Relevant bibliographies by topics / Los Four (Artist group)

Academic literature on the topic 'Los Four (Artist group)'

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Published: 25 July 2024

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Journal articles on the topic "Los Four (Artist group)"

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Aaftab, Mohsina. "INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS." International Journal of Research -GRANTHAALAYAH 4, no. 10 (October 31, 2016): 16–20. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2483.

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Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. For conceptual artists art need not look like a traditional work of art. Presented study focuses on the installation work of Indian artists. Four artists were selected by the researcher viz. Subodh Gupta, Shilpa Gupta, Bharti Kher and ChintanUpadhaya. Researcher investigates the concepts behind the art work of selected artists, their methods and materials they have used in their art work. The selection of artist in current study is on the bases of their fame and popularity. Method of the current study is analytical.
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Mithlo, Nancy Marie. "Decentering Durham." American Indian Culture and Research Journal 43, no. 4 (October 1, 2019): 25–28. http://dx.doi.org/10.17953/aicrj.43.4.2017.

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This section of the AICRJ special issue on fraud looks back to a 2017 group conversation (first published in First American Art Magazine no. 19 (Fall 2017): 84–89) as four Native American scholars and artists respond to the then-traveling retrospective exhibit Jimmie Durham: At the Center of the World in light of Durham’s long-standing claims to Cherokee identity. In “Decentering Durham,” Chiricahua Apache scholar Nancy Marie Mithlo argues that, “Cultural institutions continue to accept his platform, and, in doing so … deny Indigenous cultural sovereignty to name our own members and leaders.” Roy Boney Jr., a Cherokee artist, discusses Durham’s appropriation of the writings of historic statesman Zeke Proctor in “Not Jimmie Durham’s Cherokee.” In a “Walk-through at the Hammer,” Luiseño-Diegueño performance and installation artist James Luna (1950–2018) muses on the aesthetics of Durham’s work and the value of community belonging. Summarizing the 2017 perspective in “A Chapter Closed?,” artist and editor America Meredith (Cherokee Nation) hopes that, “after a multigenerational, multi-tribal effort … art historians and curators will cease … positioning [Durham] as our representative in academic literature.”
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Reynolds, Peter. "‘Remembering the Future’: Birmingham Contemporary Music Group, CBSO Centre, Birmingham." Tempo 70, no. 278 (September 28, 2016): 86–87. http://dx.doi.org/10.1017/s0040298216000401.

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‘How do you deal with endings?’, Stephen Newbould, BCMG's Artistic Director, asked a group of four composers in an interview prior to the ensemble's final concert of the season, given on 12 June. Perhaps Newbould was thinking out loud: ‘Remembering the Future’ marked his and Executive Producer Jackie Newbould's last event with Birmingham Contemporary Music Group, after a tenure of nearly 30 years. The CBSO Centre was packed to the rafters for this concert that featured new commissions by Luke Bedford, Richard Baker, John Woolrich and Zoë Martlew: four composers with strong connections to the group. At the suggestion of John Woolrich, in his role as Artist-in-Association with BCMG, the works were scored not for BCMG's usual larger forces but for Schoenberg's ‘Pierrot’ ensemble, with various additions and subtractions.
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Susanto, Veren, and Suzy Azeharie. "Studi Komunikasi Budaya Fandom ARMY dan EXO-L (Studi Tentang Perbandingan Pemaknaan Simbol K-Pop)." Koneksi 6, no. 2 (November 2, 2022): 272–77. http://dx.doi.org/10.24912/kn.v6i2.15609.

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Korean Pop or K-Pop is part of the hallyu wave. K-Pop music consists of many artists. Fans of each artist gathered and formed a group called fandom. Each fandom has a culture that distinguishes one fandom from another. Symbol is a form of message that contains meaning. Through the interaction between group members, symbols can be formed. Fandoms have their own culture and symbols are included in their culture. BTS and EXO are in the top 30 most popular K-Pop boy bands since June 2021. BTS fans named ARMY and EXO fans named EXO-L. Both fandoms have symbols that become cultural and have different forms and meanings. This research was conducted because there is no research that discusses the comparison of symbols between the two K-Pop fandoms and the process of these symbols entering the fandom so that they become culture. The theory used in this research is the theory of cultural communication and symbolic interaction. The study used a descriptive qualitative research approach with fenomenology research methods. The research data were obtained from in-depth interviews, participant observation, documentation, and literature study of four sources. The results show that symbols enter through the process of cultural communication and the same form and meaning of symbols from the ARMY and EXO-L fandoms can be created through communication between artists and fandoms or between fandom member. Korean Pop atau K-Pop adalah bagian dari hallyu wave. Musik K-Pop terdiri dari banyak artis. Penggemar tiap artis berkumpul dan membuat sebuah kelompok yang bernama fandom. Tiap fandom mempunyai budaya yang membedakan satu fandom dengan yang lainnya. Simbol merupakan salah satu bentuk pesan yang mengandung makna. Melalui interaksi antar anggota kelompok, simbol dapat terbentuk. Fandom mempunyai budaya sendiri dan simbol termasuk kedalam budaya mereka. BTS dan EXO masuk ke dalam 30 peringkat boy band K-Pop terpopuler sejak Juni 2021. BTS bernama ARMY dan penggemar EXO bernama EXO-L. Kedua fandom memiliki simbol yang menjadi budaya serta memiliki bentuk dan makna yang berbeda. Penelitian ini dilakukan karena belum ada penelitian yang membahas mengenai perbandingan simbol antara dua fandom K-Pop serta proses simbol tersebut masuk kedalam fandom sehingga menjadi budaya. Teori yang digunakan dalam penelitian ini adalah teori komunikasi budaya dan interaksi simbolik. Penelitian menggunakan pendekatan penelitian kualitatif deskriptif dengan metode penelitian fenomenologi. Data hasil penelitian diperoleh dari hasil wawancara mendalam, observasi berperan serta, dokumentasi, dan studi kepustakaan. Hasil penelitian menunjukkan bahwa simbol masuk melalui proses komunikasi budaya serta bentuk dan makna yang sama terhadap simbol dari fandom ARMY dan EXO-L dapat dibuat melalui komunikasi diantara artis dan fandom atau antar anggota fandom.
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Spivey, Virginia. "Sites of Subjectivity: Robert Morris, Minimalism, and Dance." Dance Research Journal 36, no. 1 (2004): 113–30. http://dx.doi.org/10.1017/s0149767700007592.

