Relevant bibliographies by topics / Contemporary art production

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Contemporary art production'

Author: Grafiati
Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Contemporary art production"

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Kolotaev, Vladimir A., and Alexander V. Markov. "TOPOLOGY OF CONTEMPORARY ART PRODUCTION: NEW APPROACHES." Articult, no. 1 (2021): 43–48. http://dx.doi.org/10.28995/2227-6165-2021-1-43-48.

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The article examines the applicability of new interdisciplinary methods to the artistic process in Russia using the example of three new books exploring the problems of contemporary art. These books prove the applicability of the achievements of intellectual magazine criticism (Kira Dolinina), institutional criticism (Stanislav Savitsky), and gender criticism (Olesya Avramenko) to the local artistic life of recent decades. What unites these books is criticism of criticism: an articulated metaposition to the critical strategies that have developed in the art community. Each of the three books is written by a professional and addresses several audiences at once: artists, art researchers, and the general public. Although all three books differ in genre and way of presentation, they have a lot in common: way from works or examples of artistic activity familiar to the public to problematization of the institutional side of contemporary Russian art. We consider in detail the context of the origin of these books, presentation features, correlation with academic research. We made a general conclusion about the importance of institutional research for the further development of Russian art criticism.
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W. Mohd Apandi, Wan Nurhasyimah, and Ahmad Rashdi Yan Ibrahim. "Metaphors in Contemporary Art." Idealogy Journal 3, no. 2 (September 7, 2018): 235–40. http://dx.doi.org/10.24191/idealogy.v3i2.69.

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The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.
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Matuscak, Melissa. "Redefining Production-Contemporary Art Museums in Post-Industrial Spaces: The Massachusetts Museum of Contemporary Art." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 55–66. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35479.

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Firstenberg, Lauri, and Sidney Littlefield Kasfir. "Negotiating the Taxonomy. Contemporary African Art: Production, Exhibition, Commodification." Art Journal 59, no. 3 (2000): 108. http://dx.doi.org/10.2307/778033.

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A’Bear, Luke, James Curtis Hayward, and Meredith Root-Bernstein. "Conservation Science and Contemporary Art: Thinking about Tenerife." Leonardo 50, no. 1 (February 2017): 27–30. http://dx.doi.org/10.1162/leon_a_01153.

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Art has long been seen as a way to illustrate conservation science for public outreach, especially to children. However, art has a greater role to play as a partner in interdisciplinary practice. Here we explore four examples where early-career conservationists have used the production of artwork inspired by contemporary art movements to engage critically and emotionally through the formalisms of art with conservation issues on the island of Tenerife. The authors suggest that the production of art by conservationists and as conservation (and vice versa) is key to learning to translate between art and science, leading to broader interdisciplinarity.
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Esposito, Claudia. "Traces of Souffles: on cultural production in contemporary Morocco." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 305–15. http://dx.doi.org/10.3828/cfc.2020.18.

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This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article concludes by acknowledging the tension between art and market-driven concerns inherent in an increasingly competitive art business.
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Popov, Denis Aleksandrovich. "Structuralism and contemporary mass art." Культура и искусство, no. 8 (August 2020): 48–55. http://dx.doi.org/10.7256/2454-0625.2020.8.32542.

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The subject of this research is the impact of structuralism as a scientific direction upon mass art. Stable invariant structures discovered by the structuralists in multiple artworks can be observed in mass art. Structuring, which initially was a method of research, turned into one of the practical recommendations on reating new works in mass art. The goal consists in the analysis of susceptibility factors of mass culture to the ideas of structuralism and results of using methodology of structuralism in mass artistic production. The initial methodological focus of this work lied in the concept of juxtaposition of craft and art, which goes back to I. Kant and is applied in modern aesthetics. The author leans on the methods of structuring and comparative structural analysis, as well as the elements of functional analysis. The main conclusion of consists in the statement that susceptibility of mass culture to the ideas of structuralism is substantiated by its economic goals, need to possess reliable and scientifically proven tools that would ensure commercial success of the artworks. However, the patterned application of structuring methods in mass art is capable of creating only craft products, rather than actual art.
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Đorđević, Marko. "Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti." Život umjetnosti, no. 104 (July 2019): 86–99. http://dx.doi.org/10.31664/zu.2019.104.05.

