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Relevant bibliographies by topics / Chinese Painting and calligraphy

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Journal articles
Dissertations / Theses
Books
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Conference papers
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Academic literature on the topic 'Chinese Painting and calligraphy'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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Journal articles on the topic "Chinese Painting and calligraphy"

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Zhong, Tian. "Research on Marketing Strategy of Chinese Painting and Calligraphy Art Based on Wireless Communication Network Resources." Security and Communication Networks 2022 (February 12, 2022): 1–9. http://dx.doi.org/10.1155/2022/7788645.

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China has a thousand years of cultural heritage, and its famous paintings and calligraphy works are all representatives of the works of art. Calligraphy and painting have changed from works of art to commodities. This is undoubtedly caused by the changes of the times and society. Calligraphy and painting have gradually formed in this process. The most basic feature that distinguishes the market from other markets is the difference in marketing strategies. Aiming at the current problems in the online marketing of Chinese paintings and calligraphy works, a marketing strategy for Chinese paintings and calligraphy works based on wireless communication network resources is proposed. In view of the lack of accurate analysis of the current Chinese painting and calligraphy and artwork marketing and the uneven quality of the artwork, the above-mentioned problems can be improved through the allocation of wireless communication network resources. The experimental results show that the scope of dissemination of Chinese paintings and calligraphy works using this marketing strategy is wider, and the marketing transaction rate and profit are greater.

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Filonenko, Nadezhda S., and Maria S. Tretyakova. "Calligraphy of Images: Artworks by Yukei Teshima." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 164–79. http://dx.doi.org/10.21638/spbu15.2022.108.

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Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this study is to determine the specifics of Teshima’s work, using the example of his most famous artworks: “Hokai” (literally “Collapse”) (1957), containing the image of houses collapsing one after another from the explosions of aerial bombs at the end of World War II; and “Tsubame” (“Swallow”) (1960), giving rise to the feeling of flight through a “dancing” movement of a bird. The authors conclude that, although Tesima’s “calligraphic paintings” show a connection simultaneously with the Chinese roots of Japanese calligraphy and the avant-garde painting of the West, the calligrapher remains faithful to the Japanese artistic and aesthetic tradition. Unlike Chinese calligraphy, traditionally understood as a tool for “nurturing life”, or avant-garde painting generated by Western conceptuality, Teshima’s calligraphy expresses the Buddhist ideals of accepting one’s destiny (one’s path to enlightenment) and lack of attachment. The calligrapher uses the “hisshoku” (“rusty brush”) writing technique, which involves “overcoming” the brush and conveying the tactile sensation of a stroke (a symbol of overcoming the materiality of the world), and also forms the “boundless space” of the sheet, i. e. “aki”, which he calls “Space of [divine] love” and connects with the free soaring of the spirit.

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Mo, Zhiyong. "Chinese Calligraphy and Painting." Renascence 70, no. 4 (2018): 297–302. http://dx.doi.org/10.5840/renascence201870420.

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Xing, Xinyue. "The Generation and Transfer of the “Sweet” Category in Calligraphy Appreciation." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 13–17. http://dx.doi.org/10.54097/n336ft73.

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Ancient Chinese calligraphy theories often “discuss calligraphy by taste”. “Taste” is an essential category of classical Chinese aesthetics, and is a concrete expression of the spirit of Chinese art. In contemporary calligraphic critical discourse, outside of the audiovisual norms, the Chinese calligraphic tradition of “discussing calligraphy by taste” is undoubtedly an ideological resource that cannot be ignored. “Gan”. In English is called “pleasant” and was originally one of the five flavors, and in the Eastern Han Dynasty, it slowly developed the meaning of “Tian” (sweet) to describe the taste. “Sweet”, as an aesthetic category, appeared in a large number of poetry, calligraphy, and painting theories in the Ming and Qing dynasties and beyond. Since the Tang Dynasty, “Sweet” has been combined with “Vulgar”. The word “Sweet” was formally introduced into the realm of painting and calligraphy appreciation. This article utilizes the theory of aesthetics and combines it with physiology, psychology, and other disciplines to explain discussing calligraphy by “Sweet”. An analysis of the generation and transfer of the category of “Sweet” in the appreciation of calligraphy reveals the mutual borrowing and influence of art theories. After sorting and analyzing, it can be seen that “Sweet” refers to works that are overly modified, not chewable, and have no flavor outside the taste. Or works with too much “craftsmanship”, too much skill, too much ink, and works that are opposite to the beauty of “clumsiness” and “lightness” appreciated by ancient calligraphers.