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Robert Morris's danceSite(Fig. 1) premiered in February 1964 at the Surplus Dance Theater in New York City. Choreographed and performed by Morris,Sitealso featured the visual artist Carolee Schneemann and several sheets of four-by-eight foot plywood. Although it may seem odd to include these wooden panels among the performers, they assumed an active role in the choreography. Ironically, it was Schneemann who provided the background scenery. Nude and covered in white paint, she sat motionless throughout the performance, recreating the pose and persona of Edouard Manet's famous 1863 painting ofOlympiawhile Morris manipulated the large wooden boards. In a graceful duet with inanimate partners, Morris spun the rectangular planes from a point on the ground, maneuvered them around his body, lifted them over his head, caressed their even form as he slowly moved his hand across one edge, and balanced the panels on his back as he moved across the stage. Not only did Morris never dance with Schneemann, he did not even seem to notice her.In a career spanning over forty years, Robert Morris has produced theoretical articles, paintings, videos, installations, and environmental art in addition to his work in dance; nevertheless, the American artist remains best known for his Minimalist sculptures of the 1960s (Figs. 2 and 3). Like the works of his colleagues Donald Judd and Carl Andre, Morris's spare, geometrical objects of that period were three-dimensional and called attention to issues of site and artistic context. They also resisted past artistic conventions based in subjective methods of composition, expressivity, and metaphor. Morris, however, distinguished himself among this group of visual artists by the emphasis he placed on the viewer's bodily relationship with the art object, a distinction that derives directly from his unique involvement in avant-garde dance.
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Ha, Sha. "An Intercultural Experience in European Art and Decorative Design by Chinese Students in Italy." Advances in Social Sciences Research Journal 9, no. 8 (August 31, 2022): 483–93. http://dx.doi.org/10.14738/assrj.98.12948.

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The paper describes the encounter with Italian fine arts and decorative design by a group of 17 Chinese Junior High School, art loving students, during their 2019 summer vacations. According to a ‘cooperative learning’ strategy, the students had been subdivided into four groups, under the guidance of four Chinese teachers, each one responsible for a single group, and the assistance of an Italian artist and an expert teacher herself. During the period of two weeks the students visited historical buildings and museums in the art cities of Venice, Padua, Florence and Rome. In the evening, in the presence of their teachers, they took part to collective discussions on the meaning and impact on them of the most significant art works they encountered during the day. They also took part, in Padua, in an animated ‘active learning’ session in Jewelry Design. That intercultural experience turned out to be very stimulating for those students: part of them included the study of classical art/decorative design in their high school curricula.
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Nagel, Lisa, and Lise Hovik. "Presentation: The SceSam Project: Interactivity in Children´s Theatre." BUKS - Tidsskrift for Børne- & Ungdomskultur 33, no. 61 (April 15, 2016): 13. http://dx.doi.org/10.7146/buks.v33i61.23446.

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SceSam is an artistic research project (2012-15) in which we have examined interactivity in performances for children (age 3-9) through theory and practice (Nagel and Hovik 2015). Organized as a team of researchers in a research group, practitioners and theoreticians have explored the complex landscape of interactive theatre for children through performances, in seminars, in workshops and in articles. Together with mentors from SceSam, four different artist/companies have developed their own interactive performances, researching different aspects of the performers´ relationships with the child audiences in workshops. Lisa Nagel is the artistic leader of the project, which she has developed together with fellow researcher Lise Hovik and producer Hege Knarvik Sande.
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Kristensen, Juliette. "Making Ways of Seeing: A Conversation with Mike Dibb and Richard Hollis." Journal of Visual Culture 11, no. 2 (July 25, 2012): 181–95. http://dx.doi.org/10.1177/1470412912444228.