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This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “artwork,” as applying to those art products that were not recognized as works of art, but rather that there was a change in the very process of aesthetic evaluation. We believe that, unlike the unitary modernist recognition of products as works by the institution of art, there is twofold recognition in the contemporary age. Here the claim to aesthetic evaluation is allowed to every product, but confirmed only to those that successfully reproduce the ruling “aesthetic imperialism.” Even though ideologists of contemporary art present this change as a result of progressivism that is inherent to the institution of art, we would like to argue that it is an effect of the abovementioned overdetermination of artistic production by fictitious capital, that is, its effects in aesthetic and legal fetishism. This hypothesis will be examined in two relatively autonomous instances: economic and ideological (artistic).
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Hassan, Salah M. "Contemporary African Art as a Paradox." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 8–26. http://dx.doi.org/10.1215/10757163-8308138.

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The field of contemporary African and African diaspora art and culture is currently riddled by two paradoxes. First, in Africa and its diaspora, we are witnessing a burgeoning of creative energy and an increasing visibility of artists in the international arts arena. Yet, this energy and visibility has not been matched by a parallel regime of art criticism that lives up to the levels of their work. Second, we find a rising interest in exhibiting and collecting works by contemporary African and diaspora artists among Western museums as well as private and public collections. This growing interest, however, has been taking place within an extremely xenophobic environment of anti-immigration legislation, the closing of borders to the West, and a callous disregard for African and non-Western people’s lives. Hence, this essay addresses the need for an innovative framework that is capable of critically unpacking these paradoxes and that offers a critical analysis of contemporary African and African diaspora artistic and cultural production. In doing so, the author asserts the importance of movement, mobility, and transiency in addressing issues of contemporary African artistic and cultural production. This article focuses on the use of the term Afropolitan, which has made its way into African artistic and literary criticism as a crossover from the fashion and popular culture arenas. In thinking about the usefulness of “Afropolitanism,” the author revisits the notion of cosmopolitanism in relationship to the entanglement of Africa and the West and its reconfiguration at the intersection of modernity and postcoloniality.
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Al-Amri, Mohammed. "Contemporary trends in art education." Journal of Arts and Social Sciences [JASS] 6, no. 2 (January 1, 2016): 221. http://dx.doi.org/10.24200/jass.vol7iss1pp221-241.

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This research aims to present the most important contemporary trends in Art Education focusing on the analysis of the relationship between these trends and their related concepts. It also aims to revive some traditions of art education that are based on a scientific approach, with the aim of improving current practices to achieve quality in both art teaching and art production. The aim is also to offer recommendations for developing the teaching of art in accordance with the most recent approaches in the field. The researcher used the descriptive analytical approach to review and analyze these trends. The study shows that there are a number of trends which can be adopted to improve the quality of the input, the process and the output of teaching of art. These include quality assurance standards in art education, cultural diversity in art education, making use of professional artists in schools, creating partnerships with art museums and teacher education colleges and other educational institutions, using new technologies in teaching art, and assessing students’ performance using the “art portfolio” method. Most of these techniques and approaches have proved successful in developed countries. Thus, the researcher recommends that these trends be encouraged in order to improve the curriculum and instruction of Art Education in the Arab countries.
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Dissertations / Theses on the topic "Contemporary art production"

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Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.

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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.

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Underhill, Helen P. V. "Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.

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Shojai, Kaveh Darya <1995&gt. "Contemporary Iranian Art: Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15423.

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Contemporary Iranian Art has recently become a new entry in International art markets, a condition possibly derived from the current political situation. Both Christie's and Sotheby's, two of the most important auction houses in the world, have introduced specialist departments dedicated to Iranian Contemporary Art, as early as 2007, within their Modern & Contemporary Middle Eastern Art departments. Increasing interest in contemporary Iranian art can be traced by its exponential economic growth in such markets. The aim of this thesis is to investigate and observe the changes in the reception of contemporary Iranian art, how this effects the production and reception of the art and artists themselves, mainly through the effect of the entrance of Iranian contemporary art in international art markets, ownership and exhibitions, either through personal collections or galleries, focusing on Iranian contemporary art. Specifically because of the peculiar political situation of the country itself, the problems of censorship and anti-Western sentiments, Iranian art arises as an oddity in the Middle East, where artists and galleries are, as of recent times, trying to regain their own space and create art that can reflect a new national identity, signalling a reclaiming of Iran and negative aspects associated with the country.
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Bader, Vilma. "Hysterical attributes in the production and subjects of art work." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12073.

