Academic literature on the topic 'Sculpture, Abstract 21st century'
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Journal articles on the topic "Sculpture, Abstract 21st century"
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Rukmane-Poča, Ilze, and Linda Leitāne-Šmīdberga. "The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts." Architecture and Urban Planning 10, no. 1 (December 1, 2015): 39–48. http://dx.doi.org/10.1515/aup-2015-0006.
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Abstract Different types of formal expression can be found in the modern architecture of the 21st century - in publications, internet resources and in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. Characteristics of this synthesis are also noticeable in kinetic architecture where the styles of surface kinetic architecture and sculptural kinetic architecture are distinguished. The genesis of images of buildings constructed in these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences in the end of the 20th century and in the 21st century. This paper provides an analysis of constructed objects and proposals put forth in architectural competitions in Latvia’s 21st century modern architecture.
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Meavilla Seguí, Vicente, and Antonio M. Oller Marcén. "Matemáticas puras y mixtas en una cenefa atribuida al artista mahonés Pascual Calbó Caldés (1752 - 1817)." Studium, no. 24 (September 22, 2019): 127–46. http://dx.doi.org/10.26754/ojs_studium/stud.2018242604.
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El artista menorquín Pascual Calbó Caldés (1752 – 1817), autor de una enciclopedia científica que ha llegado hasta nosotros con el nombre de Obras didácticas, pintó en el salón de la Casa Vidal (Mahón, calle de Isabel II, nº 21) una cenefa en la que aparecen representaciones alegóricas de la escultura, pintura, arquitectura, astronomía, música, literatura, matemáticas y agricultura. En este artículo mostramos algunos detalles relativos a las alegorías de las matemáticas (lado este) y la astronomía (lado sur) que pueden escapar al ojo del observador común.
Palabras clave: Pascual Calbó, Matemáticas, Pintura, Menorca, Siglo XVIII.
ABSTRACT
The artist from Menorca Pascual Calbó Caldés (1752 – 1817), author of a scientific encyclopedia which has been preserved under the title of Obras didácticas, painted in the living room of the Casa Vidal (Mahón, 21st of Isabel II Street) a frieze in which we can find allegorical representations of sculpture, painting, architecture, music, literature, mathematics and agriculture. In this paper, we present some details regarding the allegories of mathematics (eastern wall) and astronomy (southern wall) that may scape the eye of the common observer.
Keywords: Pascual Calbó, Mathematics, Painting, Minorca, 18th century.
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Lavrentiev, Alexander. "Vyacheslav Koleichuk as the Engine of the Russian Kinetic Art. Imaginary dialogue at the exhibition." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 95–117. http://dx.doi.org/10.36340/2071-6818-2021-17-1-95-117.
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The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.
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Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-4-6-9.
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Dear readers, We are pleased to present to you Issue 4, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal opens with articles by Chinese researchers devoted to the art of Ancient China. In the article "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty", Xiang Wu analyses the idea of heaven-and-man oneness, which was important for the art of this period. It was based on the Confucian view, the rituals of a strict social hierarchy and Taoist metaphysics. Qiu Mubing’s scientific research topic is “Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty”. Examining archaeological sources, the author concludes the high achievements of Chinese artisans during the Han Dynasty on examples of works of arts and crafts made of precious metals. In the article “Aesthetics of the Song Dynasty. The Origins of the New Style of Furniture Design in China", N.Kazakova and Qiu Qi analyse the vector of development of the furniture industry through the prism of the industrial design evolution. The reasons for the emergence of the New style in furniture design in China are studied. They are analysed in detail against the background of changing economic, political and cultural realities. The issues of the influence of Ancient China aesthetics on the formation and development of a new language in furniture design are touched upon. In the article "Problems of Colour Harmonisation of Composition and Development of Associative and Imaginative Thinking in the Environmental Design", N.Bogatova reveals the potential of colouristic graphic two-dimensional modelling in artistic and imaginative thematic compositions. On the example of the compositional laws of colouristics, the author traces the path of ascent from the concrete to the abstract, pictorial to the expressive, and emotional to the figurative. P.Dobrolyubov presents the text “Sculptor Alexander Matveev’s School and His Students”, which includes many archival documents and photographs. The author describes the process of learning from teacher and sculptor A.Matveev, names the main dates in his creative work, reveals the details of the sculptural craft, talks about the variety of moves in the master’s plasticity, analyses the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the entire course of historical milestones in the sculptor’s creative biography. In the article "The Golden Age of PRC History Painting (1949–1966): Origins, Searches, Achievements”, K.Gavrilin and L.Xiaonan consider the issues of the formation of the modern Chinese art school. Its foundation was laid in the framework of the creative and educational dialogue between China and the Soviet Union at the beginning of the second half of the 20th century. The authors believe that the characteristic features of the golden age of Chinese historical painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of the dominant position of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. S.Zubarev considers theoretical and practical aspects of the activities of military musicians in the article "Academic Music in the Practice of Russian Military Bands of the 19th - early 21st Centuries". In the process of studying military bands, special attention is paid to the study of the features of military band service development in the 19th and 20th centuries. Factors revealing the role of Russian composers in the history of military musical culture are highlighted, and several works of academic music performed by military bands are analysed. In conclusion, the author notes that in the national culture, unique conditions for the development of military musicians’ arranging activity were created. They made it possible to preserve the traditions of the military band service and form the value principles of academic art. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Grunskis, Tomas. "KŪRYBINIO EKSPERIMENTO SAMPRATOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (March 31, 2011): 21–27. http://dx.doi.org/10.3846/tpa.2011.03.
