Relevant bibliographies by topics / Nature in art

Contents

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

Academic literature on the topic 'Nature in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Nature in art"

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Cooper, David E. "Art, nature, significance." Philosophers' Magazine, no. 44 (2009): 27–35. http://dx.doi.org/10.5840/tpm200944104.

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Dominique, Marie-Charles, and Jocelyne Pion. "Art et nature." Ligeia N°11-12, no. 4 (1992): 47. http://dx.doi.org/10.3917/lige.011.0047.

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Goodwin, L. G. "Art and nature." Parasitology Today 3, no. 8 (August 1987): 252. http://dx.doi.org/10.1016/0169-4758(87)90154-2.

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ÖZCAN, Berna Özlem. "Nature Art and Artists Who Create Art in Nature with What Nature Offers." Gaziantep University Journal of Social Sciences 21, no. 3 (July 31, 2022): 1540–57. http://dx.doi.org/10.21547/jss.1065781.

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Land Art (Arazi Sanatı), Environmental Art (Çevresel Sanat) ve Nature Art (Doğa Sanatı) birbirleriyle kesin çizgilerle ayrılmadıklarından, çoğu zaman birbiri yerine adlandırılan ya da karıştırılan sanat anlayışları olarak karşımıza çıkarlar. Oldukça karmaşık ve iç içe geçmiş durumda olan bu tanımlamalar tam bir sınırlama yapılamamasına rağmen kullanılan malzeme ve amaç farkına göre incelenebilir. Arazi Sanatı ve Çevresel Sanat, 1960'ların sonunda Amerika'da ortaya çıkmış, 1970’ler boyunca 1980’ler sırasında tüm batı ülkelerini etkilemiş avangart sanat türleridir. Arazi Sanatı ve Çevresel Sanat, gerçekleştirildiği yere özel tasarlanmış çevreyi ve çevreye ait olmayan materyalleri birleştirerek yeni formlar oluşturan ve heykelsi özellikler gözeten yaklaşımlardır. Daha çok doğal ortamın içine doğal olmayan, benzer amaçlı objeleri yerleştiren projeler üretilir. Doğada yapılan zaman odaklı bireysel performanslar görülür; ortak gerçekleştirilen “sosyal bilinç projeleri” gibi çok çeşitli savaş sonrası sanatsal deneyimleri kapsarlar. Aynı zamanda yeni şekiller üretmek için doğanın materyallerini kullanan alana özgü projeleri; aynı amaçlarla doğal ortama yeni, doğal olmayan objeleri taşıyan ve doğada zamana duyarlı bireysel çalışmaları ve müdahaleleri içerirler. Ancak eserlerin çoğu, üretildiği çevrenin ekolojisine çok az önem verilerek veya hiç dikkate alınmadan ağır makinelerle yapılmıştır. Ancak bazı sanatçılar, insan ve doğa arasındaki ilişkiyi vurgulamak için nerdeyse tamamen bulundukları çevrenin sunduğu olanakları ve doğal malzemeleri kullanmaya başlamışladır. Doğa Sanatında ise; taş, toprak, buz, ağaç kütükleri, dallar, yapraklar gibi birçok doğal malzemenin kullanılmasıyla gerçekleştirilen çok çeşitli uygulama biçimleri vardır. Sanatçıların, doğada hendekler açtıkları, doğal ya da doğal olmayan materyalleri toprağa gömdükleri, galeri mekânı içinde; toprak, gübre, taş ya da insan ürünü çevresel nesneleri sıklıkla kullandıkları görülür. Doğa Sanatı, 1981 yılında Kore Doğa Sanatçıları Derneği’nin (YATOO) kurulmasıyla kurumsallaşmış, daha çok doğaya yönelmiş, her yerin kendine özgü doğasını keşfetmeye ve doğayla üretmeye odaklanmıştır. Doğa sanatı; ilhamını, tamamen doğadan ve bulunduğu arazinin sunduklarından alan bir sanat dalıdır. Doğa ile sanatçı arasındaki ilişkiyi önemser. Bu bağlamda doğa sanatı benzer sanat oluşumlarına göre önemli farklılıklar göstermektedir. Araştırmanın odağını oluşturan Doğa Sanatı incelenirken söz konusu sanat akımı üzerine aktif olarak etkinlikler düzenleyen uluslararası grup ve organizasyonlar ile ulusal ölçekte üreten gruplar ve örnek çalışmalar hakkında bilgi verilecektir. Doğa sanatı çalışmaları yürüten YATOO (Kore), ORANKI (Finlandiya), ART SELLA (İtalya), BAGGAT ART ASSOCIATION (Kore) uluslararası aktif gruplarken, İzmir merkezli PATİKA SANAT GRUBU ve Gaziantep merkezli TOPRAK ART GROUP, doğa Sanatı çalışmalarını Türkiye'de ilk kez uygulayan gruplar olarak öne çıkmaktadırlar. Bu çalışmanın amacı Doğa Sanatının genel özelliklerini ve Türkiye'de yapılan Doğa Sanatı gruplarını ve ilk Doğa Sanatı çalışmalarını tanıtmaktır. Doğa Sanatı çalışmalarının, gerek üretim olarak yaygınlaşması ve gerekse ortaya çıkan eserlerin daha çok insanla buluşturulmasının anlamlı olacağı düşünülmektedir.
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Yagmur, Onder. "ART OF THE NATURE SHAPING LAND ART." Idil Journal of Art and Language 5, no. 27 (November 30, 2016): 1977–88. http://dx.doi.org/10.7816/idil-05-27-08.