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Perhaps no other disorder known to man has been more misunderstood than hysteria. Approaches to hysteria have tended to use outmoded models drawn from ancient medicine, relegating it as an exclusively female medical category. Within contemporary medicine approaches to hysteria have been further hindered by polemical arguments that it is exclusively or almost exclusively a female disorder and whether its causes are psychological or physiological, mind or organic. This paper takes a considered approach to hysteria and situates it as a universal condition that integrates both male and female, mind and body, medical and non medical. Its investigation over cross disciplinary territory gives us valuable insight into the causes of hysteria, its impact in a social context, its considerable role in the creative field and its attributes in the production and subjects of art work. Through my own work and the visual artists Annette Messager, Hanne Darboven, Lygia Clark, Hélio Oiticica, Lygia Pape; the writer Marguerite Duras; and the poet Stéphane Mallarmé, I interrogate the modern hysteric’s pain and numbness. Mallarmé believed that the essence of poetry was to use words to filter out our over supply of words by creating silence around them. The paradoxical strategy of expressing silence through the deployment of language, as opposed to silence as absence, highlights the devaluation and credibility of language or more precisely, inauthentic language. My thesis proposes a possible alternative language in art, for art’s dilemmas and strategies as well as to ease the pain and numbness of the modern day hysteric. This non-verbal language is based on a constant flow of energy, an ever-present activity of thinking and feeling, an ongoing process that takes place across time and space whereas the inside/outside, mind/body, either/or, I/other, artist/viewer become inseparable.
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Maier, Johannes. "Embeddedness as condition and strategy in contemporary art and cultural production." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6516/.

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This thesis examines the concept of ‘embeddedness’ as condition and strategy in contemporary art and cultural production. Identifying embeddedness as a motif of contextual proximity and a strategy in contemporary art, the thesis proposes immediacy to be the result of intrinsic mediation. The project’s main concern is how embeddedness is contextualised by the current conditions that authors and cultural producers engage with. The primary question is whether and how embeddedness can convey a critical relation to the mediation that it undertakes. These concerns inform and arise from my work as an artist, and my participation in events, some of which I organise. The project claims that embeddedness in art is a critical condition and an editorial concept or a strategic plan that can be set up by the artist. The investigation begins by looking at conditions of embeddedness by focusing on concepts of subjectivity and by elaborating strategies that I call ‘auto-direction’. For example, concepts of subjectivity are taken up in relation to Richard Serra’s video Boomerang (1974), in which the performer Nancy Holt reflects on her own spoken words, which are fed back with a short delay via microphone and headphones into her ears. Auto-direction, introduced with the example of Steven Spielberg’s initiative of a video diary exchange project between Israeli and Palestinian children, describes the activity of the producer, who self-directs his situated presence. Taking up idioms of embeddedness from artists like Phil Collins, Christian Jankowski and Erik van Lieshout the project examines embeddedness through a comparative analysis between contemporary art, visual culture, media theory, sociology, art theory, psychoanalysis and philosophy. These practices lead to an identification of embeddedness as an author’s immanent exposure, a claim taken up through analysis of theoretical texts and literature by Rosalind Krauss, Jacques Lacan, Jacques Derrida, Gregory Bateson, Hal Foster, Bernard Williams and Alfred North Whitehead.
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Lindström, Matilda. "Contemporary Art as a Catalyst for Social Change : Public Art and Art Production in a Community of Practice." Thesis, Linköpings universitet, Avdelningen för Kultur, samhälle, mediegestaltning – KSM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-113465.

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This master thesis contextualise, and discuss the contemporary art as a catalyst for change, and raises social issues through art production in the urban district Nima. Perspectives of "community", and "community of practice" affiliates with examples of placed based art, mainly mural paintings performed in the urban landscape of the community, in the stigmatised community Nima, an area in Ghana’s capital Accra. The study has identified an artistic climate that is emerging from within the community, where artists have created a system for various forms of arts education. The artistic climate is a process of social practice, and this study further discuss the interaction of people in the process of art production, which provides both local, and global perspectives of art. Issues of representation, especially who is in the position to represent others, and how others are in fact represented are discussed and analysed as well as the terminology of “African art”.
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Rollman, Louise. "Curating the city: Unpacking contemporary art production and spatial politics in Brisbane." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123515/1/Louise%20Rollman%20Thesis.pdf.