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While analysing creative experiments in architecture, one finds a number of different phenomena and examples, not so easy to discuss in a more or less systematic way. These phenomena and results, in one or another way related to experimental architecture, can hardly be defined by a single category and, as shown by the history of architecture, have become one of its driving forces contributing to the development of architecture in the course of time. The issue of the concepts of architectural experimentation on the whole is important and urgent in two aspects. First of all, such concepts are used in attempting to formulate basic architectural and cultural declarations, consequentially applied in forming and proclaiming different political creeds (usual practice of international architectural biennales and expo exhibitions). Secondly, their cultural value is of key importance too, as the ideas and thoughts expressed through the experimental creation often convey social aspects and states, also the idea, how architecture is understood during a specific period of time and the role given to it by society. Finally, as architecture is a language used by society to convey its socio-cultural status and values, the experimental architectural creation can be significant, although often ignored, in architectural practice. The most outstanding examples of architectural experiments confirm that architecture as artistic creation has long ago gained certain features of a cultural phenomenon, which eventually has become closely connected to society. Thus the area of culture and forms of its expression has becoming more and more relevant and significant to architectural experimentation. Although artistic and scientific experiments have certain similarities within contemporary discourse of architectural practices, they still differ a lot in the aspects of their backgrounds, processes and even results. But still, the interdisciplinary aspect, common to contemporary artistic experimentation, draws art and science closer together. Fairly often, peculiar new forms of art borrow scientific data or ideas interpreting, expressing and using them effectively to make pure art. The concept of architectural experimentation still does not exist as an integral concept. Only a few general features and attributes can be named as helping to define the architectural phenomenon as an experimental one. These are: (a) the idealistic trend and (b) very active element of motivation. It is also noteworthy that looking retrospectively, within different epochs the architectural experimentation had different relationship with other arts. The discussed in the article experimental practices of architecture in the 1950-ies – 1970-ies accumulated and effectively operated the languages of other visual – and not only – arts. Although, at the same time it should be admitted that they did not have the same close relationship to traditional, fundamental arts, such as sculpture and painting. So does the contemporary, the 21st century, architectural experimentation – it no longer has closer connection to traditional arts. Although it has to be admitted that the most recent, media-related arts influence experimental architecture on the levels of its forms as well as concepts. In general, the architectural creation at the beginning of the 21st century (both building architecture and urban planning) is getting more and more social. The experiment in such creation is less artistic or valuable as pure art in the traditional sense. Fewer experiments are made on the form only, but rather on the process itself and then – the form. Although the most innovative architectural images being developed and declared are getting more abstract and universal, they are easier to implement than before (due to the most advanced technologies). So, it is not so simple to draw a dividing line between purely idealistic and realistic experimental architecture, because what was just a vision not so long ago, today can be easily realized. Does it mean that experiments have become more social and less creative? Probably, not. Most likely, it’s because creativity has become transformable and gained new ways of expression. Santrauka Straipsnyje analizuojamos esminės kūrybinio eksperimento sampratos architektūroje. Apžvelgiami pagrindiniai mokslinio ir meninio eksperimento principai, konceptai juos charakterizuojant bei lyginant tarpinternatvyje, detalizuojant tiek esminius skirtumus, tiek ir logines sąsajas tarp vienų ir kitų. Taip pat tekste plačiai analizuojamas kūrybinio eksperimento reiškinys architektūroje, aptariant ir mokslinės, ir meninės sričių įtakas jam, jo specifikas ir ypatumus.
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Alt, Gordon. "The Resurgence of the Figure and Its Importance in 21st Century Sculpture." Sculpture Review 68, no. 2 (June 2019): 9–21. http://dx.doi.org/10.1177/0747528419874021.