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Yamaguchi, Tomohiko. "Art, Nature and “Shizen”." Seikei-Kakou 23, no. 6 (May 20, 2011): 307. http://dx.doi.org/10.4325/seikeikakou.23.307.

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L.G.G., A. L. Cothey, L. Wittgenstein, J. R. Smythies, J. Beloff, R. Tallis, H. Robinson, et al. "The Nature of Art." Philosophical Quarterly 42, no. 167 (April 1992): 261. http://dx.doi.org/10.2307/2220230.

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Cothey, A. L. "The Nature of Art." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 269. http://dx.doi.org/10.2307/431244.

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Ozaki, Makoto. "Nature, Eternity, and Art." Dialogue and Universalism 7, no. 3 (1997): 83–89. http://dx.doi.org/10.5840/du199773/49.

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Ostrowicki, Michał. "Immersive Nature of Art." Dialogue and Universalism 19, no. 1 (2009): 129–41. http://dx.doi.org/10.5840/du2009191/284.

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Dissertations / Theses on the topic "Nature in art"

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Walker, Linda Jean Huffman. "Art From Nature." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1432.

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Seeing beauty in the simplest aspects of nature inspires me to create art as a testament to our world. Being raised on a farm in rural Virginia gave me an appreciation of a reverence for all life. The inherent forms along with color and value establish nature as the master of aesthetics. An early introduction to Japanese art showed me that all nature was worthy and significant as subjects for art. Using materials derived from nature, cotton, linen, wool, silk, adds a tactile quality that I believe elevates the enjoyment of art.
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Preira, Jamie. "Indoor Nature-Based Art Activities| The themes students discuss while creating nature-based art." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10276991.

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When children can understand their surrounding environments (whether it be the natural environment or their built environment) it is said that they can connect more deeply and have a heightened awareness of their surroundings (Kelly, 2013). This connection and heightened awareness can open their eyes to prevalent environmental issues, increasing their sense of social responsibility. The research on this type of learning generally occurs in formal institutions (i.e., a school), non-formal centers (i.e., at an outdoor education center), or informal meeting places (i.e., at a park with a parent). I conducted a primarily qualitative study?utilizing arts-based research (ABR) methods and environmental art education theory?to better understand school-aged children?s (5-10 years of age) engagement with nature during indoor nature-based art classes. I observed children within a small, mountain-town school (Kindergarten ? 5th grade) while they engaged in various artistic activities such as drawing, finger painting, and watercolor. My purpose was to gauge whether indoor nature-based art activities compelled elementary aged children to engage in meaningful conversation about nature. I assessed meaningfulness by the structure of their sentences and topics of their discussions that ensued. This assessment included looking for changes over time in students? reaction to the art they were creating and the subsequent connections they were making. Results demonstrate that students are deeply engaged in their artwork and talk mostly about memories related to nature and what aspects of nature their artwork inspires. Given that these activities provoked students to be thinking about nature, schools may want to consider conducting similar activities if they are unable to provide quality time outdoors for their students but want to help their students maintain a nature connection.

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von, Wiedersperg Carolina Sophie. "Kyoto art in nature habitat /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/von_wiedersperg/von_WiederspergC0509.pdf.

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The purpose of this thesis is to find architectural solutions which apply the theoretical findings centered around the biophilia hypothesis. The principles resulting from this investigation should help architecture to soften the separated conditions of the natural and the man-made environment. The application of these principles will then result in the design development of an Art in Nature Habitat in Kyoto, Japan.
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Fink, Anastasia. "The Nature of my Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/92.