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Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.

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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.

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Jin, Baopen, and Yakup Mohd Rafee. "The Challenges and Development Strategies of Contemporary Chinese Painting." Highlights in Art and Design 3, no. 1 (May 31, 2023): 61–67. http://dx.doi.org/10.54097/hiaad.v3i1.9352.

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The purpose of this paper is to discuss the dilemmas and challenges of contemporary Chinese calligraphy painting in art creation and its development strategies. As an important part of traditional Chinese culture, Chinese painting has been widely recognized and praised by the world for its unique artistic style and cultural connotation. However, with the change of the times and the development of the society, Chinese calligraphy painting also faces many problems and challenges, such as the contradiction between tradition and innovation, the lack of calligraphy and painting techniques, and the pressure of marketization and commercialization. Taking the lack of brush and ink as the entry point, this paper conducts an in-depth study of the artistic creation dilemma of contemporary Chinese calligraphy and painting, explores the reasons and influences behind it, and proposes corresponding development strategies, including strengthening art education and training, improving government support and supervision, and encouraging artistic innovation and experimentation. Among them, strengthening art education and training is the key to improving the level of creative writing and enriching the cultural connotation of painting. Government support and supervision can regulate the market order and protect the rights and interests of artists. Encouraging artistic innovation and experimentation can promote the artistic development of Chinese calligraphy painting and explore new ways of expression.

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Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.

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This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works). In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke. In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy. In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of calligraphy, GwanMulCheeSangRon and painting styled character fonts and forms.

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Qian, Xingyu. "Oriental Consciousness in André Masson’s Automatic Paintings." SHS Web of Conferences 183 (2024): 03001. http://dx.doi.org/10.1051/shsconf/202418303001.

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André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.

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Rorex, Robert Albright, Wen C. Fong, Richard Vinograd, and R. Stewart Johnston. "Chinese Painting, Calligraphy, and Gardens." Art Journal 52, no. 4 (1993): 98. http://dx.doi.org/10.2307/777642.

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Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.p.

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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.

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Dissertations / Theses on the topic "Chinese Painting and calligraphy"

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Shu, Jo-Lan. "Calligraphy as a developmental tool for Chinese painting /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1329.pdf.

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Shu, Jo Lan. "Calligraphy As A Developmental Tool For Chinese Painting." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/465.

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This report discusses the design, development, and evaluation of a Chinese painting instructional project. The project discussed in this report introduces the novel idea of developing specific calligraphy skills in order to improve Chinese painting skills within a restricted time period (1-3 hours). The results show differences that are statistically significant between the pre and post test paintings created by 23 subjects from both the high school and the university level. The results of the evaluations can be found in the results section of this report. This report consists of a literature review, a project description, a description of the methodology used in the design project, evaluation results, and the full Chinese bamboo painting instructional material named Founding Chinese Bamboo Painting in Calligraphy: The Fourfold Approach (provided in Appendix A).

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Wong, Shan Elaine, and 黃山. "Flaring brush and ink: Chinese calligraphy and painting centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986870.

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Wong, Shan Elaine. "Flaring brush and ink : Chinese calligraphy and painting centre /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949834.

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Gao, Jianping. "The expressive act in Chinese art : from calligraphy to painting /." Uppsala : Uppsala University, 1996. http://catalogue.bnf.fr/ark:/12148/cb376704405.

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Lee, Alice Hui Fang. "The spirit of Chinese brush lines and its application to creativity in UK art and design education." Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319231.

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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

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Zhu, Sicong. "Poetic feeling in a thatched pavilion attributed to the Chinese Yuan artist Wu Zhen." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4983.

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In this thesis, I explored the visual and textual connotations of the handscroll painting Poetic Feeling in a Thatched Pavilion attributed to the Chinese Yuan dynasty artist Wu Zhen, and discussed this piece of work in terms of its relation to the long history of Chinese literati painting.