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Contemporary art and exhibition-making is increasingly deployed in the urban development and marketing of cities for political-economic benefit, yet the examination of the aesthetic and cultural aspects of urban life is curiously limited. In probing the unique political conditions of Brisbane, Australia, this thesis contrasts two periods — 1985-1988 and 2012-2015 — in order to more fully understand the critical pressures impacting upon the production of contemporary aesthetic projects. While drawing upon Henri Lefebvre's right to the city, and insisting upon a right to imagine the city, this thesis concludes that a consistent re-articulation of critical pressure, which anticipates oppositional positions, is necessary.
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Couret, Magali. "La production de l'œuvre publique d'art contemporain." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010256/document.

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L'art contemporain se veut transgressif, c'est un art fugitif dont on garde trace dans ses souvenirs, grâce à des photographies et des protocoles conservés dans les archives des institutions et prêts à être «réactivés». Située à la frontière de plusieurs domaines de création et confrontée à une forte dématérialisation, l'œuvre d'art contemporain déroute le juriste. Aujourd'hui, elle ne résulte plus du travail d'un artiste agissant seul dans son atelier, mais d'équipes réunissant les talents de multiples professions qui fragmentent sa réalisation en plusieurs phases. De fait, la scénographie ou le procédé artistique l'emportent souvent sur l'œuvre elle-même. Ce procédé prend le nom de «production» d'art. C'est pourquoi l'art contemporain constitue un objet d'étude complexe en droit, lequel s'attache encore trop à la forme de l'œuvre plutôt qu'à ses modes de création. La production artistique contemporaine est un domaine où les usages et les coutumes naissent au gré de pratiques efficientes, et prennent petit à petit le pas sur le droit. Dès lors, un fossé se creuse entre les professionnels de l 'art contemporain et le droit, ce qui a tendance à induire la co­existence de pratiques divergentes et d'interprétations diverses des coutumes établies, ainsi que le chevauchement de la coutume et de la législation, sans que des directives d'application de l'une ou l'autre ne soient adoptées. La question à laquelle nous tentons donc de répondre dans cette thèse est celle de savoir comment réduire cet écart entre la pratique des professionnels de la création contemporaine et le droit afin d'apporter sécurité juridique à la production artistique, et plus particulièrement au sein de la commande publique
Contemporary art transgress, it is a fugitive art, which we remember thanks to our memories, to photographs and protocols owned by institutions, ready to be revived. The contemporary work of art is dematerialized and located in-between many fields of creation. That is why legal experts have troubles understanding it. Nowadays, a sole artist does not make the work of art anymore. Although, it is the result of the work of a team, gathering multiples professionals, who divide the creation of the work of art up in many phases. That phenomenon is called « production of art». Thus, contemporary art is a complex subject for the law, which is still focused on the form and materials constituting the work of art, instead of being focused on the ways it is produced. The artistic production is regulated by customs, which tend progressively to take advantage on the law. In fact, this creates divergent practices and interpretations of the rules. Plus, the law and the customs sometimes tend to overlap, and no one knows which one should be applied. The question we try to answer in this thesis is how is it possible to reduce the gap between the professional practices and the law, in pursuing the goal to bring legal security in the artistic production, and most specifically, in the field of public call for artists
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Matsinhe, Sebastiao Filipe. "The production of local art for a global cultural market in contemporary Mozambique." Thesis, University of the Western Cape, 2012. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4062_1363774738.

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This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists &ndash
painters and sculptors &ndash
and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 &ndash
1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists&rsquo
life histories, 
especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art 
producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local, 
personal influence and that of the patrons.

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Books on the topic "Contemporary art production"

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Marilyn, Martin, Mtshiza Zola, Rose Art Museum, South African National Gallery, and Iziko Museums of Cape Town, eds. Coexistence: Contemporary cultural production in South Africa. Waltham, Mass: Rose Art Museum, Brandeis University, 2003.

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On knowledge production: A critical reader in contemporary art. Utrecht: BAK, 2008.

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Chieh-Jen, Chen. The Bianwen Book: Images, Production, Action and Documents of Chen Chieh-Jen. Taipei, Taiwan: The Cube Project Space, 2015.

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Murphy, Jill, and Laura Rascaroli, eds. Theorizing Film Through Contemporary Art. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467.

