Dissertations / Theses on the topic 'National Exhibition of the Arts'
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Hersov, Mary. "The temporary exhibition in the Sainsbury Wing, National Gallery : commission, design and outcome." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19861/.
Full textBallard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.
Full textAssier, Mathilde. "La promotion des beaux-arts en Espagne (1853-1898). Soutenir les beaux-arts en temps de crise." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL091.
Full textThis dissertation aims to bring to light the organization of the fine arts system and the conditions under which works of art were produced in Spain between 1853 and 1898, centering on three leading cities: Madrid, Barcelona, and Seville. During this period of political and economic crisis, usually understood through the lens of the paradigm of Spanish backwardness or failure, the artists’ disenchantment was considerable. However, far from driving them into passive resignation, this spurred a desire for cultural "regeneration," born of countless debates over the way in which the arts should be supported and a keen interest in comparison with what was happening abroad. This intellectual exuberance led to a renewal of the institutions promoting the arts, giving way to the creation of museums, exhibitions, contests, and grants. The analysis of the artistic missions of the royal household, the Ministry of Development, diputaciones (provincial governments), societies of artists, and the various Economic Societies of Friends of the Country, relies on case studies and reveals the agents at work: senior and junior civil servants, not-known or famous artists, and politicians. Rooted in broad archival research, this journey through the world of Spanish art enriches our understanding of the goals, consequences, and specific features of the public and private support of the arts on a regional and national scale and within the context of the construction of the nation-state
Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
Full textCloutier, Geneviève. "An A/r/tographical Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31797.
Full textDemange, Stéphanie. "« ¡A los pintores les ha dado por mojar el pincel en lágrimas! » : La pauvreté au miroir des Salons (Espagne, 1890-1910)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040152.
Full textBetween 1890 and 1910, most prizes awarded in Spain by official art exhibits went to depictions of the hardships faced by the poorest subjects of the Restoration. Destitutes and vagrants, migrants and the unemployed, beggars and prostitutes, day laborers and poor peasants were the icons of a new repertoire of pictorial forms which not only superseded history painting but also proved immensely popular both with critics and the public. This thesis aims to write the history of this art of social destitution, by elucidating how it could triumph in the Salons of a Regime which was certainly not inclined to consider poverty as outrageous or as a legitimate political concern. This task has entailed melding two distinct historiographic traditions together: whereas the methods of art history were used to rediscover this body of work and explain why, shortly after having been officially sanctioned and showered with praise, it could be spurned by critics; those of cultural history were mustered to identify the different social constructs fashioned or promoted by these pieces. Moreover, the study of how these depictions of social destitution were perceived might help to determine how the feelings towards poverty evolved and what shared beliefs and preconceptions were used to legitimize inequality. By bringing these approaches together, this thesis hopes to offer the first synthetic study of a neglected chapter of Spanish, 19th century, cultural history
Lasheras, Peña Ana Belén. "España en París. La imagen nacional en las Exposiciones Universales, 1855-1900." Doctoral thesis, Universidad de Cantabria, 2010. http://hdl.handle.net/10803/10660.
Full textThis research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.
Kazakova, Ekaterina. "La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
Full textThe post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
Full textThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
Kinoshita, Harumi. "La diffusion culturelle internationale : les enjeux de la politique de prêts d'oeuvre et d'expositions du MNAM-CCI (Centre Georges Pompidou) pendant la période 2000-2007." Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00767576.
Full textBenlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
Full textThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
Full textCook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
Full textIngram, Jacob. "No Place Like It - A BFA Exhibition." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/42.
Full textAsquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
Full textImbert, Clémence. "Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.
Full textThis dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
Molony, Mary Carolyn. "Confessions: A BFA Exhibition." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/154.
Full textEdmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
Full textColumbus, Sanford Jillian. "Mobile Exhibition System." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1898.
Full textAlbornoz, Rodrigo Nicolas. "Purification : Research & Exhibition." Thesis, Konstfack, Institutionen för Konst (K), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6738.
Full textShanks, Sarah M. "The Memory Yields: B.F.A. Thesis Exhibition." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.
Full textDurmaz, Nur. "Awarding Architecture In Turkey: National Architecture Exhibition And Awards Program." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611377/index.pdf.