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Hotsaliuk, Alla. "Art of Sculpture and Its Development in Ukraine (Late 20th – Early 21st Century)." Ukrainian Studies, no. 1(70) (March 7, 2019): 67–75. http://dx.doi.org/10.30840/2413-7065.1(70).2019.164745.
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Fürlinger, Ernst. "“Look, You Machame You Dog”: The Story of an Anti-Islamic Inscription on St. Stephen’s Cathedral in Vienna." BORDER CROSSING 6, no. 2 (October 7, 2016): 337–41. http://dx.doi.org/10.33182/bc.v6i2.498.
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After the 1683 Siege of Vienna, an anti-Islamic inscription and sculpture – possibly representing the head of Muhammad – were affixed onto the tower of St. Stephen’s cathedral in Vienna. In the 21st century, this story highlights the difficulties that arise when the collective memory of the former Catholic empire or nation collides with human rights norms of the modern constitutional republic as well with the norms of religious dialogue in the Catholic Church.
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HELLER, S. R. "ChemInform Abstract: Chemical Information in the 21st Century." ChemInform 24, no. 17 (August 20, 2010): no. http://dx.doi.org/10.1002/chin.199317312.
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GRYAZNOV, V. M. "ChemInform Abstract: Membrane Catalysts of the 21st Century." ChemInform 26, no. 44 (August 17, 2010): no. http://dx.doi.org/10.1002/chin.199544292.
Full textDissertations / Theses on the topic "Sculpture, Abstract 21st century"
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Merkley, John. "Transitions : multi-media abstract sculpture." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305451.
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The first objective of this creative project was to create seven Non-figurative, abstract, multi-media (wood, metals, clay, concrete, glass) sculptures that attempted to express some of the feelings experienced during transitions in life. The second objective was to explore the continuum of abstract sculptural art: from art being simply aesthetically stimulating compositions to art that emphasizes meaning or purpose first, and being aesthetically pleasing or stimulating second.Department of Art
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Tomasik, Andrew J. "Forms of honesty : tactile experiences and organic formation in ceramic sculpture." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1318939.
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The primary objective for this creative project is to develop a series of wheel-thrown and altered ceramic sculptures that reflect my intuitive formation process. Although the work was influenced by a wide variety of outside sources, much of the impetus was born of my personal reflections on the concept of physical touch. My actions during the creation process were governed by sensory information absorbed mostly through my hands on the clay, and enhanced by inherent properties of the material. These preliminary experiences eventually sparked a desire to share this discovery with the viewer in the same tactile way. I further wished to include observers in the exhibit in a more direct and physical way, offering participants opportunities to explore their own sense of touch and consider how they relate to the objects around them. This body of work is an in-depth study of my intuitive creative process, a model for exploring the relationships between process and materials, and a means of providing observers of visual art a chance to connect with a visual object in a tactile way.Department of Art
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Peterman, Aaron L. "Judgement." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347734.
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The objective of this creative project is the creation of sculptures and paintings that make statements concerning judgment and its subsets, fault, blame, martyrdom, self-sacrifice, and absolution. The group of pieces shown at the Thesis Exhibition explores recurring themes and iconography within a historical context, while addressing issues in a contemporary social framework. Repetitive elements and images such as self-portraits, the pointing finger, and the heart, are set in the present, but layered with the iconography and history of Saint Sebastian. The techniques used to achieve these works are metal casting and fabrication, casting using a variety of materials, woodworking, and oil painting. These techniques, along with materials such as wood, steel, plaster, wax, and branches congeal to form a body of work that is conceptually harmonious.Department of Art
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Gorman, Stephanie R. "Simultaneous opposition." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397372.
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The intention of this creative project is to explore the ideas of individuality and community through ceramic sculpture. The ultimate goal is to allow the viewers to draw their own conclusions about the suggested meaning, instead of forcing a direct reference. To achieve this, form, surface, texture, and grouping of individual pieces was utilized. Inspiration was drawn from the artworks of Barbara Hepworth, Michele Oka Doner, Yoonchung Kim, and from the multiple appendages of the sea anemone. The artworks were hand-built using high temperature clays that were fired in reduction, soda, and wood kilns. Plaster molds were used to maintain the identical forms, allowing the viewer to focus on textural variation.Department of Art
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Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.
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The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work.
In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me?
My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.
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van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
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Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
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Godfrey, Laura. "Contemplations of connection through the notion of boundaries : installations and ideas of paradox." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1272765.
