Relevant bibliographies by topics / Space (Art)

Contents

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

Academic literature on the topic 'Space (Art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Space (Art)"

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Gollifer, Sue. "Art Space." Digital Creativity 22, no. 2 (June 2011): 115–26. http://dx.doi.org/10.1080/14626268.2011.579403.

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Miodownik, Mark. "Space art." Materials Today 6, no. 11 (November 2003): 13. http://dx.doi.org/10.1016/s1369-7021(03)01115-5.

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Petrič, E., I. L. Schlacht, and B. Foing. "Art & Space: Eva Petrič's Art Project for Space and in Space." Universal Journal of Geoscience 4, no. 3 (June 2016): 72–79. http://dx.doi.org/10.13189/ujg.2016.040303.

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Tazov, P. Yu. "Marketing of art spaces: essence, characteristics, prospects." Vestnik Universiteta, no. 2 (March 21, 2024): 31–40. http://dx.doi.org/10.26425/1816-4277-2024-2-31-40.

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The article studies the peculiarities of promoting art spaces as significant social and cultural objects that act as a locomotive for territorial development, attracting tourists and involving the population in cultural activities. Theoretical approaches to the marketing of art objects and art industry have been analyzed. The key functions of art spaces have been studied. It is proved that art spaces marketing has a more complex structure due to the promotion object multifunctionality than art objects marketing. The author’s art space marketing communication model has been proposed. It is based on the art spaces functions for visitors, sponsors, partners, and government agencies. This model allows differentiating targeted marketing communications for each audience, based on the functions and needs of target groups and partners. Unlike art marketing, art spaces marketing implies a complex communication with target audiences, which includes historical social and cultural, territorial, tourist, socialization, and other aspects of art space. The article substantiates the position that art space cannot be only a commercial project, but due to its social and cultural aspects should perform socialization tasks for young people. Hence, there is a need for legal regulation of art spaces in the public-private partnership framework. This requirement introduces its own adjustments in the marketing communications construction.
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Rob Latham. "Space Age Art." Science Fiction Studies 42, no. 3 (2015): 597. http://dx.doi.org/10.5621/sciefictstud.42.3.0597.

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Gollifer, Sue. "Art Space: editorial." Digital Creativity 22, no. 4 (December 2011): 289–92. http://dx.doi.org/10.1080/14626268.2011.634422.

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Gollifer, Sue, Andy Lomas, William Latham, Stephen Scrivener, Sean Clark, and Daniel Brown. "Art Space: CAS50." Digital Creativity 29, no. 4 (October 2, 2018): 264–73. http://dx.doi.org/10.1080/14626268.2018.1534476.

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Peden, Douglas D. "Wave Space Art." Leonardo 37, no. 5 (October 2004): 376–82. http://dx.doi.org/10.1162/0024094041955999.

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Franceschet, Massimo. "Art for Space." Journal on Computing and Cultural Heritage 13, no. 3 (October 5, 2020): 1–9. http://dx.doi.org/10.1145/3402443.

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Philippe, Jean-Marc. "Space Art: A Call for a Space Art Ethics Committee." Leonardo 23, no. 1 (1990): 129. http://dx.doi.org/10.2307/1578477.

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Dissertations / Theses on the topic "Space (Art)"

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Pinsky, Michael. "Space dictates art > art dictates space." Thesis, University of East London, 2000. http://roar.uel.ac.uk/3609/.