Full textnational&rdquo
architectural practice and contribute in the &ldquo
contemporary&rdquo
architectural practice in Turkey. In order to evaluate the consistencies with these objectives, firstly the program identity and then the participations are analyzed. On the other hand, regarding the searches for &ldquo
innovativeness&rdquo
and &ldquo
contemporaneity,&rdquo
parallelism with the international architectural agenda and concerns for geographic differences are analyzed through the awarded projects and the jury reports. In the analysis about the position of the program as well as its indications about Turkish architectural practice, the following results are obtained: Program can be defined as having an insulated and closed character with regard to its structure. Considering the participations, it is seen that it does not reflect the heterogeneous character of its geographical scope and has an elitist profile in awards distribution. Priority given to senior architects in Grand Prizes, the weight of the restoration category and the newly established commemoration program itself point out to a conservative stance. In the thesis, the awarded submissions are analyzed comparatively with Progressive Architecture (PA) Awards program. It is an established program in United States, which perpetuate since 1954 and it is claimed to have both &ldquo
reflective&rdquo
and &ldquo
limit-pushing&rdquo
positions in the architectural platform. In NAEA program, instead of the claims for giving precedence to &ldquo
limit-pushing&rdquo
attempts, a &ldquo
reflective&rdquo
position has been maintained. In the jury reports, the &ldquo
modernist&rdquo
award criteria can be defined as parallel with the agenda of international platform. In recent years, in international platform, instead of domination by styles, conceptual productions and sustainable themes gain prominence. Thus, regarding the submissions of NAEA, these parallelisms have been diminished.
Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.
Full textSchoeber, Felix. "Modernity, nationalism and global marginalisation : representing the nation in contemporary Taiwanese art exhibitions." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/8yv7y/modernity-nationalism-and-global-marginalisation-representing-the-nation-in-contemporary-taiwanese-art-exhibitions.
Full textGonyo, Denise. "Envisioning India : South Asians, exhibitions and the development of nation in the late nineteenth and early twentieth centuries." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/cf9f4d47-fd5b-4271-b7a6-80e8a1263d73.
Full textBaker, Charles. "An Exhibition of Painting, Sculpture and Video." Thesis, Waterloo, Ont. : University of Waterloo [Dept. of Fine Arts], 1997. http://etd.uwaterloo.ca/etd/cbaker1997.pdf.
Full textIncludes bibliographical references (p. 65). Issued also in PDF format and available via the World Wide Web. Requires Internet connectivity, World Wide Web browser, and Adobe Acrobat Reader.
Small, Stephen W. ""A national imaging arts museum"." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53275.
Full textMaster of Architecture
Van, der Heijden Merijn. "The Exhibitionary Complex: An Inquiry into the Role of the Modern Art Exhibition." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394802552.
Full textSaxbee, Helen. "An orient exhibited : the exhibition on the Chinese Collection in England in the 1840s." Thesis, Royal College of Art, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305400.
Full textGiraldo, Verónica. "Here we are building a museum together: An interactive exhibition." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22327.
Full textD'Onghia, Danielle M. "Windows to Reverie: A Photography Exhibition of Works by Danielle D’Onghia." Ohio Dominican University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1368528376.
Full textBansal, Anupam. "Indira Gandhi National Centre for Arts." Kansas State University, 1996. http://hdl.handle.net/2097/36073.
Full textLieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.
Full textSharp, Michael G. "Ghost Water Exhibition." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6272.
Full textFernández, López Olga. "Dissenting exhibitions by artists (1968-1998) : reframing Marxist exhibition legacy." Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1346/.
Full textHoward, Justin K. "The Barbershop: a photographic documentation and exhibition." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/854.
Full textBucciantini, Alima Maria. "Museum, exhibition, object : artefactual narratives and their dilemmas in the National Museum of Scotland." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/7983.
Full textFlannagan, Wickham Catesby. "Translation: A Journey Toward Ethnographic Art." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2233.
Full textRodriguez, Kathryn Lorraine. "Henry Meloy the portraits : a narrative of the exhibition /." The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-125608/.
Full textMiller, Chasity Janet. "From the Seat of Authority: A Case Study in Exhibition Development." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1034.
Full textLotery, Kevin. "an Exhibit / an Aesthetic: The Independent Group and Postwar Exhibition Design." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463126.
Full textHistory of Art and Architecture
Kato, Miwako. "Views from Daily Life: A Supporting Paper for a Graduate Exhibition." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0330101-110959/restricted/katoM0501.pdf.
Full textCagol, Stefano. "Towards a genealogy of the thematic contemporary art exhibition : Italian exhibition culture from the Mostra della Rivoluzione Fascista (1932) to the Palazzo Grassi's Ciclo della Vitalità (1959-1961)." Thesis, Royal College of Art, 2013. http://researchonline.rca.ac.uk/1642/.