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In 1971, Stephen Hearst, head of the BBC Music and Arts department, commissioned John Berger to make a television series on topics of his choosing. With Mike Dibb, then a young producer/director in the department, Berger made the four-part television series Ways of Seeing. Following its success, BBC Publications commissioned Berger and Dibb to turn the television programme into a book, a project for which Richard Hollis, a graphic designer Berger had previously worked with on the magazine New Society and his novel G., was brought in. Together with script consultant Chris Fox and artist Sven Blomberg, this group produced the book Ways of Seeing, jointly published by the BBC and Penguin Books in 1972. In this conversation with Juliette Kristensen, Mike Dibb and Richard Hollis discuss the history of the making of the television series and the book, Ways of Seeing.
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Smythe, Vanessa, Mitchell Cushman, and Nick Bottomley. "A Grown-Up’s Guide to Flying." Canadian Theatre Review 197 (June 1, 2024): 71–76. http://dx.doi.org/10.3138/ctr.197.014.

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A Grown-Up’s Guide to Flying is one of three standalone escape room-inspired experiences featured in Outside the March’s 2019 production of The Tape Escape. Set in a completely immersive, period-perfect 1990s’ video rental store in the former Annex location of Toronto’s iconic Queen Video, the piece is experienced through a series of narrative escape room-style puzzles hidden among 5,000-plus VHS rentals. The audience follows Kelly as he plans a birthday treasure hunt for his movie-loving younger sister, all while navigating how we experience movies—and each other—when our sighted experience changes. The story was designed to be experienced by a group of up to four people at a time and ran approximately forty-five minutes. It began, as each of the “rental experiences” in The Tape Escape did, with the group being handed a VHS tape with a sticker on it that read “Watch Me.” A video store staff member would then guide the group to one of the store’s “TV-VCR viewing stations” where the group could pop in the tape and watch what, in this case, appeared to be a birthday video message. This article includes production stills and a script excerpt written by creators Vanessa Smythe, Mitchell Cushman, and Nick Bottomley with consultation from Blindness scholar and artist Devon Healey.
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Peters, Helen, Robert Chafe, Andrew Draskoy, Jillian Kieley, and CE Anne Walsh. "Training to Survive, III: Primus Theatre: Workshops in Newfoundland." Canadian Theatre Review 88 (September 1996): 26–30. http://dx.doi.org/10.3138/ctr.88.005.

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In November and December of 1995 primus Theatre performed Alkoremmi, The Night Room and Far Away Home in St John’s. The singular quality of their work attracted a great deal of attention, and audiences were impressed and intrigued by the performances. On 27-29 November primus conducted two series of workshops which were attended by some 15 local theatre practitioners. The workshops ran in two series—mornings for two hours and afternoons for four—and each series could be taken as an independent entity or in combination. The morning workshops, consisting of video presentations, group discussions, and presentations by the primus actors, were geared toward participants interested in the creation and organization of original, alternative, artist-based performance. The afternoon workshops introduced the participants to the physical and vocal exercises which primus uses in their development of characters and performance material. According to Ker Wells of primus , who undertook to read a draft of this article,
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Dissertations / Theses on the topic "Los Four (Artist group)"

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Smith, Helen. "Artist as navigator : understanding how the social qualities of art influence organizational change : a methodology for art as a social practice." Thesis, Robert Gordon University, 2015. http://hdl.handle.net/10059/1377.

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• What insights can art reveal in the context of organizational change? • How do artistic practices influence the way communities address change? • In what ways can an individual artistic practice concerned with the role of art in society add new insights to theories and practices of contemporary art? These questions are approached through three interrelated methods. In the first the artist as researcher consciously addresses organizational change through her artistic practice, over a three year period, within the different communities of Woodend Barn, a volunteer-led arts centre in the North East of Scotland. The second method is a literature review focusing on the selected artistic practices of Allan Kaprow, Suzanne Lacy and Artist Placement Group. Each practice is discussed in relation to the underpinning philosophical principals of Pragmatism, in particular John Dewey’s ideas on the generative qualities of aesthetic experience. These insights inform the research as it unfolds within the organizational context of Woodend Barn, itself at a point of significant change. The third method draws on anthropologist Michel de Certeau’s theory of the act of speaking to define the details of social interaction. This leads to a conversational method of analysis that draws out the synergies and differences of the chairperson of Woodend Barn and the artist. The analysis aims to understand the qualities and conditions for social interaction in arts practice and how they affect change in organizational contexts. It has become apparent that a key condition of the artwork is an artist who is committed to a refined and informed understanding of the social dynamics of art (as evidenced in the two principal projects Fold (2012) and Lavender (2012-2014)). It is important to recognize that not all artists have these skills or are interested in adopting a social focus in their practice. The research sets out to address and influence new generations of artists and more broadly, to rethink the value of social interaction in artists practices in relation to economic values. Understanding how social interactions become generative sense-making experiences is an important quality of the practice and research findings. This resonates with Dewey’s theory that it is through the unconstrained characteristics of art that aesthetic experience can shift deeply- rooted ways of thinking. The research concludes with a social manifesto for art that outlines the conditions for individuals from different communities to act in ways that are self-directed and lead to community resilience.
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Guerra, Aredal Maria Elena. "Art and Transformation under State Repression : The CADA group; art activism as social movement for political resistance during the Pinochet years." Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143298.

