the corpus of artworks, adopting phenomenological observation, highlights four strategies used by artists to distinguish and link the episodes or events constituting the story: segmentation of episodes or events, time/space separating cues, vectors of direction and repetition of principal figures. A description of the above categories accompanied by some illustrative examples is given.
3
Pogorelova, Inga Viktorovna. "Bach, Bukowski, genesis." Litera, no. 4 (April 2021): 198–204. http://dx.doi.org/10.25136/2409-8698.2021.4.32719.
Abstract:
The object of this research is the references to the German composer of the XVIII century – Johann Sebastian Bach in poetry of the classic of modern American literature Charles Bukowski. Special attention is given to the poetic-semiotic and ontological aspects of Bach’s motif in the poetic works of C. Bukowski. The author meticulously examines the nature of mentioned references, categorizing them as the three narrative-ontological types or hypostases, in which the German composer appears in the poetry of C. Bukowski, namely: Bach-ideal, Bach-background, and Bach-father figure. The article employs the method of continuous sampling, interpretation and semantic analysis, motivic analysis, as well as biographical and psychological approaches. The author's special contribution into the research of this topic lies in the conclusion on the Bach’s motif in the poetry of C. Bukowski as a variety of ekphrasis, which suggests a verbal representation not of a single artwork, but of the demiurge (in this case it is Bach) as the creator of entirety of his brilliant compositions.
4
Nappi, Maureen. "Drawing w/Digits_Painting w/Pixels: Selected Artworks of the Gesture over 50 Years." Leonardo 46, no. 2 (April 2013): 163–69. http://dx.doi.org/10.1162/leon_a_00532.
Abstract:
This paper selectively traces the art history of the gesture in drawing and painting with electronic painting systems/programs. Beginning with Ivan Sutherland's Sketchpad (1963), which mechanized the hand gesture via light pen; Richard Shoup's SuperPaint system (1973), with the Summagraphics tablet and stylus; the Quantel Paintbox (1983); and the Macintosh (1984), the author concludes with a review of contemporary finger painting via capacitive touchscreens in the iPhone and iPad. A selection of nine classically trained visual artists who have sought to expand their work by creating art via the computer while heuristically inventing unique ways of working reveals the genesis of a hybrid vocabulary for the visual arts.
5
Foscolo, Guilherme. "ROMANTIC POETRY AND THE ART SYSTEM." Kriterion: Revista de Filosofia 63, no. 152 (August 2022): 379–96. http://dx.doi.org/10.1590/0100-512x2022n15206gf.
Abstract:
ABSTRACT This paper is an attempt at connecting the emergence of second order observation in critical philosophy with the theory of aesthetic autonomy as developed by Early German Romanticism. In outlining the genesis of an autonomous art system from the reception of critical philosophy, my intention is to show how those apparently overly hermeneutical philosophical developments relate to the birth of a system of production and reproduction of artworks, which – as I will argue – are the very materialization of the system’s code.
6
Parolin, Laura L., and Carmen Pellegrinelli. "Unpacking distributed creativity: Analysing sociomaterial practices in theatre artwork." Culture & Psychology 26, no. 3 (December 30, 2019): 434–53. http://dx.doi.org/10.1177/1354067x19894936.
Abstract:
This article shows how to account for the sociomaterial dimension of distributed creativity in the arts. By following the genesis of a new theatre production, we examined the sociomaterial practices involved to unpack the sociomaterial dimension of distributed creativity. To account for this, we draw on concepts from laboratory studies to explain creative and design work. In so doing, we considered the significance of distributed creative practices that are constituted by intermediaries which we argue, help to outline, refine and develop the creative idea. This article is especially attentive to the professional practices in the rehearsal room; what we called the ‘ creative laboratory’, the locus where material artifact and their potentialities unfold in the process of creating a work of art ‘yet to arrive’. Extracts from ethnographic observations are used to illustrate the creative process from the germination of ideas to the collectively arrived at final production. In this respect, the rehearsal room is where initiatives are trialled and tested, and specific aspects of a scene (re)created, to feed into the composition of the emergent theatrical work.
