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Journal articles on the topic 'Information art'

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Published: 4 June 2021
Last updated: 7 February 2022

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1

Ursyn, Anna. "Art as Information." Leonardo 35, no. 4 (August 2002): 445–46. http://dx.doi.org/10.1162/002409402760181277.

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2

Madolimov, Hasanboy Shuhratovich. "FUNCTION OF INFORMATIONAL PUBLICIISTICS AND IMAGE (INFORMATION)." Journal of Central Asian Social Studies 02, no. 03 (May 31, 2021): 84–90. http://dx.doi.org/10.37547/jcass/volume02issue03-a12.

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It is well known that journalism is a unique way of covering social life and is widely used in the press. Journalism is divided into a number of types to cover all aspects of public life. These include socio-political journalism, economic-industrial journalism, journalism reflecting the cultural and spiritual life (there are a number of subtypes, such as scientific journalism, literary journalism, sports journalism, art journalism). There is also a peculiar way of social life, albeit from a socio-political point of view - comic journalism, which illuminates it in a humorous way. In terms of its structure, journalism is divided into informational, analytical and artistic journalism, which depends on how it covers life.
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3

Layne, Sara Shatford. "Artists, Art Historians, and Visual Art Information." Reference Librarian 22, no. 47 (November 1994): 23–36. http://dx.doi.org/10.1300/j120v22n47_03.

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4

P., Mahalakshmi. "An Art of Review on Conceptual based Information Retrieval." Webology 18, no. 1 (February 3, 2021): 51–61. http://dx.doi.org/10.14704/web/v18i1/web18026.

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5

Barnett, Patricia J. "Art Information Task Force." Visual Resources 7, no. 4 (January 1991): 431–32. http://dx.doi.org/10.1080/01973762.1991.9659213.

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6

McCullagh, Suzanne Folds. "Nuances of Art Information." Visual Resources 11, no. 3-4 (January 1995): 271–87. http://dx.doi.org/10.1080/01973762.1995.9658343.

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7

Xilin, You. "Information, Communication and Art." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 233–49. http://dx.doi.org/10.1515/yewph-2018-0017.

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AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot media. Through Gödel’s Incompleteness Theorems which underlies formalization and Embodied Cognition Theory, this article argues that there exists an ontological difference between computers and human existence and explores the position of art from the contemporary cool media perspective. This contribution is not only intended to be a philosophical critique of the philosophy of technology of the media age, but also a repositioning of contemporary art and its function from the media perspective. The technological division and abstraction represented in hot media becomes the basic premise for a holistic approach to computer science and artificial intelligence. Their rich information context leads to multiple interpretations of meaning instead of a one-dimensional definition; the everyday actions of cold media have become a type of life art in a broad sense, and manifest their social function as an art of the information age, i.e. to balance the cognitive narrative of hot media and to ensure that its communication does not suppress the audience’s individual creativity, so that they can maintain their subjectivity by tracing the source of information. Art facilitates active audience participation and so allows participants to overcome a one dimensional way of thinking and promotes imagination and creativity in liberal arts education. Following the rules of art, cold media obtains its greatest significance as the guardian of the free subjectivity of all humans, which is alien to modern technology. Cold media and hot media balance each other to create a new way of producing and living that not only discovers but also safeguards the world.
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8

Botirova, Khilola Tursunbaevna. "Performance And Art." American Journal of Social Science and Education Innovations 03, no. 05 (May 31, 2021): 465–74. http://dx.doi.org/10.37547/tajssei/volume03issue05-83.

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This article provides detailed information about the performing arts, including scientific and theoretical information about the commonality of performance and art. The scholars’ scientific approaches to music are described in detail.
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9

Shanken, Edward A. "Art in the Information Age: Technology and Conceptual Art." Leonardo 35, no. 4 (August 2002): 433–38. http://dx.doi.org/10.1162/002409402760181259.