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We are accustomed to meanings, signs, language, and the constraints, categories, and concepts which make-up what I acknowledge as boundaries. These are integral for interaction with people, with other forms of life, with landscapes, and with ourselves. Without boundaries there would not be progression or understanding with that which is "the other."Boundaries are categorized into four areas within these creative projects. They are environment, language, states of being, and destination. Within the categories various projects explore what create intangible separations which denote the boundary and create a visible representation of each.Within each category projects are organized by content, objective, and outcome. Some results proved to be more successful than others by effectively conveying meaning through the various imagery and objects of the installations. Often, a viewer's preference f one project over another was due to the use of a specific medium, building method, and overall design rather than the concept or idea which inspired it.The paradoxical notion of these explorations is due to the exemplification of the connections surrounding and, perhaps, instigating each boundary. Attempts to visibly explore boundaries through their connections provide glimpses of built separation markers (environment), words and phrases which may separate or connect (language), alterations of physicality (states of being), and the ambiguous quality which denotes a place (destination) such that each becomes discernable but, more importantly, that each may be surpassed. It is through the visibility of the categories and understanding of their connections in which the boundaries go beyond manifesting themselves through the viewers' collective questioning the possibilities.Department of Art
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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.
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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layering imagery that provoke thought concerning nature and our place in it. This collection of paintings is representative of the process I have developed through a wide variety of influences, and is a means of communicating my concern for the ever dwindling natural environment and our connection to it.Department of Art
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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.
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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format.
Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly.
By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation.
This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
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Heymans, Simone. "Habitual transience : orientation and disorientation within non-places." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013141.
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This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.
Books on the topic "Sculpture, Abstract 21st century"
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Gary, Indiana, ed. To whom it may concern. London: Violette Editions, 2011.
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Hanne, Hagenaars, and Mulders Wim van, eds. Maria Roosen: Monster. Amsterdam: Valiz, 2009.
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Sotheby, Parke-Bernet, London. 19th and 20th century sculpture: Day of sale Tuesday, 21st November, 1995 ... . London: Sotheby's, 1995.
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The body as temple: Erotica from Telugu (2nd century B.C. to 21st century A.D.). Visakhapatnam: Drusya Kala Deepika, 2007.
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Śrīnivās, Śiṣṭlā. The body as temple: Erotica from Telugu (2nd century B.C. to 21st century A.D.). Visakhapatnam: Drusya Kala Deepika, 2007.
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Er shi yi shi ji Zhongguo xian dai shui mo yi shu jia: Liu Zijian = Chinese artist in the 21st century, Liuzijian. Wuhan Shi: Hubei mei shu chu ban she, 2002.
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Komarova, L., editor of compilation, ed. Realizm XXI veka: Zhivopisʹ, grafika, skulʹptura = The 21st century realistic arts : paintings, drawings, sculpture. Moskva: M. Skanrus, 2010.
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London, Sotheby Parke-Bernet. Nineteenth century European paintings, drawings and sculpture: Day of sale Tuesday, 21st June 1988. London: Sotheby's, 1988.
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1946-, Weiss David, Curiger Bice 1948-, Tate Modern (Gallery), Musée d'art moderne de la ville de Paris., Kunsthaus Zürich, and Deichtorhallen Hamburg, eds. Fischli Weiss: Flowers & questions : a retrospective. London: Tate, 2006.
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Sotheby, Parke-Bernet, London. Ninteenth and twentieth century furniture and decorations: Including sculpture : day of sale Friday,21st May,1993 ... . London: Sotheby's, 1993.
Find full textBook chapters on the topic "Sculpture, Abstract 21st century"
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Warwick-Booth, Louise, and Simon Rowlands. "Policies for health in the 21st century." In Health promotion: global principles and practice, 75–105. 2nd ed. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245332.0003.
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Abstract This book chapter seeks to: (i) Comment on the state of academic health promotion; (ii) explain the differences between health policy, social policy and health in all policy; (iii) explore the policy process; (iv) introduce key ideas from the policy analysis literature; (v) show how ideology affects policy making; and (vi) discuss the role of advocacy within health promotion.
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Warwick-Booth, Louise, and Simon Rowlands. "Policies for health in the 21st century." In Health promotion: global principles and practice, 75–105. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245332.0075.
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Abstract This book chapter seeks to: (i) Comment on the state of academic health promotion; (ii) explain the differences between health policy, social policy and health in all policy; (iii) explore the policy process; (iv) introduce key ideas from the policy analysis literature; (v) show how ideology affects policy making; and (vi) discuss the role of advocacy within health promotion.