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As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space. How to read these reformulations of the cinematic medium - and their critique of what it is and has been? In Theorizing Cinema Through Contemporary Art: Expanding Cinema, leading film theorists consider artworks that incorporate, restage, and re-present cinema's configuration of the key categories of space, experience, presence/absence, production and consumption, technology, myth, perception, event, and temporality, so interrogating the creation, appraisal, and evolution of film theory as channeled through contemporary art. This book takes film theory as a blueprint for the moving image, and juxtaposes it with artworks that render cinema as a material object. In the process, it unfolds a complex relationship between a theory and a practice that have commonly been seen as virtually incompatible, renewing our understanding of each and, more to the point, their interactions.
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Production design in the contemporary American film: A critical study of 23 movies and their designers. Jefferson, N.C: McFarland, 1997.

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The Production of Lateness: Old Age and Creativity in Contemporary Narrative. Tübingen: Narr Francke Attempto, 2020.

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Colin, Ledwith, Staple Polly, and Museo d'arte contemporanea Donnaregina, eds. You have not been honest: Contemporary film and video from the UK. London: British Council, 2007.

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(Firm), Sotheby's, ed. Russian avant-garde and Soviet contemporary art: The property of members of the All Union Artistic Production Association named after E.V. Vuchetich.. London, Eng: Sotheby's, 1988.

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Mudimbe, V. Y. Contemporary African cultural productions: Production culturelles africaines contemporaines. Dakar: CODESRIA, Council for the Development of Social Science Research in Africa, 2013.

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Contemporary European theatre directors. London: Routledge, 2010.

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Book chapters on the topic "Contemporary art production"

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Horătău, Dorina. "Teaching About “Fibre”: Between Art and Contemporary Design." In Sustainable Textiles: Production, Processing, Manufacturing & Chemistry, 49–76. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5665-1_3.

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Ullrich, Jessica. "Bio-Aesthetics: The Production of Life in Contemporary Art." In Life After Literature, 179–99. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33738-4_12.

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Gržinić, Marina. "Racialized Bodies and the Digital (Financial) Mode of Production." In Regimes of Invisibility in Contemporary Art, Theory and Culture, 13–28. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55173-9_2.

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Manfredi, Camille. "Filming Space: Transenunciation as Re-production. Susan Kemp’s Nort Atlantik Drift: A Portrait of Robert Alan Jamieson and Roseanne Watt’s Quoys." In Nature and Space in Contemporary Scottish Writing and Art, 167–84. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_8.

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Fok, Silvia. "The roles of international art fairs in Hong Kong in facilitating the production and consumption of contemporary art in Asia." In Routledge Handbook of Cultural and Creative Industries in Asia, 273–82. New York : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315660509-20.

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Moore-Cherry, Niamh. "Beyond Art in ‘Meanwhile Spaces’: Temporary Parks, Urban Governance and the Co-production of Urban Space." In The Impact of Artists on Contemporary Urban Development in Europe, 207–24. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53217-2_9.

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Berg, Linda, and Anna Sofia Lundgren. "We Were Here, and We Still Are: Negotiations of Political Space Through Unsanctioned Art." In Pluralistic Struggles in Gender, Sexuality and Coloniality, 49–80. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47432-4_3.

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Abstract In this chapter, we examine the work of the Sámi artist Anders Sunna and the Egyptian artist Bahia Shebab in order to address strategies of artistic criticism of the relations between states and their citizens. Both artists are protesting against contemporary processes relating to space, state and nation, and they express themselves in ways that are embedded in the aesthetics of unsanctioned street art. This expression constitutes an interesting form of politics, situated somewhere in-between, or alongside, party politics and the practices of civil society. Our aim is to describe and discuss what we see as specifically effective and dynamic themes in the chosen artwork—the use of space as object and methodology, and the production of iconic imageries within fantasies of protest. The stencils and spray paintings of Shehab and Sunna offer us keys to exploring efforts to artistically reveal and dismantle national and neocolonial power.
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Cangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry, 141–50. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.

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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
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Sosna, Nina. "3D Visualization: Revealing Imagery Space by Technological Parameter." In Proceedings e report, 181–86. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.42.

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The paper examines several examples of visualization common to the contemporary Russian scene, which 1) follow the long tradition of elaborating texts; 2) are developed on the border between the science of geography and visual art; 3) belong to the sphere of amateur production that by trial and error method propose a special 3D filming as a proper way to present an archive. Among other projects concerned with questions of memory work and its visual presentation, it is the latter one that orients itself towards the possibilities of the future.
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Nannicelli, Ted. "Animals in Contemporary Art." In Artistic Creation and Ethical Criticism, 103–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507247.003.0005.