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Art historians have generally drawn sharp distinctions be-tween conceptual art and art-and-technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focus-ing on the art criticism of Jack Burnham and the artists in-cluded in the Software exhibition that he curated. The historiciza-tion of these practices as distinct artistic categories is examined. By interpreting conceptual art and art-and-technology as reflections and constituents of broad cultural transformations during the information age, the author concludes that the two tenden-cies share important similarities, and that this common ground offers useful insights into late-20th-century art.
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10

Teichman, Carmela. "Bibliographical information on Israeli art." Art Libraries Journal 11, no. 1 (1986): 32. http://dx.doi.org/10.1017/s0307472200004508.

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11

Shipe, Timothy. "ART NETWORKS AND INFORMATION SYSTEMS." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 1 (April 1990): 9–11. http://dx.doi.org/10.1086/adx.9.1.27948164.

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12

Beale, Russell. "Ambient Art: Creative Information Representation." Human Technology: An Interdisciplinary Journal on Humans in ICT Environments 3, no. 1 (February 28, 2007): 34–53. http://dx.doi.org/10.17011/ht/urn.200769.

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13

Brown, Paul. "Art and the Information Revolution." Leonardo. Supplemental Issue 2 (1989): 63. http://dx.doi.org/10.2307/1557947.

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14

Ciambra, D. "Computers: Thesaurus art market information." Museum Management and Curatorship 11, no. 4 (December 1992): 427–28. http://dx.doi.org/10.1016/0964-7775(92)90086-k.

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15

Stam, Deirdre C. "Tracking art historians: on information needs and information-seeking behaviour." Art Libraries Journal 14, no. 3 (1989): 13–16. http://dx.doi.org/10.1017/s0307472200006349.

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The information-gathering activities of art historians have been studied from three different perspectives: in terms of the books they use; through their own accounts of their working processes; and by informal, systematic observation, written up as ‘user studies’, by art librarians. While observation implies objectivity, a distance between observer and observed, in practice art librarians are very much involved with the art historian in the work of art history and in the development of its methodologies.
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16

Morgan, Sarah L., Graciela S. Alarcón, and Larry Moreland. "Improved methotrexate patient information." Arthritis & Rheumatism 38, no. 6 (June 1995): 874–75. http://dx.doi.org/10.1002/art.1780380633.

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Canaria, C. "Data + Art: science and art in the age of information." Disease Models & Mechanisms 2, no. 11-12 (November 1, 2009): 538–40. http://dx.doi.org/10.1242/dmm.004291.

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18

Barton, C. Michael, G. A. Clark, and Allison E. Cohen. "Art as information: Explaining Upper Palaeolithic art in western Europe." World Archaeology 26, no. 2 (October 1994): 185–207. http://dx.doi.org/10.1080/00438243.1994.9980272.

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19

Hrvanović, Maja. "THE SPECIFICS OF ART INFORMATION AND COMMUNICATION IN ART CLASSES." Journal Human Research in Rehabilitation 3, no. 2 (September 2013): 23–25. http://dx.doi.org/10.21554/hrr.091304.

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In this study, the author puts forward the hypothesis that the representation of information of artistic type in art classes affects the formation of judgement of taste as one of the most important factors for intensifying and memorising the experience of artistic content. The function of art education is to enable an individual to „read“ the work of art, to supply him with skills and knowledge necessary to recognise formally significant determinants in art. Creation of new conceptual design, functional usage of visual information in communication process, individuality in shaping their own criteria, are just some of the determinants of artistic development. Art education accorded with development of technology and visual communication is necessary for human development of young individuals and improvement of their general level of culture. Conceptually – concrete art can uncritically be understood as direct and „comprehensible“. The observer with basic artistic education has no difficulties in expressing judgement about realistic work of art, because all mental functions, by analogy, occur with the experience. Art formed in the area of symbolic self-expression, areal structure, requires special knowledge and skills to overcome sensed and decorative levels when experiencing a work of art. The classes of art education should teach the students the methods of judging the artistic quality, to significantly influence their ability of critical analysis, interpretation and formation of judgement of taste
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20

Barnett, P. "Information standards: Art information task force holds inaugural meeting." Museum Management and Curatorship 10, no. 1 (March 1991): 100. http://dx.doi.org/10.1016/0260-4779(91)90052-y.

