Academic literature on the topic 'Futur dans l'art'
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Journal articles on the topic "Futur dans l'art"
Seel, Gerhard, and Nicole G. Albert. "L'art dans l'histoire et l'art du futur." Diogène 233-234, no. 1 (2011): 226. http://dx.doi.org/10.3917/dio.233.0226.
Full textKoubaa Turki, Laila, Khaoula Raboudi, and Abdelkader Ben Saci. "L'enveloppe solaire : un retour vers le futur." SHS Web of Conferences 82 (2020): 01002. http://dx.doi.org/10.1051/shsconf/20208201002.
Full textPoznanski, Thaddée. "Loi modifiant la loi des accidents du travail." Commentaires 22, no. 4 (April 12, 2005): 558–65. http://dx.doi.org/10.7202/027838ar.
Full textOverell, M. A. "The Reformation of Death in Italy and England, circa 1550." Renaissance and Reformation 35, no. 4 (October 1, 1999): 5–21. http://dx.doi.org/10.33137/rr.v35i4.10697.
Full textLe Goffic, Caroline. "International rules for the protection of wine geographical indications: past, present and future perspectives." Territoires du vin, no. 13 (December 15, 2021). http://dx.doi.org/10.58335/territoiresduvin.2097.
Full textDissertations / Theses on the topic "Futur dans l'art"
Ahmad, Jdid Farah. "Le design interactif et l'interaction comme un futur scénario de la scénographie numérique pour le spectacle vivant et le théâtre (Du spectateur au ₀ spect-acteur ε)." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080061.
Full textThis thesis highlights the great evolution of the art of staging and studies the relationship between the scenery and the digital technology from the standpoint of design. It focuses on its role in the future of the scenography. The scenography is used among the digital technologies; we choose the "VR"virtual reality technology as a tool to create the scenery of the theatre to enrich the viewer's presence. The concern from the beginning of our research was about; how to enhance the sense of presence in the viewer to the decor of a theatrical art.It is very important for us to succeed in creating a theatrical setting in which the spectator becomes an actor or rather a “Spect- actor”. Research has highlighted a few examples that used the virtual technology in the scenography. We then tackle the critiques of this technology made by researchers in the theatre. Many opinions that oppose the integration of this technology in theatre give arguments related to the danger of the immersion. The thesis highlights the interaction as a second founding characteristic of the "VR" offsetting the passivity of immersion. Then we approach the subject of the interactive design.In order to create a vision of the world of the staging in the future, we adapt the story of Alice in Wonderland to create our project Helping Alice. This allows spec-actors to interact with virtual elements of an interactive animation within a framework of collaborative video game. A group of 3 “Spect- actors” everyone participate to change the view of the scenery but also to choose the colour. We consider that the mediatized scene creates a sense of presence among the public so that interaction is the key that enriches the received feeling
Ahmad, Jdid Farah. "Le design interactif et l'interaction comme un futur scénario de la scénographie numérique pour le spectacle vivant et le théâtre (Du spectateur au ₀ spect-acteur ε)." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080061.
Full textThis thesis highlights the great evolution of the art of staging and studies the relationship between the scenery and the digital technology from the standpoint of design. It focuses on its role in the future of the scenography. The scenography is used among the digital technologies; we choose the "VR"virtual reality technology as a tool to create the scenery of the theatre to enrich the viewer's presence. The concern from the beginning of our research was about; how to enhance the sense of presence in the viewer to the decor of a theatrical art.It is very important for us to succeed in creating a theatrical setting in which the spectator becomes an actor or rather a “Spect- actor”. Research has highlighted a few examples that used the virtual technology in the scenography. We then tackle the critiques of this technology made by researchers in the theatre. Many opinions that oppose the integration of this technology in theatre give arguments related to the danger of the immersion. The thesis highlights the interaction as a second founding characteristic of the "VR" offsetting the passivity of immersion. Then we approach the subject of the interactive design.In order to create a vision of the world of the staging in the future, we adapt the story of Alice in Wonderland to create our project Helping Alice. This allows spec-actors to interact with virtual elements of an interactive animation within a framework of collaborative video game. A group of 3 “Spect- actors” everyone participate to change the view of the scenery but also to choose the colour. We consider that the mediatized scene creates a sense of presence among the public so that interaction is the key that enriches the received feeling
Constant, Julie. ""Souviens-toi de ton futur ". Les artistes rescapés des camps nazis et la réception de leurs oeuvres de témoignage et de mémoire en France après 1945." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30065.