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The thesis highlights five projects undertaken during the doctorate. Each project attempts to break down preconceived notions of time and space both physically and politically. For Transparent Room'the gallery's external views are filmed and then projected on a structure within the gallery. This immersive environment allows viewers to reassess their surroundings. Speeding up the films highlights the functionality of the space around the gallery. Progressive enlargement of the films from pictorial to abstract questions the authenticity of the digitally mediated image. In 'Feedback' a room is filmed without the knowledge of the audience. This film is projected live in the adjacent room and is progressively enlarged by a computer, maintaining the inherent form of the pixels. A one way mirror separating the rooms allows the viewer to compare the Veal'and projected image. The roles of the performer and the audience are merged. "Living Bodies/Clothes Contours' uses the dancers as source material for the work. Manipulating conditions of time and scale, films of the dancers are used as a backdrop for the performance. A seamless relationship was created between the dancers and the projections, using pre-recorded and live footage, blurring the boundaries of reality and illusion, both past and present. "Construction Sites'foil owed 'desire lines'through Leeds Millennium Square, the walking routes before and after the square's construction. Through film, people could follow these desire lines, exposing construction work inside the square and reconnecting the streets. Nn Transit'explores the city by creating maps that alter conventional perceptions of urban time and space. The maps are created by personal journeys through the city, using different combinations of networks. The maps are then constructed to show points in time rather than space. They re-organise the city's form in a temporal dimension. Context is crucial. The work responds to a specific environment. A site for the work needs to be found in advance of the production. The thesis questions the value of creating artwork in isolation.
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Vasilenko, Anastasia. "Op-art in the art space." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15275.

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Galyna, Agieieva, Агєєва Галина Миколаївна, Агеева Галина Николаевна, Nickolchuk Bogdana S, Нікольчук Богдана Сергіївна, and Никольчук Богдана Сергеевна. "Airports as art-space." Thesis, Natuonal Aviation University, 2019. http://er.nau.edu.ua/handle/NAU/38532.

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1. У Києві літак перетворять в арт-простір. – Access mode: https://styler.rbc.ua/ukr/zhizn/kieve-samolet-prevratyat-art-prostranstvo-1457017654.html 2. Свентах А. «Галерея національної гордості». В аеропорту «Бориспіль» відкрили унікальну виставку робіт відомої української художниці Марії Примаченко. – Access mode: https://kbp.aero/news/galereya-nacionalnoyi-gordosti/ 3. Exposition "Revolution of Dignity. The future is made by free people". – Access mode: https://www.facebook.com/pg/airportboryspil/photos/?ref=page_internal 4. В аэропорту «Борисполь» покажут, как летали знаменитости. – Access mode: https://www.segodnya.ua/kiev/kwheretogo/V-aeroportu-Borispol-pokazhut-kak-letali-znamenitosti-465819.html. 5. Небесні ластівки. – Access mode: https://kbp.aero/ru/konkurs-nebesni-lastivki/
The results of researches on the use of airports as distinctive culturological platforms (art spaces) are presented. Illustration of features of the formation and functioning of the Art Space of Terminal D International Airport Boryspil (Kiev).
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King, Barbara Amelia. "Space Art + Space Science a polymathic paradigm shift in the art/science dialogue." Master's thesis, Faculty of Engineering and the Built Environment, 2021. http://hdl.handle.net/11427/32739.

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Perhaps no other field of scientific endeavor has been more influenced by the arts than space exploration. The artistic visions of yesteryear are the technological realities of today. These realities in turn create new possibilities for artistic expression. However, Space Art and Space Science have shared a convoluted history. Their forerunner disciplines of the Humanities and Natural Sciences and their practitioners were entrenched as polar opposites for centuries. Recent research, however, has revealed the reverse; that the psychological profile and the creative processes of artists and scientists are actually similar, often to the point of the practitioners being polymathic. Moreover, it has been discovered that polymathic ability nurtures two qualities essential for the survival of both Space Art and Space Science: that of creativity and innovation. Current literature has taken note of the commonality of polymathic ability between the practitioners of the arts and sciences. Academic and industry think tanks have examined the virtues of artists as space researchers, and conversely, scientists developing an artistic approach as a design strategy. Thought leaders have expressed faith in trans-disciplinary collaboration as the way forward in the global affairs of space. Yet, therein lies the problem. These various studies individually lack a cohesive strategy to leverage their findings and transform the Art/Sci dialogue into a disruptive force that sustains a paradigm shift in the arts, space and society agendas going forward. The impetus for this dissertation is the unique opportunity to amalgamate those disparate studies by utilizing the momentum of New Space culture, and its focus on societal inclusion and environmental concerns to serve as anchors for space research and sustainability. Further, we argue that the next logical step is to inculcate a fundamental Art/Sci paradigm shift within the space community to exploit the unprecedented global drive towards space exploration and colonization, thereby solidifying the influence of the space art and space science agendas in the service of the global commons on Earth and in space.
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Kortenhoeven, Nicola. "Expressive space textile art centre /." Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-05182005-112346.