Full textCasey, Briege. "Making an exhibition of ourselves : using narrative and arts-based inquiry with student nurses." Thesis, University of Bristol, 2010. http://hdl.handle.net/1983/e0235c18-2782-4ebf-b762-450551267125.
Full textPoos, Francoise. "The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.
Full textJousselme, Gwladys. "Enseignement, pratique de l’art et rôle du musée en Russie : le cas du Musée russe de Saint-Pétersbourg." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040117.
Full textThe museum pedagogy is a discipline on the introduction of art and museum resources in the education system. The Russian experience in this regard is particularliar and deserves further study as it is proposed in this thesis. By focusing on the study of the Russian Museum, museum pioneer of museum pedagogy, we find evidence that the museum is an institution in Russia extremely dynamic with original innovations. These advances are the result of a strong tradition rooted in the museum world since the Soviet period that the museum is a major place for education. Today, the Russian museum education has evolved and is no longer linked with propaganda. The Russian Museum, one of the largest museums in Russia, has theorized and developed museum pedagogy at a level far unequaled in the world. The Russian Museum has over twenty years offered the Russian education humanization of education through art. Its educational program "Hello museum! "applied in schools, from childrengarden to high school, gives children, trough the study of Russian and world art, cultural foundations necessary for a harmonious understanding of the surrounding world, coupled with the awakening of national consciousness, a beloved theme for Russians. The analysis of the experience of the Russian Museum in the field of museum pedagogy is to show, first the positive impact of art on the development of the child and secondly the multiple applications of art education for the development of interdisciplinarity: teaching of mathematics, chemistry, physics and foreign languages through the medium of art
Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
Full textMason, Gale Joanna. "Aggregate: An exhibition -and- Event, Sensation and Figurative Painting: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2495.
Full textVazquez, Rebecca M. "The rise of interactive cinema and its significance for filmmakers, audiences, and the exhibition industry." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/525.
Full textB.A.
Bachelors
Arts and Humanities
Cinema Studies
Chang, Hsin-yi, and 張心怡. "A Case Study of the Exhibition Forms on Digital Art─Examples of the Digital Arts Exhibition of National Taiwan Museum of Fine Arts in 2004 and 2005." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/fs3hz8.
Full text南華大學
美學與藝術管理研究所
95
People’s lives are changing from analogy to digital due to the impact and trial of globalization and technicalization. “Digital” is just like a powerful current and trend, the creation style or theme content is inevitably influenced by the variety and the varying impact of digital technologies. Digital art soon becomes the main shaft of the development of art creation, it presents rich and diversity appearances, breaking through the time and space limitations of works and audiences in traditional art style. As for the traditional art museum, its exhibition forms have great changes and breakthrough. Hence this study takes the exhibition forms of National Taiwan Museum of Fine Art as the main theme of research, and adopts qualitative research method, implementing document analysis, case studies and in-depth interviews to explore and analysis the issues. First of all, I collect the related document information, and explore the development track and features of digital art. Afterwards, I analyze the differences of exhibition forms of digital art and traditional art according to case studies. Finally, I hope this study can be the reference for subsequent researchers on the applications of theory and practical work. The Conclusions and suggestions are as the followings: 1. Conclusions: 1.1 Technical ways of thinking generates new art styles, and enables artists to break through the set pattern of creation in traditional art. 1.2 Creative feature with great development potential, manifest the variety appearance of digital art. 1.3 Offer brand new connection of audiences/works /artists. 1.4 The exhibition forms, styles, and materials have broken the traditional ways of thinking and exhibition scope. 1.5 To apply interactive exhibition form that integrated different kinds of media, digital technologies and interfaces, eliminating the gap between the exhibited works and the audiences. 1.6 The diversification of creation styles influence the implementation and practice of exhibition. 1.7 Emphasis on humanity and meaning of creation, to increase the depth of the works. 2. Suggestions: 2.1 Methods to improve the planning and implementation of digital art exhibition: a. The planning and implementation of exhibition venues should cope with the needs of different creation styles. b. The arrangement of technical director and technical staff is helpful to the implement of exhibition organization and maintenance of works during the period of exhibition. c. The arrangement of exhibition guides enables interactive communication between works and audiences. d. Having long-term cooperation relationship with maneuverable and professional strategic groups enables the inheritance of experiences and accumulation of techniques. 2.2 Establish research institutes that focus on both experiments and researches enable the enhancement of mechanism and integration of resources 2.3 Offer artists creation reward and needed technical resources to create. 2.4 Encourage the team work of artists and engineers can complement each other, and may stimulate new creation inspiration.