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Davis, Walter B. "Wang Yiting and the Art of Sino-Japanese Exchange." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213111969.

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Books on the topic "Chinese Painting and calligraphy"

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Publishers, New Star. Chinese calligraphy and painting. Beijing: New Star Publishers, 1995.

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Society for Spirit-Calligraphy and Painting of Orthodox School., ed. Spirit-calligraphy & painting. Tʻai-pei, Taiwan: Society for Spirit-Calligraphy & Painting of Orthodox School, 1995.

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Cheng, Rui. Guide to Chinese painting & calligraphy. London: CYPI Press, 2014.

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Liu, Ssu-hou. Liu Ssu Hou shu hua =: Calligraphie, peinture = Calligraphy, painting. Montreal: Éditions Galerie Espace, 1996.

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Lee, So Kam Ng. Brushstrokes: Styles and techniques of Chinese painting. San Francisco: Asian Art Museum of San Francisco, 1992.

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Ellsworth, Robert Hatfield. Later Chinese painting and calligraphy, 1800-1950. New York: Random House, 1986.

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Oertling, Sewall Jerome. Painting and calligraphy in the Wu-tsa-tsu: Conservative aesthetics in seventeenth-century China. Ann Arbor: Center for Chinese Studies, University of Michigan, 1997.

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Koh, Mun Hong. Xu Mengfeng shu hua ji. Singapore: chu ban Xu Mengfeng, 1998.

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Li, Yinghao. Bao zhi zi hua. Xianggang: Bo yi chu ban ji tuan you xian gong si, 1992.

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Gu, Wenbin. Guo yun lou shu hua ji, xu ji. Nanjing Shi: Jiangsu gu ji chu ban she, 1999.

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Book chapters on the topic "Chinese Painting and calligraphy"

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Wang, Yonghao. "Standards and Norms for Calligraphy and Painting: Fenggu in Calligraphy." In Key Concepts in Chinese Thought and Culture, 17–54. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-2401-7_2.

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Zhang, Xuefei. "A Research on Chinese Painting and Calligraphy Exhibitions." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022), 1416–24. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_182.

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Lam, Ng Woon. "Comparison of Chinese Calligraphy and Ink Painting Brushes with Western Water-Media Painting Brushes." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 571–76. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_56.

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Ma, Jinglin. "Innovative Research on Image Processing Based on Replication of Chinese Painting and Calligraphy." In Advances in Graphic Communication, Printing and Packaging, 325–32. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_44.

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Wang, Ziyan. "On the Space-Time View of the Desolate Beauty of Chinese Painting and Calligraphy Art." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022), 830–38. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_105.

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Yangsheng, Xu, and Chan Sin-wai. "Chinese Calligraphy." In The Routledge Encyclopedia of Traditional Chinese Culture, 116–31. Abingdon, Oxon ; New York : Routledge, [2019]: Routledge, 2019. http://dx.doi.org/10.4324/9781315453491-8.

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Li, Yu. "Chinese calligraphy." In The Chinese Writing System in Asia, 188–99. Abingdon, Oxon: New York, NY: Routledge, 2020. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429345333-21.

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Bai, Qianshen. "Calligraphy." In A Companion to Chinese Art, 312–28. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch15.

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Li, Yu. "A calligraphy workshop." In The Chinese Writing System in Asia, 200–211. Abingdon, Oxon: New York, NY: Routledge, 2020. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429345333-22.

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Lianhai, Wang. "Carving and Painting." In Chinese Handicrafts, 1007–51. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5379-8_13.

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Conference papers on the topic "Chinese Painting and calligraphy"

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Yuan, Shaozu, Aijun Dai, Zhiling Yan, Ruixue Liu, Meng Chen, Baoyang Chen, Zhijie Qiu, and Xiaodong He. "Learning to Generate Poetic Chinese Landscape Painting with Calligraphy." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/696.