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With reference to a number of contemporary cases, such as that surrounding the Guggenheim’s Art and China after 1989: Theater of the World exhibition, this chapter argues that some important controversies about the ethics of art can be explained in terms of a disconnect between people who tacitly adopt the perspectivist (or another interpretation-oriented) approach to ethical criticism and people who tacitly adopt a production-oriented approach to ethical criticism. The chapter argues that perspectivism tends to be favored not only in philosophical aesthetics, but also in art criticism and in many art world institutions. In contrast, non-specialists tend to tacitly adopt the production-oriented approach. In the case of the use of animals in contemporary art, current controversies are further explained by the fact that, given some fairly uncontroversial premises about the moral respect that we owe to non-human animals, people who evaluate such work from a production-oriented approach are likely to find much that is prima facie ethically blameworthy. Moreover, they are rationally warranted in doing so.
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Conference papers on the topic "Contemporary art production"

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Yang, Yuan, Yingzhou Zhu, and Chaoqun Sui. "Study on Design and Production of Augmented Reality Work Integrated with Shadow Art Element." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.150.

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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.

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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.

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The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
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Mitrović, Aleksandar. "VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT)." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.417m.

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The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.
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Šimelytė, Agnė, and Gitana Dudzevičiūtė. "Consumption of Renewable Energy and Economic Growth." In Contemporary Issues in Business, Management and Education. Vilnius Gediminas Technical University, 2017. http://dx.doi.org/10.3846/cbme.2017.048.

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The significance of renewable energy is highly recognized all over the world. However, the impact of consuming renewable energy on the economy is very often disputable and contravercial. The paper explores links between consumption of renewable energy, economic growth, trade, capital and labour. The study covers 28 European Union countries for the period from 1990 to 2012. Energy has been considered as one of production factors, which has a great impact on output. Thus, the neo-classical Cobb-Douglas function has been employed to reach the aim of the article. Following the relevant state-of-art, economic growth, consumption of renewable energy, trade, capital and labour are considered as separate factors. The analysis indicates that consumption of renewable energy boots economy in 12 countries out of 28. The neutrality hypothesis has been confirmed in 2 countries, while the conservation hypothesis has been proved in 6 cases. The weakest links between the consumption of renewable energy and other factors has been noticed in Luxembourgh’s case.
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Byrne, Valerie. "National Sculpture Factory." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.39.

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The purpose of the National Sculpture Factory, which speaks to our artistic policy and remit, is to support and nurture the production of art and the role of culture in society. We work to be the leading institution for identifying, nurturing and activating talent; for ambitious and fearless commissioning; promoting discourse on contemporary visual culture through public engagement activities; and engaging diverse audiences, driving more inclusion and accessibility. Primarily we are a factory of innovation in new technologies and artistic production in the expanded practice of sculpture.
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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Srećković, Milesa, Nenad Ivanović, Stanko Ostojić, Aleksandar Kovačević, Nada Ratković Kovačević, Zoran Karastojković, and Sanja Jevtić. "Application of lasers in automotive industry." In 8th International Conference on Renewable Electrical Power Sources. SMEITS, 2020. http://dx.doi.org/10.24094/mkoiee.020.8.1.223.

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Laser role and couplings with vehicles and solar power are numerous and in this paper we will analyze the principles, contemporary development of special scientific areas and engineering, from the metrological point of view. This area is, in broader sense, connected to history of our planet, or since the midst of the previous century and golden age of quantum electronics. Some of the general problems have rather slow dynamics of solving, but on the other hand, considering contemporary state-of-the-art of unconventionally powered vehicles and realized components, some characteristics change conservative opinions on the realizable capacities. The main goal of this consideration is to point to the unity of problems, which might speed up the gradients of the developments in solar technology of automotive technology, by multi-disciplinary approach. Overall, we have considered both theoretical approaches and current developed systems in the fields of technology, metrology and power production and transformation.
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Vyboishchik, A. V. "Contemporary Methods for Production of Ultramarine." In Modern Trends in Manufacturing Technologies and Equipment. Materials Research Forum LLC, 2022. http://dx.doi.org/10.21741/9781644901755-43.