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Artist communities are often the first in revolting within a repressive society in the outer marginal borders of state control. This silent revolt takes place in the time period before larger oppositional movements gain momentum. However, the research has been scarce, especially when looking at the specific circumstance of the 17 years long Chilean dictatorship and the social influence that the artists had during this period. This Bachelor thesis will treat the subject and time period from a specific cultural angle, namely the effect the artistic production made by a specific art group, Colectivo de Acciones de Arte (henceforth named CADA) had on the social, and in effect, political discourse in society. CADA, a group of four Chilean artists, sociologists and writers, started collaborating in 1979, applying their artistic endeavors within a social practice that intended to interrupt and challenge the normalized routines of daily life during the Pinochet dictatorship – by utilizing semiotics and signs to reorganize and transform urban behaviors and social discourse. To illustrate the conversation CADAs production held, I will analyze two art works from their total oeuvre, as I am interested in researching the forbidden discourse that the artist movement conducted in Chile at this particular time. During the dictatorship, the official politics regressed to favor cultural symbols and expressions with a patriotic, nationalist and conservative message. This thesis wants to investigate the clash between the rules imposed by the ruling military regime and the actual art scene in Chile.
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Brien, Renaud. "Normal Forms in Artin Groups for Cryptographic Purposes." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23145.

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With the advent of quantum computers, the security of number-theoretic cryptography has been compromised. Consequently, new cryptosystems have been suggested in the field of non-commutative group theory. In this thesis, we provide all the necessary background to understand and work with the Artin groups. We then show that Artin groups of finite type and Artin groups of large type possess an easily-computable normal form by explicitly writing the algorithms. This solution to the word problem makes these groups candidates to be cryptographic platforms. Finally, we present some combinatorial problems that can be used in group-based cryptography and we conjecture, through empirical evidence, that the conjugacy problem in Artin groups of large type is not a hard problem.
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Dubicki, Josef. "Renormalization group study of four generation models." Thesis, University of Glasgow, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252473.

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Mickelow, Garrison Garry Stephen. "The artist as schizophrenic, psychic and formal structures in four films by Jerry Lewis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ34316.pdf.

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Sweat, Ashley Dawn. "What is the nature of the professional practice of artist-teachers? four case studies /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-11172005-212321/.

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Thesis (M.A. Ed.)--Georgia State University, 2005.
Title from title screen. Paula P. Eubanks, committee chair; Melody Milbrandt, Joseph Peragine,Teresa Bramlette-Reeves, committee members. Electronic text (50 p.) : digital, PDF file. Description based on contents viewed May 29, 2007. Includes bibliographical references (p. 49-50).
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Sweat, Ashley Dawn. "What is the Nature of the Professional Practice of Artist-Teachers? Four Case Studies." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/3.

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Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.
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Karki, Manoj Babu. "Invariant Riemannain metrics on four-dimensional Lie group." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1438906778.

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Tomberg, Alexandre. "Renormalisation group and critical correlation functions in dimension four." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54301.

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Critical phenomena and phase transitions are important subjects in statistical mechanics and probability theory. They are connected to the phenomenon of universality that makes the study of mathematically simple models physically relevant. Examples of such models include ferromagnetic spin systems such as the Ising, O(n) and n-component |φ|⁴ models, but also the self-avoiding walk that has been observed to formally correspond to a "zero-component" spin model by de Gennes. Our subject in this thesis is the extension and application of a rigorous renormalisation group method developed by Bauerschmidt, Brydges and Slade to study the critical behaviour of the continuous-time weakly self-avoiding walk and of the n-component |φ|⁴ model on the 4-dimensional square lattice ℤ⁴. Although a "zero-component" vector is mathematically undefined (at least naively), we are able to interpret the weakly self-avoiding walk in a mathematically rigorous manner as the n = 0 case of the n-component |φ|⁴ model, and provide a unified treatment of both models. For the |φ|⁴ model, we determine the asymptotic decay of the critical correlation functions including the logarithmic corrections to Gaussian scaling, for n ≥ 1. This extends previously known results for n = 1 to all n ≥ 1, and also observes new phenomena for n > 1, all with a new method of proof. For the continuous-time weakly self-avoiding walk, we determine the decay of the critical generating function for the "watermelon" network consisting of p weakly mutually- and self-avoiding walks, for all p ≥ 1, including the logarithmic corrections. This extends a previously known result for p = 1, for which there is no logarithmic correction, to a much more general setting.
Science, Faculty of
Mathematics, Department of
Graduate
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King, Dennis J. 1945. "A Structural Approach to Four Theories of Group Development." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279224/.

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The goal of this study was to attempt to develop a classification scheme that systematically related individual behavior, interpersonal behavior, and group interactions for the purpose of using the resulting classification scheme to evaluate theories of group development proposed by Bion, Bennis and Shepard, Bales, and Tuckman and Jensen. It was assumed that theorists' presuppositions about the structure of groups might influence their theories. Using a qualitative process of analysis, a structural classification scheme (SCS) was developed based upon transformative and generative rules, utilizing the General System Theory subsystem process of self-regulated boundary operations. The SCS protocol was employed to categorize and compare the theories of group development proposed by Bion, Bennis and Shepard, Bales, and Tuckman and Jensen. The resulting categorization of theories indicated that relationships existed among and between a group's structural properties, the complexity and type of communication connections among and between group members, and the size of the group. In addition, a common structural relationship was demonstrated to exist among and between individual, dyadic, and triadic group forms. A similar structural relationship was also speculated to exist between groups of any size. It was concluded that a structural approach to groups may offer insight to group leaders and members in recognizing and creating alternative frameworks that best fit a group's structure to its task. This approach may have broad implications in that it suggests that group goals might best be considered before the structure of the group is determined. In addition, a structural approach was also speculated to be an emotionally neutral alternative method of discussing individual and group behavior.
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Books on the topic "Los Four (Artist group)"

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Isabel, Wünsche, and Scheyer Galka E, eds. Galka E. Scheyer & the Blue Four: Correspondence 1924-1945. Wabern/Bern: Benteli, 2006.