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21

Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (October 8, 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.

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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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22

Ayres, Isabel. "Viewpoint: Art information in Latin America." Art Libraries Journal 40, no. 3 (2015): 3–4. http://dx.doi.org/10.1017/s0307472200000286.

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Several museums and libraries in North America and Europe house in their collections expressive works of art from Latin America. An understanding of the source of such collections requires study of their history and of the background from which they come, even if, as a matter of fact, collecting works of art and bibliographical assets on such a theme is not new. The interest in studying artworks which do not belong to the so-called western canon enables a wider knowledge of the art in Latin America. Notwithstanding the reasons behind such interest, it is worth noting that some facts related to their development are still lively, such as the interests roused by the travelling artists in the 19th century, who departed in search of the unknown or exotic and came back to their homeland with an imagination full of images from the New World. It is undeniable that Latin America has had a key role in the major changes that occurred during the age of discovery, when Europe focused on its colonies. Nowadays, as we observe the recurrence of such a foreign look at Latin America, we might ask ourselves how Latin America sees itself.
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23

Barberena, Elsa. "Latinoarte: information on Latin American art." Art Libraries Journal 20, no. 3 (1995): 8–10. http://dx.doi.org/10.1017/s0307472200009433.

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Latin American culture is very rich, yet there is insufficient documentation on Latin American art, and much of the documentation which does exist is not adequately covered by the major art indexes. A number of magazines have set out, especially since the 1940s, to disseminate information about Latin American art, but most have been short-lived. The LATINOARTE project, based in the Facultad de Filosofía y Letras at the Universidad Nacional Autónoma de México (UNAM), aims to develop and to network a database including citations to documentation available in 62 libraries and information centres inside and outside Latin America. Already, some 1,500 records are available on contemporary Latin American art. (The edited text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994.)
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24

Arms, William Y. "Information science as a liberal art." Interlending & Document Supply 33, no. 2 (June 2005): 81–84. http://dx.doi.org/10.1108/02641610510700188.

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25

Tseng, Yu-Chuan, Chia-Hsiang Lee, and Ding-Ming Wang. "Flow—A Flowing Information Interactive Art." Leonardo 42, no. 1 (February 2009): 98–99. http://dx.doi.org/10.1162/leon.2009.42.1.98.

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Flow is an interactive art work creating a context of flowing information which is unable to be held, but is instead in a state of intermix. The practice aims to represent the chaos state of information in which we find ourselves in our present-day society. When confronted with a huge amount of information, we process it differently based on our opinions. We assume that we understand without question, but how can we firmly believe that our cognition is correct?
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26

Stam, Deirdre Corcoran. "How Art Historians Look for Information." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 27–30. http://dx.doi.org/10.1086/adx.16.2.27948896.

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27

Grøtting, Inger Fure. "Contemporary Art as Democracy Education." Nordic Journal of Art and Research 10, no. 2 (May 10, 2021). http://dx.doi.org/10.7577/information.3742.

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According to Hannah Arendt, a free and public space is an essential condition for democracy. She presents this free and public space as a space between us, where different voices are expressed and are being heard (Arendt, 2012). In order to maintain a democratic social model, the school system needs to facilitate these open spaces where students can acquire knowledge, develop skills and values they need to become active democratic citizens, as well as giving practical training in exercising them. This article gives an insight on how these competences can be learned in an art museum through dialogue. The argumentation in the article relies upon the research of art mediation at Kunstnernes Hus. The research includes qualitative examinations of a specific case where high school-students encountered artworks by Vanessa Baird.
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28

Engen, Line. "Practice-led Research in the Art Museum." Nordic Journal of Art and Research 10, no. 2 (May 10, 2021). http://dx.doi.org/10.7577/information.3769.