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Rajandiran, Durgesh. "Singapore’s Teacher Education Model for the 21st Century (TE21)." In Implementing Deeper Learning and 21st Education Reforms, 59–77. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57039-2_3.
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Abstract Singapore introduced the Teacher Education Model for the 21st Century (TE21) in 2009 as a framework to propose a set of 21st century competencies that Singaporean teachers should be equipped with. The introduction of TE21 catalyzed the reform of existing programs and the implementation of new initiatives in initial teacher preparation programs and lifelong teacher professional development. This chapter first examines the local and international driving forces that led to the conceptualization of TE21 since Singapore’s independence. Then, the recommendations of TE21 are scrutinized along with the implementation of two new initiatives in the initial teacher preparation program. The findings are twofold. First, we find that Singapore has extensively performed a comparative review of global 21st century recommendations over four decades to customize an education system for their local context. Second, by synthesizing information sourced from interviews, government documents, and quantitative data, we find that the progress towards developing a cadre of 21st century teachers and producing holistic students in Singapore is largely successful. However, students are found to be at the receiving end of a generational cultural clash between them and their parents’ beliefs about the core of education.
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Sauer, Tilman. "Modeling Parallel Transport." In Model and Mathematics: From the 19th to the 21st Century, 203–20. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97833-4_5.
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AbstractIn 1918, the Dutch geometer Jan Arnoldus Schouten used plaster models of standard curved surfaces to illustrate a novel geometric concept of the geodesic transport of reference frames in curved spaces. This paper discusses Schouten’s use of material modeling in the context of an emerging abstract geometric concept of parallel transport.
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Epple, Moritz. "‘Analogies,’ ‘Interpretations,’ ‘Images,’ ‘Systems,’ and ‘Models’: Some Remarks on the History of Abstract Representation in the Sciences Since the Nineteenth Century." In Model and Mathematics: From the 19th to the 21st Century, 279–307. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97833-4_9.
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Birtwistle, Tim, and Robert Wagenaar. "Re-Thinking an Educational Model Suitable for 21st Century Needs." In European Higher Education Area: Challenges for a New Decade, 465–82. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56316-5_29.
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Abstract How should learning in higher education best meet the challenges posed by the many changes in society and employment? If graduates are knowledgeable in a particular field of studies and are trained in key generic competences/transferable skills to allow for autonomy and responsibility, is that enough? Is it being achieved? Or are new and diverse sets of learning models (Lifelong Learning or the 60 Year Curriculum) needed? Learners must be empowered to operate as responsible and active citizens in their society and be successful participants in a dynamic labour market. Society will require continuous (re-)training to handle rapid technological and societal changes. To stay relevant as autonomous educational providers, higher education institutions will have to change their formats of learning and teaching. A revised higher education model demands a highly flexible format to cater for individualised learning pathways, based on three key components: (1) a particular field of studies (thematic or disciplinary)—the core—(2) a fully integrated set of transferable skills and (3) a large set of learning units of various sizes covering a flexible curriculum. Can it respond to five societal challenges in each component: interculturalism; processes of information and communication; processes of governance and decision making; ethics, norms, values and professional standards and the impact of climate change? Measuring and Comparing Achievements of Learning Outcomes in Higher Education in Europe (CALOHEE), an EU funded project envisages a new model. The paper will partly be based on the (initial) findings of this project. International cooperation in the context of the EHEA is essential to engage all, and make a change.
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Reimers, Fernando M. "In Search of a Twenty-First Century Education Renaissance after a Global Pandemic." In Implementing Deeper Learning and 21st Education Reforms, 1–37. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57039-2_1.
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Abstract The COVID-19 Pandemic renewed interest on the question of what goals should be pursued by schools in a world rapidly changing and uncertain. As education leaders developed strategies to continue to educate during the Pandemic, through alternative education arrangements necessitated by the closure of schools, the question of re-prioritizing curriculum became essential. In addition, the anticipated disruptions and impacts that the Pandemic would cause brought the question of what capacities matter to the fore. This chapter reviews the history of mass education and examines the role of the United Nations and other international organizations advocating for schools to educate the whole child and to cultivate the breath of skills essential to advance individual freedoms and social improvement. The chapter makes the case that the aspiration to cultivate a broad range of competencies is not only necessary to meet the growing demands of civic and economic participation, but also critical to close opportunity gaps. The development of a science of implementation of system level reform to educate the whole child is fundamental to close the growing gap between more ambitious aspirations for schools and the learning opportunities that most children experience and that are at the root of their low levels of knowledge and skills as demonstrated in international comparative assessments. Implementation strategies need to take into account the stage of institutional development of the education system, and align the components and sequence of the reform to the existing capacities and structures, while using the reform to help the system advance towards more complex forms of organization that enable it to achieve more ambitious goals. The chapter makes the case for examining the implementation of large scale reforms in countries at varied stages of educational development in order to overcome the limitations of the current knowledge base that relies excessively on the study of a narrow range of countries at similar levels of development, many of them with stagnant or declining performance of their students in international assessments of knowledge and skills. Effective implementation requires also coherence across the various levels of governance of the education system and good communication and collaboration across a wide spectrum of stakeholders. Such communication can be facilitated by a good theory of mind of how others view reform. A reform can be viewed through five alternative frameworks: cultural, psychological, professional, institutional and political, or through a combination of those, and each reform is based on elements reflecting one or several of those frames. Understanding these frames, can help better understand how others view change, thus facilitating communication and the development of a shared theory of change. The chapter concludes describing the methods of this study and introducing the six large scale reforms examined in the book.