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Fong, Ching-to Solomon, and 方正道. "Metamorphosis of city: art space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B3198387X.

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Fong, Ching-to Solomon. "Metamorphosis of city : art space /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946262.

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Floyd, Tiffany. "Mental Space." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2674.

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I create process-oriented, mixed media work in an intuitive manner. I develop compositions by choosing from a wide range of materials and media. I have established a visual vocabulary that I use formally and, on occasion, symbolically to express my personal thoughts. My prints are primarily collagraphs pulled from plates that are constructed using foam, rope, sticks, cardboard, or screen prints. My fiber works are mixed media and often combine soft and stiff fabrics, dyes, pigments, embroidery, quilting, and screen printing. At times I find ways to integrate hard, rigid materials such as kiln-formed and sandblasted glass into my fiber pieces. My pieces tend to be intimately sized and detail oriented, requiring an up close and personal look from the viewer.
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Yes, Melissa R. "Space Program." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494286481799127.

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Sand, Monica. "Space in motion : the art of activating space in-between." Doctoral thesis, KTH, Arkitektur, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4876.

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As a contribution to the emerging field of practice-based research in the arts, this thesis aims to activate space, experience and the concept in-between. As the in-between cannot be defined ahead of the rhythmic process it carries out and of which it is a part – a rhythm inherent in the city itself and in knowledge production – it is necessary to produce rhythmic relations between bodies, sites and concepts. An art experiment, a forty-two meter high swing mounted on the bridge, Älvborgsbron, in Gothenburg harbour, Sweden, serves as the point of entry to the thesis. A dancer in the swing moved slowly between the bridge and the ground, captured in a rhythmic experience of being earthbound and then weightless. The swing project, together with other rhythmic processes such as walking, weaving and acting physics, activate spatial, temporal and theoretical dimensions of the in-between. Merging my roles as an artist, teacher and researcher by pragmatic production, perception and concepts it becomes possible to transform the rhythms between the examples:   1. A swing mounted on a bridge; one of my art projects. 2. Walking and mapping strategies; as developed in my courses taught at the School of Architecture. 3. The myth about Penelope weaving. 4. Rhythmic relations between bodies and machines at CERN, the particle physics laboratory outside Geneva, a place that is important for several of my art projects.   Creative production aims to expand the capacity of the body.  By employing a bridging structure, spaces in-between are activated thus revealing the power and danger in-between. In that production collective processes merge, creating “social and collective machines” and another reality between:   1. bridge/swing/dancer, 2. map/walking/site, 3. war/loom/weaving, 4. theory/detector/bodies.   These rhythmic processes oscillate between representation and the complex forces of daily activities. However, it is not the rhythm itself that activates spaces in-between but, rather, the changing of directions of the rhythm: from moving to be in motion; from walking forward to walking and falling; from weaving cloth to producing time; from doing physics to acting physics. Activating in-between spaces means activating differences and another way of producing knowledge, a well-known strategy in contemporary art: a production of potential realities, in a constant interaction between concepts and spatial transformations.
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Books on the topic "Space (Art)"

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Foundation, Contemporary Art, and Artspace Galleries [Aberdeen], eds. Art space. Amsterdam: Contemporary Art Foundation, 1989.

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Pinsky, Michael. Space dictates art more than art dictates space. London: University of East London, 2000.

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Soto, Jesús Rafael. Soto space art. Miami, Fla. (101 West Flagler St., Miami 33130): Center for the Fine Arts, 1985.

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Institute, Kennan, and Woodrow Wilson International Center for Scholars, eds. Kyiv art space. Washington, D. C: Woodrow Wilson International Center for Scholars, 2013.

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Alfredo, Boulton, Center for the Fine Arts (Miami, Fla.), and Hispanic Heritage Festival Committee., eds. Soto space art. Miami, Fla. (101 West Flagler St., Miami 33130): Center for the Fine Arts, 1985.

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Julian, Göthe, Sammlung Goetz, and Museum für Neue Kunst (Karlsruhe, Germany), eds. Painting surface space. München: Sammlung Goetz, 2005.