7
Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (March 5, 2019): 158. http://dx.doi.org/10.3390/rel10030158.
Abstract:
Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
8
Bobier, David, Kim Sawchuk, and Samuel Thulin. "An Interview with David Bobier of VibraFusionLab." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 237–54. http://dx.doi.org/10.15353/cjds.v10i2.800.
Abstract:
VibraFusionLab founder and director, David Bobier talks about the genesis of his explorations of vibration and accessibility in art-making, his current collaborations, the effects of the COVID-19 pandemic on vibrotactile artwork and issues of access, and the future of VibraFusionLab. He was interviewed by special issue editors Kim Sawchuk and Samuel Thulin on 23 November 2020. Bobier was co-curator of, and participating artist in, the Vibrations exhibition in Montreal, which launched in parallel with the VIBE symposium.
9
Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (June 30, 2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.
Abstract:
Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
represent some tendencies in abstract painting. I start by summarizing this concept, taking
into consideration the elements of its reconstructions that are present in the source literature,
especially those aspects that concern art. Although Ingarden’s idea can be used with many
examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
allows me to enrich the interpretation of these artworks by showing them in a new light. By
recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
aspects that are distinctive of the presented artists and are related to the exceptional ability of
abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
philosophical and critical ways of approaching these artistic phenomena with special regards to
their metaphysical connotations that tend to be overlooked in contemporary discourses.
10
He, Xinbo. "Image Construction, Status Analysis, Goddess Reflection." Transactions on Social Science, Education and Humanities Research 3 (December 28, 2023): 148–57. http://dx.doi.org/10.62051/n5yygj57.
Abstract:
In the history of ancient Egypt, women were an ordinary but indispensable group, occupying an important position in family construction, legal practice and national governance. At the same time, their activities are also reflected in literature, artworks genesis mythology. From the perspective of academic history, the existing achievements of ancient Egyptian women can be summarized as three research directions: image construction, status discrimination and Goddess reflection. In advocating gender study and interdisciplinary construction of academic trend, effectively take example by art, law, literature and other discipline research methods, reasonably draw religious theology, marriage and family theory paradigm, to build a discourse system of world history gender research with Chinese characteristics based on the historical facts of ancient Egypt which has a broad academic prospect.
Dissertations / Theses on the topic "Artworks geneses":
1
Lauraire, Héloïse. "Parcours scéniques : un genre de dispositif esthétique spécifique dans l'art contemporain occidental des années 2005-2012 : étude d’une sélection d’œuvres de Christoph Büchel, Mike Nelson, Jonah Freeman & Justin Lowe." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080034.