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Borrelli, Arianna. "The Great Yogurt Project: Models and Symmetry Principles in Early Particle Physics." In Model and Mathematics: From the 19th to the 21st Century, 221–54. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97833-4_6.
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AbstractAccording to the received view of the development of particle physics, mathematics, and more specifically group theory, provided the key which, between the late 1950s and the early 1960s, allowed scientists to achieve both a deeper physical understanding and an empirically successful modeling of particle phenomena. Indeed, a posteriori it has even been suggested that just by looking at diagrams of observed particle properties (see Fig. 1) one could have recognized in them the structures of specific groups (see Fig. 2). However, a closer look at theoretical practices of the 1950s and early 1960s reveals a tension between the employment of advanced mathematical tools and the “modeling” of observation, if the term “model” is understood as a construction allowing for the fitting and predicting of phenomena. As we shall see, the most empirically successful schemes, such as the “Gell-Mann and Nishijima model” or the “eightfold way”, were mathematically very simple, made no use of group-theoretical notions and for quite a time resisted all attempts to transform them into more refined mathematical constructs. Indeed, the theorists who proposed them had little or no interest in abstract approaches to mathematical practice. On the other hand, there were a number of particle theorists who did care about and employ group-theoretical notions, yet not primarily as tools to fit phenomena, but rather as a guide to uncover the fundamental principles of particle interactions. Moreover, these theorists did not regard all groups as epistemically equivalent, and instead clearly preferred those transformations related to space-time invariances over all others. These authors also often made a distinction between purely descriptive “models” and the “theories” they were (unsuccessfully) trying to build and which in their opinion would provide a deeper understanding of nature. Nonetheless, they expected their “theories”, too, to be empirically successful in describing observation, and thus to also function as “models”. In this sense, like their less mathematically-inclined colleagues, they also saw no clear-cut distinction between “modeling” and “theorizing” particle phenomena. In my paper I will discuss the development of these theoretical practices between the 1950s and the early 1960s as examples of the complex relationship between mathematics and the conceptualization of physical phenomena, arguing that, at least in this case, no general statements are possible on the relationship of mathematics and models. At that time, very different mathematical practices coexisted and the epistemic attitudes of physicists towards theoretical constructs could depend both on the assumptions and goals of the individual authors and on the specific mathematical methods and concepts linked to the constructs.
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Islas, Paul Moch, Anne K. Calef, and Cristina Aparicio. "2013 Mexico’s Education Reform: A Multi-dimensional Analysis." In Implementing Deeper Learning and 21st Education Reforms, 79–107. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57039-2_4.
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Abstract The 2013 education reform to Mexico’s education system had two main goals, one explicit, to improve the quality of education and one implicit, to reassert federal authority over the education sector. Beginning with institutional and political mechanisms that introduced evaluations to the teaching profession, the reform sought a shift in Mexican educational culture. This chapter will begin by analyzing Mexico in international and domestic contexts to understand the urgency of the reform. It will then use Reimers (2020b and 2020c) five perspectives on education change to analyze the reform and evaluate the sequence in which it was implemented. The chapter concludes by outlining the results of the reform to date and summarizing the relationship between the five perspectives. Ultimately, we argue that the initial deprioritization of technical aspects, including pedagogical and curricular ones, stymied the cultural shift towards an educational model grounded in twenty-first century competencies that the reform sought. When coupled with a limited political cycle and uneven implementation at a state level, the reform’s sequence left little time for full implementation of its more pedagogical aspects, such as the new education model, and ultimately faced dramatic reprisal from the new presidential administration.
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Fomiškina, Jeļena, Eve Woogen, Ama Peiris, Somaia Abdulrazzak, and Emma Cameron. "Nurturing Every Learner’s Potential: Education Reform in Kenya." In Implementing Deeper Learning and 21st Education Reforms, 129–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57039-2_6.