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In this arts-based thesis for a Masters degree in art education, I explored the meaning of my artwork through a constructivist investigation. During the process of artist research and making artwork, I was able to push boundaries for my art and myself and I was able to discover what kind of artist I was and what meaning was behind my artwork. This process of research,questioning, reflective documentation, and discovery has provided new tools and styles for teaching my students how to find their own personal voice in their artwork.
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Asikainen, Henna Maaria. "Art, nature and environmental aesthetics." Thesis, Northumbria University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410378.

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Roy, Andréa. "FORME ET AFFECT DANS LA CIRCULARITÉ NATURE/ART/NATURE." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/27636/27636.pdf.

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Kenning, Dean. "The Political Nature of Art Today." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496973.

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ITALO, ADRIANA MARIA RAPOSO. "ART & NATURE: PHILOSOPHICAL INTEGRATED CIRCUITS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5262@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Minha pesquisa tem por objetivo examinar a suposta distinção entre arte e natureza no interior de uma análise crítica da chamada crise de fundamentos. Isto é, a crise do projeto fundacionista moderno, a rejeição pós-moderna à metafísica em geral e à idéia de fundamento em particular, suas relações com as rupturas impostas pelas novas tecnologias e suas conseqüências na visão de mundo e de humanidade. Arte e natureza não constituem domínios fundamentalmente distintos, ou ainda, não há heterogeneidade ontológica entre aquilo que se faz por si mesmo (natureza) e aquilo que se fabrica (arte). Com efeito, a enorme dificuldade em determinar e definir precisamente a realidade designada pelo termo natureza levou ao reconhecimento de que a eficácia da idéia de natureza é proporcional à sua imprecisão. A quebra do Tabu do Natural, isto é, a suspensão da crença de que nada do que é tecnicamente fabricado pode igualar-se à essência dos trabalhos da natureza, significou um convite à reavaliação das fronteiras entre natural e artificial. Do cálculo ao algoritmo, e destes às tecnologias da informação e biotecnologias, metáforas transformaram-se em máquinas e ferramentas, e máquinas em potentes metáforas cujo valor heurístico apresenta-se, em última instância, na indiscernibilidade entre natureza e cultura. A tecnologia contemporânea revela e disponibiliza a realidade como artefato. Isto é, como arte e fato. Ars gratia artis.
The purpose of my research is to examine the presumed distinction between Art and Nature within a critical analysis of the so called crisis of foundations. I.e., the crisis of the foundationlist modern project, the post- modern rejection of metaphysics in general and of the idea of a foundation in particular, its relationships with the ruptures imposed by the new technologies and its consequences on the perception of the world and of humanity. Art and Nature do not constitute fundamentally different domains, or yet, there is no ontological heterogeneity between that which is self-made (Nature) and that which is manufactured (Art). In effect, the great difficulty in precisely determining and defining the reality referred to by the term nature has led to the acknowledgement of the fact that the efficacy of the idea of nature is proportional to its imprecision. The lifting up of the Taboo of the Natural, that is, the suspension in the belief that nothing which is technically manufactured can be put on a par to the essence of nature`s doings, was an invitation to a re-assessment of the frontiers between natural and artificial. From calculus to algorithms, and from these to information technology and biotechnology, metaphors transform themselves into machines and tools, and machines into powerful metaphors whose heuristic value lies, in last instance, in the indiscernibility between nature and culture. Contemporary technology reveals and makes reality available as an artifact - i.e. art and fact. Ars gratia artis.
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Schneider, Bettina. ""Nature" und "Art" in Montaignes "Essais" /." Paris ; Seattle ; Tübingen : Papers on French seventeenth century literature, 1996. http://catalogue.bnf.fr/ark:/12148/cb36696512x.

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Kieran, Matthew Laurence. "The nature and value of art." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14807.

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This thesis examines the nature and value of art. It is primarily concerned to advance an argument which makes sense of the significance we ordinarily afford art, rather than rendering it merely aesthetic and thus cognitively trivial. Contrary to philosophical orthodoxy, it is argued that 'art' does not have two distinct senses. Rather, we should understand art as an inherently evaluative, evolving cultural practice. Thus, I argue, 'art' is essentially a cluster concept. I consider an account of art according to which it is in the pleasure art affords, that its value lies. However, though we derive pleasure even from apparently unpleasant artworks, the mark of art's value lies elsewhere. That is, the pleasure we derive from art is the result of an artwork's being of value in some other way. Through critically assessing the standard accounts of art's value, I argue that art's pleasures are primarily cognitive. Furthermore, I argue, the cognitive value of art arises primarily from the engagement of our imagination and interpretation of artworks. That is, we enjoy the imaginative activity of engaging with artworks and the promotion of particular imaginative understandings. Furthermore, as imaginative understanding is of fundamental importance in grasping the nature of our world and others, art may have a distinctive significance. That is, art may afford insights into and thus promote our imaginative understandings of our world and others. Thus, through the promotion of imaginative understanding, art may cultivate our moral understanding. Therefore, art is of profound significance and import.
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Books on the topic "Nature in art"