Abstract:
Entre le début des années 2000 et celui des années 2010, quatre artistes contemporains occidentaux Christoph Büchel, Mike Nelson, Jonah Freeman et Justin Lowe construisent en Europe et aux États-Unis de gigantesques et énigmatiques installations multi-pièces. Notre hypothèse initiale était qu’il existait des relations entre les super-productions labyrinthiques de ces artistes, tant du côté de leurs conceptions que de celui de leurs réceptions. Notre étude s’attache à décrire et analyser les spécificités (construction, accueil du public, thèmes et références …) et les enjeux (exploration, élaboration d’un récit, mise en danger et prise de risques du spectateur…) des expériences esthétiques offertes par ces dispositifs aujourd’hui invisibles. La réunion et le dépouillement d’archives inédites concernant dix de ces œuvres et leurs génétiques ainsi qu’une enquête de terrain menée auprès de leurs spectateurs nous ont permis de reconstituer des images mentales de ces œuvres. Les plans et les ekphraseis, récits fictionnels illustrés, que nous présentons dans cette thèse témoignent des dimensions spatiales et temporelles de ces parcours scéniques et mettent au jour un ensemble de mises en scène, matériaux, thématiques analogues. Prenant pour objet les stratégies scénographiques des artistes et les ressentis des spectateurs, notre analyse nous conduit à envisager ces œuvres comme des installations émotionnelles et comme des narrations environnementales dystopiques. La traversée de celles-ci, tel un voyage initiatique, permet à chaque spectateur de déployer son imagination et de se ressaisir comme individu et sujet-agissantBetween the early 2000s and the early 2010s, four contemporary Western artists Christoph Büchel, Mike Nelson, Jonah Freeman and Justin Lowe built gigantic and enigmatic multi-room installations in Europe and the United States. Our initial hypothesis was that there were relationships between the labyrinthine super-productions of these artists, both in terms of their conceptions and their receptions.Our study describes and analyzes the specificities (construction, visitors reception, themes and references ...) and the issues (exploration, elaboration of a story, visitors’ endangerment and risk-taking...) of the aesthetic experiences offered by these works of art, nowadays invisible. The gathering and assessment of unpublished archives concerning ten of these artistic devices and their geneses as well as a field survey carried out among their spectators have enabled us to reconstruct mental images of these works. The plans and ekphrases, illustrated fictions, presented in this thesis reveal the spatial and temporal dimensions of these aesthetic walkthroughs and bring to light a set of similar set ups, materials, and themes. Based upon the scenographic strategies of the artists and the feelings of the spectators, our analysis leads us to consider these works as emotional installations and as dystopian narrative spaces. Walking across these, as if journeying through a voyage of initiation, sparks the spectator’s imagination and makes him fully conscious of his individuality and ability to take action
Books on the topic "Artworks geneses":
1
Hodgson, David S. J. Castlevania: Official Strategy Guide. Westlake Village, CA: Millennium Publications, Inc., 1999.
2
Kinderman, William. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037160.003.0007.
Abstract:
This introductory chapter presents the “genetic criticism,” or critique génétique, as an approach to the study of the creative process. The term itself relates to the genesis of cultural works, as regarded in a broad and inclusive manner. The chapter applies this approach by examining how conditions for the production and reception of artworks can be regarded as “intensely ideological formations” in late nineteenth-century works by two influential composers from the European musical tradition: Brahms and Wagner. It first considers the conditions for the production of Brahms's pieces by taking note of his engagement with Beethoven's music and sketchbooks. In Wagner's case, the chapter focuses on issues of reception, particularly how his final drama, Parsifal, was promoted at Bayreuth after his death. The chapter concludes with a brief overview of the succeeding chapters and the scope of the sources which this study draws from.
3
Baum, Anja. Composition Notebook: Genesis Street Fighter Ii Special Championship Edition Artwork Yoga Notebook 2020 Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.
4
Calonne, David Stephen. R. Crumb. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496831859.001.0001.
Abstract:
Robert Crumb: Literature, Autobiography, and the Quest for Self is the first monograph to explore the intersection between Crumb’s love of literature, his search for the meaning of life and the ways he connects his own autobiography with the themes of the writers he has admired. Crumb’s comics from the beginning reflected the fact that he was a voracious reader from childhood and perused a variety of authors including Charles Dickens, J.D. Salinger, and, during his adolescence, Beat writers like Jack Kerouac. He was profoundly influenced by music, especially the blues, and the ecstatic power of music appears in his artwork throughout his career. The first chapter explores the ways Robert Crumb illustrates works by William S. Burroughs, Jack Kerouac, Allen Ginsberg, Gary Snyder, and Charles Bukowski. The book continues with individual chapters devoted to Crumb’s illustrations of biographies of blues musicians Jelly Roll Morton and Charley Patton; Philip K. Dick; Jean-Paul Sartre; Franz Kafka; and concludes with an exploration of Crumb’s illustrations to the book of Genesis. In all his drawings accompanying literary texts, Crumb returns to a number of key themes regarding his personal spiritual quest such as suffering and existential solitude; the search for romantic and sexual love; the impact of entheogens such as LSD on his quest for answers to his cosmic questions. We discover that Crumb gradually embraces a mysticism rooted in his studies of Gnosticism. In the final chapter on the book of Genesis, readers may observe the ways Crumb continues his critique of monotheistic religion in a variety of subtle ways. Robert Crumb: Literature, Autobiography, and the Quest for Self concludes with an Epilogue which discusses Crumb’s present-day life in France and the ways he has continued to engage with spiritual and philosophical themes in his later work.