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Taylor-Tomic, George. A history of Western Australian photography: Four members of the Dingoes Like Us group. Bentley, W.A: Black Swan Press, 2000.

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group), Spicaisa (Artist. Spicaisa: Due mani sinistre : le opere di Isabella Mandelli e Pietro Spica in mostra a Milano. Albissola Marina (SV): Vanilla edizioni, 2018.

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Maine, University of, Columbia College (Chicago, Ill.). Center for Book & Paper Arts, and Minnesota Center for Book Arts, eds. Betwixt & between: The life and works of fluxus artist. Chicago: Columbia College, Chicago, Center for the Book and Paper Arts, 2000.

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Richardson, Sara. Artist/architect collaborations: A bibliography. Monticello, Ill: Vance Bibliographies, 1987.

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group), Jochen Schmith (Artist. Certain arrangements: Jochen Schmith. Braunschweig: Kunstverein, 2010.

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group), Jochen Schmith (Artist. Certain arrangements: Jochen Schmith. Braunschweig: Kunstverein, 2010.

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Garcia, Angel Moya. Prinz Gholam: While being other. Macerata]: Quodlibet, 2022.

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Artel, Rael, and Larissa Babij. R.E.P. Revolutionary experimental space: R.E.P. Revoli︠u︡t︠s︡iĭnyĭ eksperymentalʹnyĭ prostir. Edited by R.E.P. (Artist group). Berlin: The Green Box, Kunst Editionen, 2015.

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Henry, Sue. Group skills in social work: A four-dimensional approach. 2nd ed. Pacific Grove, Calif: Brooks/Cole, 1992.

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Book chapters on the topic "Los Four (Artist group)"

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Stroeken, Koen. "Chapter Twelve: Street Cred." In Simplex Society, 253–61. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-41115-1_14.

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AbstractHip hop performances present another case when opponents dissing each other attract a crowd for harnessing the energy between attendants. The slur appropriated by the artist representing a discriminated group illustrates the principle: use the energy of the simplex instead of evading it. Immunity through contagion. Far from representing an ideology, the artist lets inspiration in and sings the message which can be felt to have collective reason. The tensor of street cred de-simplicates politics. Artists claiming a ‘moral self’ in opposition to ‘immoral others’ are simplicating the situation with a unidimensional message, whereas frame-shifters, like Professa Jay, Mbembe or 50 Cent, turn the tables on themselves to temporarily impersonate the immoral. Their ironizing renders their comparison of frames viable instead of hegemonic.
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Kiliszek, Joanna. "Living Simulacrum." In Cultural Inquiry, 219–29. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.

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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).
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Chinoy, Helen Krich. "Lee Strasberg: Artist of the Theater." In The Group Theatre, 81–94. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137294609_6.

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Lee, Vanessa. "The French Caribbean Woman Artist on Stage." In Four Caribbean Women Playwrights, 49–74. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83364-0_3.

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King, Wendy. "Working Group Paper Four." In Nursing Informatics ′91, 51–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 1991. http://dx.doi.org/10.1007/978-3-642-46746-2_8.

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Thelandersson, Fredrika. "Social Media Sadness: Sad Girl Culture and Radical Ways of Feeling Bad." In 21st Century Media and Female Mental Health, 157–207. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16756-0_5.

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AbstractThis chapter turns to social media platforms and looks at the figure of the sad girl as she emerged online as an indirect response to a popular culture overtly focused on happiness. It discusses how she appeared on primarily Tumblr and Instagram, exploring the general sad girl discourses on these platforms as well as some examples that received extra attention. These include the artist Audrey Wollen and her sad girl theory, the girl group Sad Girls Y Qué, the Instagram club Sad Girls Club, the social media brand My Therapist Says, and prominent Instagram accounts. Here I look at the critical and acritical tendencies within the figure, acknowledging both the potentially subversive aspects of the activist-oriented sad girls and the more commercialized versions of popular sad girls. This chapter explores how Tumblr sad girls might be seen as resting in sadness; how relatability is employed as a political strategy by some Instagram sad girls; the ambivalence of normalization; and the limits of using commercial social media platforms for meaningful social action.
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Weik, Martin H. "group-four document facsimile equipment." In Computer Science and Communications Dictionary, 698. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_8107.

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Broncano-Berrocal, Fernando, and J. Adam Carter. "Four Models of Group Polarization." In The Philosophy of Group Polarization, 43–57. New York : Taylor & Francis, 2021. | Series: Routledge studies in epistemology: Routledge, 2020. http://dx.doi.org/10.4324/9781003023654-4.

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Koplowitz, Stephan. "Collaboration and Collaborative Elements." In On Site, 155–94. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197515235.003.0012.