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Meredith, Susan. What is space? St. Catharines, Ont: Crabtree Pub. Co., 2009.

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Meredith, Susan. What is space? St. Catharines, Ont: Crabtree Pub. Co., 2010.

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Meredith, Susan. What is space? St. Catharines, Ont: Crabtree Pub. Co., 2010.

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Themann, Mark. Go into this space. Berlin: Revolver Publishing, 2014.

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Book chapters on the topic "Space (Art)"

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Bjone, Christian. "Sculptural Space Becomes Architectural Space." In Art and Architecture, 128–45. Basel: Birkhäuser Basel, 2009. http://dx.doi.org/10.1007/978-3-0346-0377-5_8.

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Miller, Juliet. "Space." In Art, Memoir and Jung, 71–78. 1 Edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003083030-10.

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Avgitidou, Angeliki. "Body and space." In Performance Art, 109–28. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-7.

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Aksel, Erdağ. "“Art for demos”." In Public Space Democracy, 277–83. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003193753-20.

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Harbord, Janet, and Tamsin Dillon. "Encountering Screen Art on the London Underground." In Public Space, Media Space, 178–98. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137027764_9.

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Avgitidou, Angeliki. "Performing in public space." In Performance Art, 146–68. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003197904-9.

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MacDowall, Lachlan, and Kylie Budge. "Instagram, Art and Space." In Art After Instagram, 45–60. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003001799-4.

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Spadoni, Aldo. "Hardware Art: Space Art Meets Rocket Science." In The Beauty of Space Art, 169–88. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49359-2_10.

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Seldes, Gilbert. "The Lovely Art: Space." In The Public Arts, 46–60. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429339325-5.

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Blay, Christopher. "Space and Time." In Art as Social Practice, 177–82. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003169109-17.

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Conference papers on the topic "Space (Art)"

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Borucka, Justyna. "ART OF SPACE � ART IN SPACE, THE ROLE OF SOUND ART IN PUBLIC SPACE." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s15.033.

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Ono, Ayako. "Space Art and Media Art for Everyone." In 57th International Astronautical Congress. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2006. http://dx.doi.org/10.2514/6.iac-06-e5.3.04.

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Bukatova, V. V., and T. S. Samoilova. "ROLE OF ORNAMENTAL ART IN THE DEVELOPMENT OF CONTEMPORARY DECORATIVE AND APPLIED ART." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.17.

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Vincs, Kim, and John McCormick. "Touching space." In ACM SIGGRAPH 2010 Art Gallery. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836786.1836791.

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Lukebanova, I. A., and O. A. Zimina. "SURREALISM IN DESIGN AND ART." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.8.

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Bangham, J. A., S. E. Gibson, and R. Harvey. "The Art of Scale-Space." In British Machine Vision Conference 2003. British Machine Vision Association, 2003. http://dx.doi.org/10.5244/c.17.58.

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Curran, John F. "ALIS - Art Lab in Space." In International Conference On Environmental Systems. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2005. http://dx.doi.org/10.4271/2005-01-3047.

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Holland, Oliver. "O White Space, White Space, Whatfore Art Thou White Space?" In 2016 IEEE 83rd Vehicular Technology Conference (VTC Spring). IEEE, 2016. http://dx.doi.org/10.1109/vtcspring.2016.7504370.

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Singer, Christopher. "Art and Science of Systems Engineering." In AIAA SPACE 2009 Conference & Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2009. http://dx.doi.org/10.2514/6.2009-6558.

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"[Cover art]." In 2009 First International Conference on Advances in Satellite and Space Communications (SPACOMM). IEEE, 2009. http://dx.doi.org/10.1109/spacomm.2009.7.

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Reports on the topic "Space (Art)"

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Conklin, Tiffany. Street Art, Ideology, and Public Space. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.761.

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Jackim, Z. W. Applying Operational Art in the Space Domain. Fort Belvoir, VA: Defense Technical Information Center, November 2010. http://dx.doi.org/10.21236/ada536557.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Kalugin, G., L. Trichtchenko, K. Boudjemline, J. Armitage, and D. Waller. Space weather events with ground-based muon observations (state-of-the-art). Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2013. http://dx.doi.org/10.4095/292231.