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Multimédia, Boréal. Projets art/nature =: Art/nature projects. [L'Annonciation, P.Q.]: Boréal Multimédia, 1995.

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Murshad, Tanwir. Nature is my art & art is my nature. Lahore: Hamail Art Galleries, 2005.

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Murshad, Tanwir. Nature is my art & art is my nature. Lahore: Hamail Art Galleries, 2005.

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Jałowik, Delfina. Natura w sztuce: Nature in art. Kraków: Muzeum Sztuki Współczesnej w Krakowie MOCAK, 2019.

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Inchbald. Nature and art. London: Routledge/Thoemmes, 1995.

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Inchbald. Nature and art. Peterborough, ON: Broadview Press, 2004.

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Inchbald. Nature and art. Oxford: Woodstock Books, 1994.

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Peppin, Anthea. Nature in art. Brookfield, Conn: Millbrook Press, 1992.

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Fagone, Vittorio. Art in nature. Milano: Mazzotta, 1996.

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Inchbald. Nature and art. Peterborough, Ont: Broadview Press, 2005.

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Book chapters on the topic "Nature in art"

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Holmes, Thom. "Sounds and Nature." In Sound Art, 28–35. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-3.

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Avgitidou, Angeliki. "Nature, bodies, environment." In Performance Art, 189–212. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-11.

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Zamparo, Martina. "Art and Nature." In Alchemy, Paracelsianism, and Shakespeare’s The Winter’s Tale, 227–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05167-8_6.

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Leask, Nigel. "Art and Nature." In The Politics of Imagination in Coleridge’s Critical Thought, 117–23. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19283-0_12.

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Gray, Frances. "Nature, Beauty, Art." In Epiphanies, Individuation, and Human Flourishing, 73–81. London: Routledge, 2023. http://dx.doi.org/10.4324/9780429022975-6.

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Dieppe, Paul, Cinder Hypki, and Michael Dixon. "Nature, Art and Healing." In Healing and Medicine, 158–80. New York: Productivity Press, 2023. http://dx.doi.org/10.4324/9781003461814-11.

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Gladston, Paul. "Time, Life and Nature." In Chinese Contemporary Art Series, 133–37. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46488-5_17.

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Papazoglou, Alexis. "Nature, life and spirit." In Figuring Out Figurative Art, 133–48. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315744179-10.

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Durán-Sánchez, Amador, José Álvarez-García, and María de la Cruz del Río-Rama. "Nature sports: state of the art of research." In Nature Sports, 54–80. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003432586-5.

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Carroll, Maureen. "Contextualizing Roman Art and Nature." In A Companion to Roman Art, 531–51. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch26.

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Conference papers on the topic "Nature in art"

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Hong, Yeoh Guan. "Shifting Nature." In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179027.

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Wakeland, R. G. "Eco-art installation: experiential nature." In DESIGN AND NATURE 2012. Southampton, UK: WIT Press, 2012. http://dx.doi.org/10.2495/dn120111.

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Jiang, Li, and Ling Zhang. "Art of Nature, Chambered Nautilus." In Innovate to Elevate. Iowa State University Digital Press, 2022. http://dx.doi.org/10.31274/itaa.15791.

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Seevinck, Jennifer, and Ernest Edmonds. "Open in art, nature and emergence." In the 21st Annual Conference of the Australian Computer-Human Interaction Special Interest Group. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1738826.1738898.

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Ji, Haru (Hyunkyung), and Graham Wakefield. "Artificial nature." In ACM SIGGRAPH ASIA 2009 Art Gallery & Emerging Technologies: Adaptation. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1665137.1665153.

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Coffin, Pierre, Darren Walsh, and Joanna Stevens. "Nature sweet "triage"." In the ACM SIGGRAPH 05 electronic art and animation catalog. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1086057.1086196.