Full textThe thesis attempts to shed light on French artists and artists who lived in France after the war after surviving the Nazi camps, and the life they lead after the camps and their work. It also looks at their efforts to pass on their experience of the deportation and the genocide, or on the other hand their desire to flee the themes, esthetic language and the iconography used. The triggers to the memory and the eventual mutation of choices by each person to be witness, to represent, to recollect during fifty years will also be addressed. A few rare artists had the opportunity to create in situ: we will also study the motivation, the conditions of creation and the particularities of the drawings in the camps. After 1945, between memory, revolt and resilience, the artists of this group, deported for their activities in the resistance or due to persecution and the installation of the final solution, had to lead an interior struggle against the painful reminiscences of the camps and sometimes an activist’s fight to spread their message in opposition to anti-Semite attacks and Holocaust deniers. The complexity of the transfiguration in terms of visual representations of trauma brought up doubts and reflections: transmitting without betraying, witnessing without giving up art. The painters, sculptors and engravers of this group have never really stopped defining themselves mainly as artists: the essence and the universal scope of creation, as well as the custodians of art history having placed this cathartic process on the shoulders of the artists. If the corpses, the anonymous and tortured bodies, inhabit the visual universe after the war, the artists that escaped, summoned those that disappeared and gave flesh and individuality to loved ones, represented as suffering, fighting or tender, but dignified and standing. The study also concentrates on the terms and changing forms of the reception in France of the works linked to the memory of the deportation, post-war to the fiftieth anniversary of the liberation of the camps: the distribution to the French public via individual or group exhibitions and art fairs ; the promotion concerning these issues in the literature about the exhibitions and the artists ; the press reactions, the public acquisitions and the public decorations, including the specific reception by the associations of those deported and the Jewish community especially with the creation of the French Jewish art museum
Books on the topic "Futur dans l'art"
(Gallery), Plug In ICA, Urban Shaman (Gallery), and Winnipeg Art Gallery, eds. Close encounters: The next 500 years. Winnipeg: Plug In Editions, 2011.
Find full textÖsterreichisches Museum für Angewandte Kunst, Universität für Angewandte Kunst Wien, Kunsthalle Wien, Architektur Zentrum Wien, and Vienna Biennale (2017), eds. Vienna Biennale 2017: Roboter, Arbeit, Unsere Zukunft = robots, work, our future. Wien: Verlag für Moderne Kunst, 2017.
Find full textFrances, Carey, ed. The Apocalypse and the shape of things to come. Toronto: University of Toronto Press, 1999.
Find full textBergmeier, Armin, and Andrew Griebeler. Time and Presence in Art: Moments of Encounter. de Gruyter GmbH, Walter, 2022.
Find full textBergmeier, Armin, and Andrew Griebeler. Time and Presence in Art: Moments of Encounter. de Gruyter GmbH, Walter, 2022.
Find full textTime and Presence in Art: Moments of Encounter. De Gruyter, Inc., 2022.
Find full textParanofictions: Traité de savoir vivre dans une réalité de science-fiction. Paris: Flammarion, 2006.
Find full textBye Bye Future: L'art de voyager dans le temps. Morlanwelz, Belgium: La Lettre volée - Musée royal de Mariemont, 2020.
Find full textSharpe, Christina Elizabeth. Martine Syms : Neural Swamp: The Future Fields Commission in Time-Based Media. Yale University Press, 2022.
Find full textPresent of the Future. University of Chicago Press, 2018.
Find full textConference papers on the topic "Futur dans l'art"
Ledeneva, Ekaterina Ivanovna. "LES ARTS DÉCORATIFS ET APPLIQUÉS DES PEUPLES DE SIBÉRIE DANS LE CADRE DE L'ACTIVITÉ D'EXPOSITION DES FUTURS ENSEIGNANTS DES CLASSES PRIMAIRES EN TANT QUE COMPOSANTE DE LA FORMATION PROFESSIONNELLE." In Themed collection of papers from Foreign International Scientific Conference «Science and innovation in the framework of the strategic partnership between Algeria and Russia» by HNRI «National development» in cooperation with the University of Science and Technology Houari Boumediene. April 2024. Crossref, 2024. http://dx.doi.org/10.37539/240425.2024.13.82.012.
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