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Abstract. The article describes the features of ultramarine, its modifications, viz. ultramarine blue. The requirements for ultramarine blue grades are observed, the one-stage and two-stage technologies for the production of ultramarine blue are described, the advantages and disadvantages of both methods are listed, new recommendations for the production of ultramarine blue are offered.
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Reports on the topic "Contemporary art production"

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Newell, Peter, and Mohamed Adow. Cutting the Supply of Climate Injustice. Institute of Development Studies (IDS), October 2021. http://dx.doi.org/10.19088/1968-2021.129.

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This article considers the role of activism and politics to restrict the supply of fossil fuels as a key means to prevent further climate injustices. We firstly explore the historical production of climate injustice through extractive economies of colonial control, the accumulation of climate debts, and ongoing patterns of uneven exchange. We develop an account which highlights the relationship between the production, exchange, and consumption of fossil fuels and historical and contemporary inequalities around race, class, and gender which need to be addressed if a meaningful account of climate justice is to take root. We then explore the role of resistance to the expansion of fossil-fuel frontiers and campaigns to leave fossil fuels in the ground with which we are involved. We reflect on their potential role in enabling the power shifts necessary to rebalance energy economies and disrupt incumbent actors as a prerequisite to the achievement of climate justice
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Cahaner, Avigdor, Sacit F. Bilgili, Orna Halevy, Roger J. Lien, and Kellye S. Joiner. effects of enhanced hypertrophy, reduced oxygen supply and heat load on breast meat yield and quality in broilers. United States Department of Agriculture, November 2014. http://dx.doi.org/10.32747/2014.7699855.bard.

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Original objectivesThe objectives of this project were to evaluate the growth performance, meat yield and quality attributes of broiler strains widely differing in their genetic potential under normal temperature vs. warm temperature (short and long-term) conditions. Strain differences in breast muscle accretion rate, metabolic responses under heat load and, gross and histopathological changes in breast muscle under thermal load was also to be characterized. BackgroundTremendous genetic progress has been made in broiler chicken growth rate and meat yield since the 1950s. Higher growth rate is driven by higher rates of feed intake and metabolism, resulting in elevated internal heat production. Hot rearing conditions negatively affect broiler growth by hindering dissipation of heat and may lead to a lethal elevation in body temperature. To avoid heat-induced mortality, broilers reduce feed intake, leading to depressed growth rate, lower weight gain, reduce breast meat yield and quality. Thus, the genetic potential of contemporary commercial broilers (CCB) is not fully expressed under hot conditions. Major conclusions, solutions, and achievementsResearch conducted in Israel focused on three broiler strains – CCB, Featherless, Feathered sibs (i.e., sharing similar genetic background). Complimentary research trials conducted at Auburn utilized CCB (Cobb 500, Cobb 700, Ross 308, Ross 708), contrasting their performance to slow growing strains. Warm rearing conditions consistently reduced feed intake, growth rate, feed efficiency, body weight uniformity and breast muscle yield, especially pronounced with CCB and magnified with age. Breast meat quality was also negatively affected, as measured by higher drip loss and paler meat color. Exposure to continuous or short-term heat stress induced respiratory alkalosis. Breast muscle histomorphometrics confirmed enhanced myofiber hypertrophy in CCB. Featherless broilers exhibited a significant increase in blood-vessel density under warm conditions. Rapid growth and muscle accretion rate was correlated to various myopathies (white striping, woody and necrotic) as well as to increases in plasma creatinekinase levels. Whether the trigger(s) of muscle damage is loss of cellular membrane integrity due to oxidative damage or tissue lactate accumulation, or to loss of inter-compartmental cation homeostasis is yet to be determined. Based on genome-wide single-nucleotide polymorphism array genotyping, identification of the gene with the recessive mutation Scaleless (sc) facilitated the development a dCAPS assay to discriminate between sc carrier (sc/+) and non-carrier (+/+) individuals. ImplicationsThis project confirmed that featherless broiler strains grow efficiently with high yield and quality of breast meat, even under warm rearing conditions that significantly depress the overall performance of CCB. Therefore, broiler meat production in hot regions and climates can be substantially improved by introducing the featherless gene into contemporary commercial broiler stocks. This approach has become more feasible with the development of dCAPS assay. A novel modification of the PCR protocol (using whole blood samples instead of extracted DNA) may contribute to the efficient development of commercial featherless broiler strains. Such strains will allow expansion of the broiler meat production in developing countries in warm climates, where energy intensive environmental control of rearing facilities are not economical and easily achievable.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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Ivanova, Iryna, and Elena Afanasieva. MODEL OF INTERACTION BETWEEN ADVERTISING, PR AND JOURNALISM. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11060.