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As art museum education practices get more ambitious in form and content, and to a higher degree inform the overall audience strategies, the need for a research framing is required. The art museum is facing new and high expectation from society and policy makers in terms of being a relevant social and democratic platform inclusive for everyone. To manifest the changes, the institution must draw on all the different museal knowledges, not least the one about the audience. There has been a history of professional hierarchy and knowledge hegemony inside the art museum, where the object-based knowledge has trumped the practice-based. An important reason for this imbalance has been the lack of adequate practice related research methods and a theoretical framing within art museum education. Research in art museum has to a large extent operated within the classical art historical field, but more and more museums are looking to and are drawing on other models outside the museum disciplines to develop new adequate research standards. One of the museums that have undergone a profound change much due to a change in how they think about practice and research, is Tate with research leader Emily Pringle in the lead. Inspired by models within the arts and school system, they have developed a practice-led research method. In this article I will reflect on how and why it is important for art museum educators to do research on their own practice, drawing on both the Tate model and my own experience from working at the National Museum for over ten years.
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Høst, Katja, and Liva Mork. "Haugerudbekken: Community Improvement through Socially Engaged Art." Nordic Journal of Art and Research 10, no. 2 (May 10, 2021). http://dx.doi.org/10.7577/information.3745.

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Haugerudbekken is the collective title of a series of art projects where two local artists (the authors of this article) collaborate with pupils from local schools in Haugerud to create public art installations in the neighbourhood. Haugerudbekken may be considered a practical exploration guided by principles in the fields of socially engaged art (SEA), teaching artists (TA) and community artists (CA). The project is being undertaken within the broader context of a government run local improvement initiative in the Oslo suburbs of Haugerud and Trosterud. A growing demand for art entering a societal context (like urban development) calls for approaches emphasizing dialogue, communication and local affiliation. As this demand grows, so does the need for best-practice guidance for initiating artists as well as for policymakers and others inviting artists to contribute. Furthermore, our approach as independent artists working within a community setting might also benefit from clarification of theory and framework in this field. This article therefore aims to share knowledge gathered through our three years (and still ongoing) working on Haugerudbekken, pinpointing what we believe to be key success factors as well as challenges in our project. Findings are discussed in relation to existing theory and relevant practice in SEA, TA and CA informing existing guidelines as well as terminology.
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30

"Issue Information - General Information." Arthritis & Rheumatology 69, no. 3 (February 27, 2017). http://dx.doi.org/10.1002/art.39882.

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31

Skregelid, Lisbet. "Encounters with the World through Cultural Schoolbag Workshops for Teacher Students." Nordic Journal of Art and Research 10, no. 2 (May 10, 2021). http://dx.doi.org/10.7577/information.4449.

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This article raises some questions about encountering the world and subjectivation in art educational practices. Gert Biesta recently criticised the continuing emphasis on expressive and self-centred approaches and pedagogies in art education (2017, 2018). Biesta calls for a world-centred approach to education in general, as well as art education practices that move the focus from oneself to a greater openness towards the world. In my own art education practice, I attempt to enable this shift from what I see as an emphasis on merely the self to an emphasis on the world—a more sustainable approach to art education. I practise turning students towards the world that explores the possibility for subjectivation: that is, for subjects to come into existence. I frame this teaching strategy as educational dissensus (Skregelid, 2016, 2019a, 2019b, 2020a, 2020b, 2020c). This article discusses the notion of world-centredness in relation to the initial stages of a pilot study involving teacher students in The Cultural Schoolbag (TCS) workshops. The TCS workshop Teiporama, by the artist Sandra Norrbin, had an explorative character and was oriented towards process rather than focused on developing skills and an artistic object. At first glance, what happened in the workshops might seem like the expressive approach to art education that Biesta criticizes. However, I still believe the workshop revealed something more. This leads me to asking: How can an art practice having the self, the I, as a point of departure at the same time be a world-centred educational practice?
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Bjerke, Mildrid, Jan Sverre Knudsen, Lise Lundh, and Ragnhild Tronstad. "Art in Education – Treasures Within and Treasures Between Us." Nordic Journal of Art and Research 10, no. 2 (May 10, 2021). http://dx.doi.org/10.7577/information.4450.