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In this paper, we present a novel system (denoted as Polaca) to generate poetic Chinese landscape painting with calligraphy. Unlike previous single image-to-image painting generation, Polaca takes the classic poetry as input and outputs the artistic landscape painting image with the corresponding calligraphy. It is equipped with three different modules to complete the whole piece of landscape painting artwork: the first one is a text-to-image module to generate landscape painting image, the second one is an image-to-image module to generate stylistic calligraphy image, and the third one is an image fusion module to fuse the two images into a whole piece of aesthetic artwork.

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Yu, Dehua. "MR and Sensors Application in the Folding Experience Exhibition of Chinese Traditional Furniture." In Human Systems Engineering and Design (IHSED 2021) Future Trends and Applications. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe1001108.

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The study focuses on the digital and mixed interaction of Chinese traditional furniture in Chinese ancient painting, in which Chinese traditional furniture would be displayed in its ancient real using environment. The virtual character in the painting can interact and communicate with people with the help of MR, sensor and motion capture technology. A game process similar to removing the blind box will be developed to guide people to the fix and unfix process of folding table, fix up for tea tasting, painting, calligraphy and antique appreciation, from which people can know more about the different structure of different tables and even aesthetics, technology, craft and culture at that time. Different people would choose different tables with different shapes, structure, material and craft, which would add interest.

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Li, Kun. "Analysis on the Space Commonality of Chinese Calligraphy and Painting." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.25.

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Yang, Yaping. "The Origin of Calligraphy of Jian Theory and Chinese Painting." In 2nd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/emehss-18.2018.57.

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Ye Liang, Hong Bao, and Hong-Zhe Liu. "A simple method for classification of traditional Chinese Painting and Calligraphy images." In 2010 International Conference on Educational and Information Technology (ICEIT). IEEE, 2010. http://dx.doi.org/10.1109/iceit.2010.5608356.

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Zeng, Zimu, Pengchang Zhang, Jia Wang, Xingjia Tang, and Xuebin Liu. "Chinese Character Font Classification in Calligraphy and Painting Works Based on Decision Fusion." In 2022 IEEE/WIC/ACM International Joint Conference on Web Intelligence and Intelligent Agent Technology (WI-IAT). IEEE, 2022. http://dx.doi.org/10.1109/wi-iat55865.2022.00117.

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Gu, Chun-hua, and Qin-ru Huang. "Research on Production and Use of Silk Materialfor Mounting Traditional Chinese Calligraphy and Painting." In 2017 International Conference on Manufacturing Engineering and Intelligent Materials (ICMEIM 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icmeim-17.2017.31.

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Yang, Yaping. "Current Status and Countermeasures of Calligraphy Teaching in the Basic Education of Chinese Painting." In 4th International Symposium on Social Science (ISSS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/isss-18.2018.4.

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Guo, Wenbo, and George B. Johnston. "Revisionist Approaches to the Historiography of Chinese Architecture." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.84.

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The study of Chinese architectural history by Chinese scholars started quite late as compared to the study of Western architectural history by Western scholars. Influenced by the philosophy of Confucianism, which devalued material artifacts, architecture was not considered to be a scholarly field in pre-Modern China.1 Chinese scholars treated architecture as a technique mastered by craftsmen and excluded it from the domain of fine arts such as painting, calligraphy, sculpture and inscription. The Western idea of architecture as a respected gentleman’s career was not introduced into China until the end of the Qing Dynasty (1644-1911) with the increas¬ing presence of foreign populations. Once Chinese scholars accepted the idea that architecture was a scholarly discipline, they commenced the study of Chinese architecture through the application of historiographical approaches adapted from non-Chinese sources. Contemporary Chinese scholars are now pursuing revisionist approaches to Chinese architectural historiography that takes account of these complicated lines of influence. In light of these complex cultural genealogies, the objective of this paper is to chart some of the methodological questions to be considered in the development of a critical approach to the historiography of Chinese architecture.

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Sun, Tao, and Yuan-Yuan Ma. "The Use of Spectroscopy for Non-destructive Determination of Authenticity of Chinese Calligraphy and Painting." In 2018 International Conference on Sensor Networks and Signal Processing (SNSP). IEEE, 2018. http://dx.doi.org/10.1109/snsp.2018.00084.

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Reports on the topic "Chinese Painting and calligraphy"

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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