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This chapter outlines four possible artistic collaborative relationships: One artistic director, with the lead artist responsible for creating and establishing the creative vision from which all collaborators work to realize the work. Equal partnership involving two collaborators, in which two collaborative partners share all the responsibilities of creating the artistic vision, making decisions together and assigning tasks to any additional collaborating artists. Cooperative with three or more collaborators, which involves more than two people who form a collaborative group to create the artistic concept; each member of the group contributes to its vision and no one person within the group takes the lead or credit above anyone else. Independent structure that allows each artist within the collaboration to work wholly independently of others, the only likely shared decisions being the length of the work (for time-based arts), number of performers (for costumes), and perhaps the size of the venue (for technical issues and possible set designs); all elements are brought together during the week of technical rehearsals. The chapter describes strategies for selecting a collaborator, such as researching an artist’s past achievements, asking what motivates an artist’s creation process, and exploring working styles and methods. It also details strategies for working with four specific collaborating artists: sound/music (composer/sound designer), costumes, lighting, and media. The roles of each of these artistic disciplines within the context of a site-specific project are discussed.
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"MÉLANGE: Artist Trading Cards, Flats, Scrapbooking." In Creative Activities for Group Therapy, 246–60. Routledge, 2013. http://dx.doi.org/10.4324/9780203119136-25.

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Conference papers on the topic "Los Four (Artist group)"

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Henchoz, Nicolas, Pierre-Xavier Puissant, Ana Solange Leal, Tânia Moreira, and Hugues Vinet. "Artist residencies for innovation." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306211.3320140.

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Kim, Jason, Jordan Wild, Fatima Anes, Seehyun Kim, and Sally Kong*. "Artist-Centered Design for Feature Animation." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450617.3464506.

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Andrus, Curtis, Burak Ertekin, Guillaume Pernin, and Stefan Feess. "Artist-Friendly Tools for Realistic Knitted Cloth." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3587421.3595465.

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Arcelin, Bastien, and Nicolas Chaverou. "Audio2Rig: Artist-oriented deep learning tool for facial and lip sync animation." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641233.3664312.

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Klintberg, Josefine, and Rasmus Haapaoja. "An Artist-Friendly Method for Procedural Skin Generation and Visualisation in Houdini." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641233.3665166.

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Frémontier-Murphy, Camille. "At the Sources of an Artistic Mutation towards Science: the First Years of the Journal Leonardo (1968-1981) as a Forum for the Pioneers of Digital Art." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-8-short-fremontier-murphy-artistic-mutation-towards-science.

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SHORT PAPER. The journal Leonardo was founded in 1968 by Frank Malina, a pioneer of light art in Paris and of aerospace science in the United States. Leonardo encouraged artists to publish their work in the manner of scientists. It was a new initiative developed in the revolutionary context of the 1960s and that allowed artists, scientists, psychologists to exchange on the subjects of art, perceptions, science, society... Many pioneers of digital art took part in the adventure, including Vera Molnar, Zdenek Sykora, Charles Csuri, and the artist-novelist Herbert Franke, who became the advocate of the theories and the protagonists of digital art spread out over the four corners of the planet, just about everywhere a computer could be found. The growing group was defending a more conceptual approach to art, closer to the spectator, a new form of art rooted in Constructivism and that was in symbiosis with society’s mutation towards technology.
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Morik, Marco, Ashudeep Singh, Jessica Hong, and Thorsten Joachims. "Controlling Fairness and Bias in Dynamic Learning-to-Rank (Extended Abstract)." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/655.

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Rankings are the primary interface through which many online platforms match users to items (e.g. news, products, music, video). In these two-sided markets, not only do the users draw utility from the rankings, but the rankings also determine the utility (e.g. exposure, revenue) for the item providers (e.g. publishers, sellers, artists, studios). It has already been noted that myopically optimizing utility to the users -- as done by virtually all learning-to-rank algorithms -- can be unfair to the item providers. We, therefore, present a learning-to-rank approach for explicitly enforcing merit-based fairness guarantees to groups of items (e.g. articles by the same publisher, tracks by the same artist). In particular, we propose a learning algorithm that ensures notions of amortized group fairness, while simultaneously learning the ranking function from implicit feedback data. The algorithm takes the form of a controller that integrates unbiased estimators for both fairness and utility, dynamically adapting both as more data becomes available. In addition to its rigorous theoretical foundation and convergence guarantees, we find empirically that the algorithm is highly practical and robust.
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BELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.
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Procop, Svetlana. "The “Gypsy from Moldova” doll as a symbol of romantic perception of roma in the soviet period." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.05.

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This study is devoted to the conceptualization of the «Gypsy of Moldova» doll, which became an ethnocultural symbol in the Soviet period. The doll the «Gypsy of Moldova», which has the status of a souvenir, made at the Chisinau toy factory by the Association of Chemical Enterprises in 1975, was sketched by S. Chervinskaya, the chief artist of the enterprise, a member of the Union of Artists of the USSR. The doll «Gypsy of Moldova», made at the Chisinau toy factory in the mid-70s, along with other ethnic dolls, fit into the task of producing souvenirs as an important resource for increasing the tourist attractiveness and shaping the image of the republic. The doll «The Gypsy of Moldova» is interesting because it eventually moved from the subject world to the conceptual one, concentrating in itself the ideals and problems of the Soviet era, during which the idea of those who were personified by this doll was extremely romanticized. Nevertheless, the doll the «Gypsy of Moldova», thanks to the author’s idea of S. M. Chervinskaya, still broadcasts both universal and national-cultural components, the identity of the ethnic group, being its original portrait and symbol.
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Maupu, Damien, Emanuele Goffredo, Nile Hylton, Mungo Pay, and Martin Pražák. "Artist-driven crowd authoring tools." In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084363.3085035.