Book chapters on the topic "Artworks geneses":
1
Sterflinger, Katja, and Guadalupe Piñar. "Molecular-Based Techniques for the Study of Microbial Communities in Artworks." In Microorganisms in the Deterioration and Preservation of Cultural Heritage, 59–77. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_3.
Abstract:
AbstractThanks to the revolutionary invention of the polymerase chain reaction and the sequencing of DNA and RNA by means of “Sanger sequencing” in the 1970th and 1980th, it became possible to detect microorganisms in art and cultural assets that do not grow on culture media or that are non-viable. The following generation of sequencing systems (next generation sequencing, NGS) already allowed the detection of microbial communities on objects without the intermediate step of cloning, but still most of the NGS technologies used for the study of microbial communities in objects of art rely on “target sequencing” linked to the selectivity of the primers used for amplification. Today, with the third generation of sequencing technology, whole genome and metagenome sequencing is possible, allowing the detection of taxonomic units of all domains and kingdoms as well as functional genes in the produced metagenome. Currently, Nanopore sequencing technology is a good, affordable, and simple way to characterize microbial communities, especially in the field of Heritage Science. It also has the advantage that a bioinformatic analysis can be performed automatically. In addition to genomics and metagenomics, other “-omics” techniques such as transcriptomics, proteomics, and metabolomics have a great potential for the study of processes in art and cultural heritage, but are still in their infancy as far as their application in this field is concerned.
2
"2 Genesis of Artwork." In What Makes an Artwork Great?, 4–20. De Gruyter, 2024. http://dx.doi.org/10.1515/9783111374383-002.
3
Verschaffel, Bart. "Notes on the Work of Art as a Gift." In What Artistry Can Do, 91–102. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474494908.003.0008.
Abstract:
The relationship to the artwork is sui generis. It is an object that is made and traded, that one can and wants to own, and is collected. Yet it is no ordinary object. The collector owns it, yet it always remains the artist's work as well. It also remains the property of its creator. This shows - with what Marcel Mauss writes in his Essai sur le don - that the work of art predates the order of exchange, and is a remnant of the order of ancient, pre-industrial making, and of gift-giving.
4
Bently, L., B. Sherman, D. Gangjee, and P. Johnson. "13. Rights Associated with Copyright." In Intellectual Property Law, 370–406. Oxford University Press, 2022. http://dx.doi.org/10.1093/he/9780198869917.003.0013.
Abstract:
This chapter deals with regimes that are related to, but fall outside of, the remit of copyright law: performers’ rights in their performances (recognized internationally and often designated as a ‘neighbouring right’ or, in the EU, a ‘related right’); database right, sometimes referred to as the sui generis database right; public lending right (that is, an author’s right to claim remuneration from a public fund, the remuneration being calculated by reference to the frequency with which a given author’s book is loaned by public libraries); rights relating to technological protection measures (‘TPMs’); rights management information (which, along with TPMs, are sometimes designated ‘para-copyright’); and the so-called droit de suite (artist’s resale royalty right, that is, the right to claim a proportion of the sale price when an artwork is publicly resold). The chapter discusses each regime in turn, considering relevant factors such as the subsistence, types of rights available, duration, infringement, exceptions, defences, and remedies.