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Abstract In Kenya, a broad education reform was implemented after recognizing that the current system was not aligned with the country’s vision of producing globally competitive learners with competencies for the twenty-first century. The implementation process began with a pilot in 2017 and is planned to continue through 2028. In addition to the introduction of a competency-based curriculum, key components of the reform are a commitment to achieving a 100% transition from primary to secondary school by eliminating exam-based barriers to transition and a provision of a wide range of pathways for students to follow. Under the vision of “Nurturing Every Learner’s Potential”, the reform is grounded in the idea that learning should be active and individualized rather than teacher-centric and that schools – including secondary schools – are a place for developing a wide range of competencies and behaviors in addition to the traditional academic skills. In doing so, the government of Kenya seeks to reframe deeply-held cultural perspectives on education’s purpose and content. Such cultural shifts will require significant outreach and training efforts to achieve the buy-in from both families and teachers, and at this stage, it remains to be seen whether these efforts will succeed.
Conference papers on the topic "Sculpture, Abstract 21st century"
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"Performance Measures for the 21st Century [Abstract]." In InSITE 2018: Informing Science + IT Education Conferences: La Verne California. Informing Science Institute, 2018. http://dx.doi.org/10.28945/4053.
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Aim/Purpose: Contemporary organizations and business models challenge traditional performance measures. Some of these measures may not be relevant, and all of them may not be appropriate for measuring some of the critical factors that organizations should focus on in the current business environment. Background: This research-in-progress examines the relevance of traditional performance measures, and uses an interdisciplinary approach for identifying effective known as well as new measures, which reflect the important issues for contemporary organizations. The issue is examined from multiple perspectives, including financial and cost accounting, operations management, strategy, and social responsibility. Methodology: This research-in-progress is based on mixed methods, which include conceptual theoretical analysis of alternative performance measures, as well as quantitative analysis of secondary data, such as financial statement reports. Contribution: The study is expected to identify the most relevant performance measures that organizations should focus on. Furthermore, it will suggest new performance measures that will reflect contemporary technological developments as well as global social values. Findings: The expected findings are to identify which known performance measures are still relevant and which ones might be misleading, and to suggest new performance measures. Recommendations for Practitioners: The findings of this study may enable organizations improve their performance by measuring the important factors that predict their ongoing success. Recommendation for Researchers: Researchers should consider an interdisciplinary approach for identifying effective performance measures. Impact on Society: Improved performance measures would enable extended value creation by organizations, which would increase the wealth of society at large. Future Research: As new business models emerge, it would be worthwhile to continue the evaluation of the relevance of traditional performance measures, as well as the effectiveness of new ones.
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Nakamura, Yusuke. "Human genome analysis and medicine in the 21st century (abstract only)." In the fourth annual international conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/332306.332557.
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Hait, William N. "Abstract IA-12: Oncology drug discovery and development in the 21st century." In Abstracts: First AACR International Conference on Frontiers in Basic Cancer Research--Oct 8–11, 2009; Boston MA. American Association for Cancer Research, 2009. http://dx.doi.org/10.1158/0008-5472.fbcr09-ia-12.
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Thompson, Analise, Fady Chaban, Tony Strathman, and David Gönczi. "Welcome to the 21st Century for Project Managers." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/205942-ms.
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Abstract If the O&G industry adopted new mail technology at the same rate it adopts project management technologies, it would still be using the Pony Express. Risk aversion and resistance to change are two of the main reasons for project failure across the industry. The industry still solves problems by throwing a bunch of human resources at the issue. The more people in the room the better the solution will be, right? In the 21st century, project management needs be based on the interaction of technology with human behavior. The objective of this paper is to introduce the industry to project management in the 21st century. In today's ever-changing global economy, the definition of success is just as fluid, and project management must be agile enough to deal with this. Finding something that works and then sticking to it for decades will no longer suffice. Modern technology companies take a unique approach to major project management which continually polls for changes and empowers individual employees to use their own best judgement while maintaining coordination with their fellows. An examination of this approach can provide helpful insight into optimizing the use of available resources, human or otherwise. Today's top technologies make it easy for individual team members to continuously update and record the progression of the project, and helps employees work toward better solutions rather than limiting themselves to the original requirements and company protocol. Employees are empowered to look for solutions, think out of the box and outside of what is currently available in-house. In the 21st century, the solution to problems is not a complex spreadsheet shared on SharePoint, it's an elegant integration of technology that optimizes human performance as shown in this case study.