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Reports on the topic "Los Four (Artist group)"

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Biazus-Dalcin, Camila, Louise Marryat, Sarah Gray, Andrea Mohan, Senga Robertson-Albertyn, Sreekanth Thekkumkara, Hazel Booth, et al. My data: an animated film, co-produced with people who use drugs. University of Dundee, 2023. http://dx.doi.org/10.20933/100001299.

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This video was co-produced with people on their drug use recovery journey to explore the perceptions of administrative data use for research and to share this information with the wider community. This work was led by members of the Substance Use Research Group (SURG), School of Health Sciences, University of Dundee. This project was funded by Research Data Scotland (RDS), https://www.researchdata.scot/ A film by: Craig Glencross, David Hood, Jade Renton, Maxine Thomson, Ryan Westwood, Stewart Bernard, Sarah Hulin, Robert Doig, Ashley McMaihin and everyone at Restoration Fife who shared their views and experiences. Research team and collaborators: Camila Biazus Dalcin (Co-PI) and Louise Marryat (Co-PI) Sarah Gray (Co-I) Andrea Mohan (Co-I) Senga Robertson-Albertyn (Co-I) Sreekanth Thekkumkara (Co-I) Hazel Booth (Co-I) Calum Hoggitt (Mental Health Nursing Student) Kay McMahon (Receptionist Fife Campus) Graham Ogilvie (Conference in pictures – Ogilvie Design) Andrew Low (Artist) We appreciate the collaboration and support provided by all Restoration Fife staff involved in this project. Special thanks to Jade Whyte and Vanessa Hamilton.
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Bellwood-Howard, Imogen, Peter Taylor, Julie Doyle, Aminata Niang, Haoussa Ndiaye, Fatoumata Sow, and Lansine Sountoura. Citizen Voice and the Arts: Opportunities and Challenges for Citizen–Policy Engagement on Environmental Issues in Sahelian West Africa. Institute of Development Studies, December 2022. http://dx.doi.org/10.19088/ids.2022.088.

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Citizen and policy groups address environmental challenges in the Sahel, but rarely together. In Sahelian West Africa, including in Mauritania, Senegal, and Mali, artists and citizens have used protest art to make their voices heard, in contexts where this can carry risks of conflict with authorities. Artists sometimes act as engaged citizens, who can draw on their artistic talents to communicate a message. This paper explores how far art may be used as a tool for dialogue between different groups on environmental concerns in the Western Sahel.
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Näslund-Hadley, Emma. ALAS IDB Early Childhood Development Awards: 2012. Inter-American Development Bank, April 2012. http://dx.doi.org/10.18235/0005979.

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The ALAS-IDB Awards arise from the need to recognize the dedication, innovation, and excellence of so many people who work in early childhood development in Latin America and the Caribbean. Presented jointly by the Inter-American Development Bank (IDB) and the ALAS Foundation of the international artist Shakira, awards are given in four categories, highlighting leading educators, centers, publications, and innovations in the region.
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Woodruffe, Paul. Suburban Interventions: Understanding the Values of Place and Belonging Through Collaboration. Unitec ePress, May 2012. http://dx.doi.org/10.34074/ocds.12012.

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How can a socially defined project facilitate meaningful knowledge transfer between community, corporate and institution? In order to address this question, this paper focuses on an ongoing live project in suburban Auckland New Zealand begun in 2010, undertaken by a post-graduate student and researcher collective. The collective currently creates subtle interventions sited within local cyberspace, and through this current project will employ impermanent and small-scale design to advocate for a series of neglected and disputed sites. It explores the impact and value the presence of artists and designers working within local communities can have, and “champions the role of the artist in the development of the public realm, and their intuitive response to spaces, places, people and wildlife” (Wood 2009, p.26). The significance of this project is that it promotes a collaborative and multidisciplinary methodology that works with community groups to advocate to corporate entities for a wider social and environmental awareness of specific sites. This paper aims to explain the processes and findings of the project to date through both its successes and failures. It also proposes the possibility of the methodology being transferred to undergraduate and post-graduate study as a tool to promote multi-disciplined collaborate project briefs that focus on community well being.
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Woodruffe, Paul. Suburban Interventions: Understanding the Values of Place and Belonging Through Collaboration. Unitec ePress, May 2012. http://dx.doi.org/10.34074/ocds.12012.

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How can a socially defined project facilitate meaningful knowledge transfer between community, corporate, and institution? In order to address this question, this paper focuses on an ongoing live project in suburban Auckland New Zealand began in 2010, undertaken by a post-graduate student and researcher collective. The collective currently creates subtle interventions sited within local cyberspace, and through this current project will employ impermanent and small-scale design to advocate for a series of neglected and disputed sites. It explores the impact and value the presence of artists and designers working within local communities can have, and “champions the role of the artist in the development of the public realm, and their intuitive response to spaces, places, people and wildlife” (Wood 2009, p.26). The significance of this project is that it promotes a collaborative and multidisciplinary methodology that works with community groups to advocate to corporate entities for a wider social and environmental awareness of specific sites. This paper aims to explain the processes and findings of the project to date through both its successes and failures. It also proposes the possibility of the methodology being transferred to undergraduate and post-graduate study as a tool to promote multi-disciplined collaborate project briefs that focus on community well being.
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Gattenhof, Sandra, Ulvund Marit, and Cecilie Haagensen. #YoungArt and Future Skills Report. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244541.