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The article is an overview of the journalism – PR – advertising relationship at the terminological, empirical-analytical and practical levels. It traces the state of the discussion of these correlations in the post-soviet media such as Ukraine. The study describes that domesticating the importance of the appropriate partnership between the three communication technologies. The thesis is that journalism, advertising and PR create a mutual connection that takes place in an atmosphere of PR and advertising permissiveness and deepens with the development of digitalization, Social network development. The present research is based on a comprehensive approach. The inductive and deductive methods are adopted to discuss theoretical materials, and the interdisciplinary research method is used to detect PR-specific features as a philosophy of a new journalism project. The interpretive approach, usually employed to analyze media text as a complex synthetic structure, was also taken into consideration. The analytical method application identified the modern means of substantiating the ideological, esthetical and informative value of brand journalism and spin doctor. The innovative character of modern media as a behavioral strategy in the advertising and PR industry consists in the fact that it is a form of creative production and behavior rather than adapting a specific communication situation. The article examines the main directions of contemporary interactions between PR, advertising and journalism as a media content creation. In this context, it is asserted that advertising, journalism and PR activities can contribute to the creation of media content. At some point, good media content is achieved not only as a result of this competition but also from the correlation between PR, advertising and journalism.
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Cahaner, Avigdor, Susan J. Lamont, E. Dan Heller, and Jossi Hillel. Molecular Genetic Dissection of Complex Immunocompetence Traits in Broilers. United States Department of Agriculture, August 2003. http://dx.doi.org/10.32747/2003.7586461.bard.

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Objectives: (1) Evaluate Immunocompetence-OTL-containing Chromosomal Regions (ICRs), marked by microsatellites or candidate genes, for magnitude of direct effect and for contribution to relationships among multiple immunocompetence, disease-resistance, and growth traits, in order to estimate epistatic and pleiotropic effects and to predict the potential breeding applications of such markers. (2) Evaluate the interaction of the ICRs with genetic backgrounds from multiple sources and of multiple levels of genetic variation, in order to predict the general applicability of molecular genetic markers across widely varied populations. Background: Diseases cause substantial economic losses to animal producers. Emerging pathogens, vaccine failures and intense management systems increase the impact of diseases on animal production. Moreover, zoonotic pathogens are a threat to human food safety when microbiological contamination of animal products occurs. Consumers are increasingly concerned about drug residues and antibiotic- resistant pathogens derived from animal products. The project used contemporary scientific technologies to investigate the genetics of chicken resistance to infectious disease. Genetic enhancement of the innate resistance of chicken populations provides a sustainable and ecologically sound approach to reduce microbial loads in agricultural populations. In turn, animals will be produced more efficiently with less need for drug treatment and will pose less of a potential food-safety hazard. Major achievements, conclusions and implications:. The PI and co-PIs had developed a refined research plan, aiming at the original but more focused objectives, that could be well-accomplished with the reduced awarded support. The successful conduct of that research over the past four years has yielded substantial new information about the genes and genetic markers that are associated with response to two important poultry pathogens, Salmonella enteritidis (SE) and Escherichia coli (EC), about variation of immunocompetence genes in poultry, about relationships of traits of immune response and production, and about interaction of genes with environment and with other genes and genetic background. The current BARD work has generated a base of knowledge and expertise regarding the genetic variation underlying the traits of immunocompetence and disease resistance. In addition, unique genetic resource populations of chickens have been established in the course of the current project, and they are essential for continued projects. The US laboratory has made considerable progress in studies of the genetics of resistance to SE. Microsatellite-marked chromosomal regions and several specific genes were linked to SE vaccine response or bacterial burden and the important phenomenon of gene interaction was identified in this system. In total, these studies demonstrate the role of genetics in SE response, the utility of the existing resource population, and the expertise of the research group in conducting such experiments. The Israeli laboratories had showed that the lines developed by selection for high or low level of antibody (Ab) response to EC differ similarly in Ab response to several other viral and bacterial pathogens, indicating the existence of a genetic control of general capacity of Ab response in young broilers. It was also found that the 10w-Ab line has developed, possibly via compensatory "natural" selection, higher cellular immune response. At the DNA levels, markers supposedly linked to immune response were identified, as well as SNP in the MHC, a candidate gene responsible for genetic differences in immunocompetence of chickens.
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