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Vázquez Navarrete, Edith G., Karen P. Volke Sepúlveda, and Gerardo García Luna Martínez. "Design of immersive scenarios and pieces of light art." In Light in Nature IX, edited by Joseph A. Shaw, Katherine Creath, and Vasudevan Lakshminarayanan. SPIE, 2022. http://dx.doi.org/10.1117/12.2631893.

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Langford, Tony. "Return to Nature: How media art heals?" In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.73.

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Carroll, Scott. "human nature." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259390.

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Cui Tianjian. "Art and game: Analyzing the nature of design." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5374994.

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Reports on the topic "Nature in art"

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Удріс, Ірина Миколаївна, and Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.
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Варданян, Марина Володимирівна, Ірина Анатоліївна Дирда, and Маргарита Вікторівна Кірєєва. Cultural memory of Chornobyl in literature and fine arts (in case of a picturebook “The Flowers beside the Fourth Reactor” by K. Mikhalitsyna and paintings by M. Prymachenko). Atlantis, May 2022. http://dx.doi.org/10.31812/123456789/7059.

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From the category “cultural memory”, the paper compares the works of different arts – a picturebook Kvity bilia chetvertoho (The Flowers beside the Fourth Reactor) by K. Mikhalitsyna and paintings of a representative of naive art, an artist M. Prymachenko. The paper explores the interaction of various arts based on Chornobyl’s issue within the comparative interpretation. The Flowers beside the Fourth Reactor by K. Mikhalitsyna narrates the life of M. Prymachenko and refers to her paintings devoted to Chornobyl. From the reception of fine arts, the writer’s picturebook raises verbilised and visualised issues of generations, memory, and nature conservation.
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Melcangi, Davide, and Silvia Sarpietro. Nonlinear Firm Dynamics. Federal Reserve Bank of New York, March 2024. http://dx.doi.org/10.59576/sr.1088.

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This paper presents empirical evidence on the nature of idiosyncratic shocks to firms and discusses its role for firm behavior and aggregate fluctuations. We document that firm-level sales and productivity are hit by heavy-tailed shocks and follow a nonlinear stochastic process, thus departing from the canonical linear. We estimate a state-of-the-art model to flexibly capture the rich dynamics uncovered in the data and characterize the drivers of nonlinear persistence and non-Gaussian shocks. We show that these features are crucial to get empirically plausible volatility and persistence of micro-originated (granular) aggregate fluctuations.
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Ruhl, Nathan. Are Humans Natural? Part 2: Exploring Human-Nature Relational Values and the Balance of Nature. Rowan University, September 2019. http://dx.doi.org/10.31986/issn.2689-0690_rdw.oer.1014.

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Ruhl, Nathan, and Taylor Dobson. Are Humans Natural? Part 3: Nature Relatedness and the American Dream. Rowan University, September 2019. http://dx.doi.org/10.31986/issn.2689-0690_rdw.oer.1015.

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Ruhl, Nathan, and Sirena Pimenta. Are Humans Natural? Part 4: Human-Nature Relational Values through Time. Rowan University, February 2020. http://dx.doi.org/10.31986/issn.2689-0690_rdw.oer.1017.

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Kamp, Bart, Carmen Vallverdu, and Eduardo Sisti . The servitization of business among industrial companies in Catalonia. Edited by Patricia Canto. Universidad de Deusto, 2023. http://dx.doi.org/10.18543/bieu8943.

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The concept of servitization refers to the trend among manufacturing companies to base their business not only on produced goods, but increasingly on services. This implies expanding the portfolio of value propositions in the market, integrating and linking them in the form of complete solutions. In turn, it implies generating revenue from the provision of services and/or charging for products as if they were services. This study conceptualizes the phenomenon of servitization, presents the state of the art among the Catalan industry (meso-economic perspective) and collects experiences of 8 Catalan companies (micro-economic perspective) to investigate barriers and benefits of servitization. At this time when all territories in the world are facing complex challenges, among which the climate emergency stands out, there is a need for profound social transformations. Moreover, the requirement that these transformations should be of a democratizing nature is also proving to be a relevant topic.
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Bache, Sali Jayne, and Astra Rushton-Allan. Climate solutions are already in our nature. Edited by Reece Hooker. Monash University, October 2023. http://dx.doi.org/10.54377/8d67-50af.

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Anderson, Thomas. State of the Art of Natural Language Processing. Fort Belvoir, VA: Defense Technical Information Center, November 1987. http://dx.doi.org/10.21236/ada188112.

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Ruhl, Nathan. Are Humans Natural? Rowan University, June 2018. http://dx.doi.org/10.31986/issn.2689-0690_rdw.oer.1006.

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