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#Youngart & Future Skills research project had two main foci. One was to develop and investigate models for collaboration between the art and education sectors, and the second to inquire whether the art programs and teacher/artist collaboration promotes the future skills of Creativity, Collaboration, Critical Thinking, and Communication. Two art programs were carried out in Norwegian secondary schools in 2022 and 2023. Art program A was developed by a theater company in collaboration with a teacher and four artists in a large secondary school class with 45 students in Trondheim. Art program B was developed by a filmmaker in collaboration with a teacher in a small secondary school class with 18 students in Sunnmøre. One of the aims of #Youngart & Future Skills was to investigate how different class and school sizes functioned in different art programs. The art programs were documented through observation, interviews, questionnaires, and the students feedback on post-it notes and drawings, and the material was analysed by the research team. The research finds that of the four future skills Creativity, Collaboration, Communication, and Critical Thinking, the first three were strengthened through the art program, and Critical thinking to some extent. The collaboration between classroom teachers and teaching artist was appreciated by both parties. At the same time, there seems to be potential in a closer collaboration and a clarification of roles in relation to the implementation of the art program. It is important that both parties can use their expertise in the implementation, and that the school’s needs and the teaching artists goals and proficiency meet in a good way. There is a need for more research to explore and make choices in relation to the diversity of possibilities in scope, length, timetable, and forms of collaboration between teachers and artists.
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Bellwood-Howard, Imogen, Peter Taylor, and Aminata Niang. How to Use Collaborative Art-Making for Dialogue and Communication. Institute of Development Studies, August 2023. http://dx.doi.org/10.19088/ids.2023.035.

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Artists have often used artworks to express emotions and thus prompt public dialogue about contemporary challenges. At the same time, it has been suggested that collaborative art-making can be used in environmental deliberation processes, where stakeholder groups discuss contentious challenges such as the effects of flooding. Policy actors have rarely been deeply involved in these processes. Our recent research showed that collaborative art could be used to develop relationships between groups, including policy actors, in deliberation processes, by creating artworks to bring concerns into the public domain.
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Defournier, Vanessa. Supporting development through the private sector: The IDB Group. Inter-American Development Bank, November 2012. http://dx.doi.org/10.18235/0006388.

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This Brochure provides an overview of the activities of the Vice presidency for Private Sector and Non-Sovereign Guaranteed Operations. The IDB Group includes four private sector windows that offer complementary products and services: The Structured and Corporate Finance Department (SCF), The Inter-American Investment Corporation (IIC), The Multilateral Investment Fund (MIF) and The Opportunities for the Majority Initiative (OMJ). These four windows work together to promote development through the region's private sector. The IDB provides funding and technical assistance to a broad range of private sector players whose operations and projects have a positive impact on the social and economic development of the region. They range from microenterprises to large companies, and also include financial institutions and other partners, such as mixed-capital entities and civil society organizations. In recent years, the Bank has considerably expanded the range of sectors in which we provide financing for innovative and sustainable private sector projects.
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Peña-Habib, Oliver, Jorge Gallego, Luis Fernando Corrales, Jorge González, Julie King, Melisa Wong, Ana María Linares, Ivory Yong Prötzel, and Chiaki Yamamoto. IDB Group Project Performance: The 2023 Validation Cycle. Inter-American Development Bank, March 2024. http://dx.doi.org/10.18235/0012862.

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This report summarizes the 2023 results of the Office of Evaluation and Oversight's (OVE's) annual review of project performance at the Inter-American Development Bank (IDB) Group. Every year, IDB Group Management prepares self-evaluations on the final results of its operations. These are called Project Completion Reports (PCRs) at the IDB and Expanded Supervision Reports (XSRs) at IDB Invest. PCRs and XSRs are then validated by OVE to ensure that they are substantiated by evidence and are prepared in accordance with their respective guidelines. Self-evaluations are intended to serve as accountability and learning tools. The IDB Group's project evaluation methodology is objectives-based. Project performance is rated based on four core criteria: (i) relevance of the project's goals and design, (ii) effectiveness or the degree to which the project achieved the specific objectives for which it was approved, (iii) efficiency with which the objectives were achieved, and (iv) sustainability of the results achieved. Each project then receives an overall outcome rating, calculated as a weighted average of the core criteria ratings, where effectiveness has the highest weight. In addition, two noncore criteria are rated for IDB operations (Bank performance and borrower performance), while three are rated for IDB Invest operations (additionality, investment profitability, and work quality). OVE also rates the quality of the self-evaluation reports by Management. The overall outcome is rated on a six-point scale, while core criteria, noncore criteria, and PCR and XSR quality are rated on a four-point scale. For simplicity, this report groups ratings into “positive” and “negative,” where positive corresponds to the top half ratings in the scale, and negative to the bottom half.
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