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This special issue of Nordic Journal of Arts and Research is a collection of articles based on selected papers presented at the conference Art in Education held at Oslo Metropolitan university in august 2019. Our goal with the conference was to create a widely based international venue for exploring the many ways in which art becomes meaningful and powerful through ways of teaching and arts promotion. A key intention was to include both artists, academics and teachers and to stimulate encounters that cross conventional disciplinary barriers. The two partners organizing the conference were Kulturtanken: Arts for Young Audiences Norway, and the Faculty of Education at Oslo Metropolitan University. The mobilisation of both the artistic and scholarly networks of these two organizations laid the grounds for three days of stimulating interaction, art experiences and discussions
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Tracey, Ryan. "Art vs. Information Science." eLearn 2010, no. 12 (December 2010). http://dx.doi.org/10.1145/1920830.1922498.

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"Issue Information." Arthritis & Rheumatology 69, no. 1 (December 28, 2016). http://dx.doi.org/10.1002/art.39871.

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"Issue Information." Arthritis & Rheumatology 69, no. 2 (January 28, 2017). http://dx.doi.org/10.1002/art.39876.

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"Issue Information." Arthritis & Rheumatology 69, no. 3 (February 27, 2017). http://dx.doi.org/10.1002/art.39881.

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"Issue Information." Arthritis & Rheumatology 69, no. 4 (March 29, 2017). http://dx.doi.org/10.1002/art.39886.

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"Issue Information." Arthritis & Rheumatology 70, no. 7 (June 26, 2018). http://dx.doi.org/10.1002/art.40277.

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"Issue Information." Arthritis & Rheumatology 70, no. 8 (July 26, 2018). http://dx.doi.org/10.1002/art.40282.

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"Issue Information." Arthritis & Rheumatology 70, no. 1 (December 27, 2017). http://dx.doi.org/10.1002/art.40247.

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"Issue Information." Arthritis & Rheumatology 70, no. 2 (January 29, 2018). http://dx.doi.org/10.1002/art.40252.

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"Issue Information." Arthritis & Rheumatology 70, no. 3 (February 26, 2018). http://dx.doi.org/10.1002/art.40257.

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"Issue Information." Arthritis & Rheumatology 70, no. 4 (March 29, 2018). http://dx.doi.org/10.1002/art.40262.

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"Issue Information." Arthritis & Rheumatology 70, no. 5 (April 26, 2018). http://dx.doi.org/10.1002/art.40267.

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"Issue Information." Arthritis & Rheumatology 70, no. 6 (May 28, 2018). http://dx.doi.org/10.1002/art.40272.

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"Issue Information." Arthritis & Rheumatology 71, no. 4 (March 28, 2019). http://dx.doi.org/10.1002/art.40610.

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"Issue Information." Arthritis & Rheumatology 71, no. 1 (December 27, 2018). http://dx.doi.org/10.1002/art.40595.

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"Issue Information." Arthritis & Rheumatology 71, no. 2 (January 29, 2019). http://dx.doi.org/10.1002/art.40600.

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"Issue Information." Arthritis & Rheumatology 71, no. 3 (February 27, 2019). http://dx.doi.org/10.1002/art.40605.

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"Issue Information." Arthritis & Rheumatology 72, no. 1 (December 27, 2019). http://dx.doi.org/10.1002/art.40943.

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