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Fukuda, Shuichi. "What Is Needed for Teamworking in the 21st Century." In ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-1172.
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Abstract How teamworking would play an important role in the 21st century and what are needed to realize it are discussed in this paper. It is pointed out that for teamworking in the 21st century, the identification and coordination of a strategic goal between different people with different background are the prerequisite for realizing true collaboration. And to share a strategic goal, images will play very important roles so that a methodology toward image based design must be developed and established.
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Rothman, Johanna. "Metrics and Software Project Management for the 21st Century." In ASME 1995 15th International Computers in Engineering Conference and the ASME 1995 9th Annual Engineering Database Symposium collocated with the ASME 1995 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/edm1995-0850.
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Abstract There is general agreement among the experts and practitioners that a crisis exists in Software Engineering. This crisis is in the area of software quality and schedules. How do we better predict product development progress on an ongoing basis? The quick answer is that all project managers need to know these things: • What are the requirements for functionality, cost, and schedule? • Do I have sufficient resources to meet those requirements? • Am I on target to meet those requirements? These questions are particularly critical for companies who produce complex software, such as real-time or process control products. There are ways to ensure that the requirements of schedule, functionality, and cost are met during project development. This paper will discuss project management activities, possible development process, and predictive measurements for project tracking and prediction for complex software products.
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Koenig, Daniel T. "The Role of the Engineer in 21st Century Industry." In ASME 2001 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/imece2001/ts-23401.
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Abstract 1. What you think of as the traditional role of the engineer in Industry no longer exists. 2. Engineers no longer occupy purely technical positions. 3. There are more engineers in traditionally nontechnical positions than in structured Design, Mfg. Engineering, and R&D positions. 4. These facts are not discipline specific, but true across the board for all types of Engineering. 5. This means that how we prepare engineers for their first jobs and how we continue to learn, or as Dick Golstein says, how we engage in life long learning is undergoing radical change. 6. The fact is engineers in industry are pragmatic technically trained business persons, not technologists or scientist and we need to recognize that basic truth. 7. Now, with this as the state of the engineers position in industry, I’d like to discuss the changing nature of the strategy of operations that the engineer has to contend with and the education needs to support that strategy.
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Dong, Janet, and Janak Dave. "Experiential Learning for Engineering Technology Students in 21st Century." In ASME 2010 International Mechanical Engineering Congress and Exposition. ASMEDC, 2010. http://dx.doi.org/10.1115/imece2010-37457.
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Experiential Learning (EL) is a philosophy in which educators purposefully engage learners in direct experience and focused reflection in order to maximize learning, increase knowledge, and develop skills. Based on the learning cycle proposed by Lewin and the philosophy of Dewey, in that each experience builds upon previous experiences and influences the way future experiences will affect the learner, Kolb[1] developed the experiential learning model to describe the learning process. The four stages of the model are: Concrete Experience, Reflective Observation, Abstract Conceptualization and Active Experimentation. This model shows how theory, concrete experience, reflection and active experimentation can be brought together to produce richer learning than any of these elements can on its own. The College of Engineering and Applied Science did not implement the Kolb model fully due to insufficient resources. Therefore, only the first two of the four stages were used. Many avenues of concrete experiential learning exist for the students in the engineering technology programs at the University of Cincinnati, such as co-op, service learning, global study programs, field projects, academic research, etc. This paper gives a description of the experiential learning of students at the University of Cincinnati in the areas of global study, honors program and undergraduate research. Two faculty members in Mechanical Engineering Technology from the College of Engineering and Applied Science were involved in these experiences. Their experiences, along with student reflections, are discussed in the paper.
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Detiveaux, Joey, and Jack Stanford. "A Revolutionary Advanced Displacement System for the Challenges in the 21st Century." In SPE Annual Technical Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210471-ms.
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Abstract Following the 2010 Macondo Prospect oil spill in the Gulf of Mexico, the more stringent regulations for offshore oil and gas operations required an entirely new approach to wellbore cleanout ahead of the completion phase. With all previous practices and chemistries effectively ended, the task was to develop a new, reliable, sufficiently dense, environmentally friendly, clear-brine displacement system that would address the challenges of cleaning out aqueous- and non-aqueous-based drilling fluids as well as perform in the elevated pressures and temperatures of ultra-deepwater operations in the Gulf of Mexico, Brazil, and West Africa.
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"Abstract FTR/CRR market design and development market participant’s perspective." In 2008 IEEE Power and Energy Society General Meeting - Conversion and Delivery of Electrical Energy in the 21st Century. IEEE, 2008. http://dx.doi.org/10.1109/pes.2008.4596780.
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