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Jansen, Leonard J. The Emergence of Operational Art for Space: Is it Time for Another Mitchell or Mahan. Fort Belvoir, VA: Defense Technical Information Center, February 1998. http://dx.doi.org/10.21236/ada348439.

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Barnett, W., P. Dick, B. Beaudry, P. Gorsuch, and E. Skrabek. Thermoelectric Alloys and Devices for Radioisotope Space Power Systems: State of the Art and Current Developments. Office of Scientific and Technical Information (OSTI), January 1989. http://dx.doi.org/10.2172/1033425.

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Qi, Fei, Zhaohui Xia, Gaoyang Tang, Hang Yang, Yu Song, Guangrui Qian, Xiong An, Chunhuan Lin, and Guangming Shi. A Graph-based Evolutionary Algorithm for Automated Machine Learning. Web of Open Science, December 2020. http://dx.doi.org/10.37686/ser.v1i2.77.

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As an emerging field, Automated Machine Learning (AutoML) aims to reduce or eliminate manual operations that require expertise in machine learning. In this paper, a graph-based architecture is employed to represent flexible combinations of ML models, which provides a large searching space compared to tree-based and stacking-based architectures. Based on this, an evolutionary algorithm is proposed to search for the best architecture, where the mutation and heredity operators are the key for architecture evolution. With Bayesian hyper-parameter optimization, the proposed approach can automate the workflow of machine learning. On the PMLB dataset, the proposed approach shows the state-of-the-art performance compared with TPOT, Autostacker, and auto-sklearn. Some of the optimized models are with complex structures which are difficult to obtain in manual design.
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Aguiar Borges, Luciane, Lisa Rohrer, and Kjell Nilsson. Green and healthy Nordic cities: How to plan, design, and manage health-promoting urban green space. Nordregio, January 2024. http://dx.doi.org/10.6027/r2024:11403-2503.

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This handbook is the culmination of the NORDGREEN project, which develops and implements smart planning and management solutions for well-designed, high-quality green spaces that promote health and well-being. Researchers and practitioners worked alongside one another in six Nordic cities: Aarhus (Denmark), Espoo and Ii (Finland), Stavanger (Norway), and Täby and Vilhelmina (Sweden). Together, the researchers and practitioners applied methods including GIS data analysis, statistical analysis, PPGIS surveys and analysis, policy document analysis, interviews, and evidence-based design models. The handbook uses an innovative framework based on the multi-disciplinary approach of the project, using epidemiological studies, environmental psychology, policy and management, and citizen participation. These fields of study and their respective methodologies are divided into the four so-called NORD components—NUMBERING, OBSERVING, REGULATING, and DESIGNING—which, accompanied by a BACKGROUND section reviewing the evidence linking green space and human health, form the bulk of the handbook. Some key take-away messages from these chapters include: There is a fairly broad consensus that access to, and use of, natural and green areas have a positive influence on people’s health and well-being. Both perceived and objective indicators for access to green space and for health are needed for making a more comprehensive evaluation for how people’s health is influenced by green space. Citizens’ experiential, local knowledge is a vital component of urban planning, and PPGIS can offer practitioners the opportunity to gather map-based experiential knowledge to provide insights for planning, designing, and managing green spaces. Alignment, both vertically across the political, tactical, and operational levels, as well as horizontally across departments, is critical for municipal organisations to foster health-promoting green spaces. Evidence-based design models can provide important categories and qualities for diagnosing the gaps in existing green spaces and designing green spaces with different scales and scopes that respond to the various health and well-being needs of different people. Based on the research and lessons learned from the six case study cities, the handbook provides practitioners with a TOOLBOX of adaptable methods, models, and guidelines for delivering health-promoting green spaces to consider in their own contexts. By reading this handbook, planners and policymakers can expect to gain (1) a background on the evidence linking green spaces and health, practical tools for planning, designing, and managing green spaces, (2) tips from researchers regarding the challenges of using various methods, models, and guidelines for delivering health-promoting green space, and (3) inspiration on some success stories emerging from the Nordic Region in this area of study. The handbook covers a wide range of health and urban green space topics. Landscape architects will find evidence-based design models for enhancing existing green space design processes. Planners will find methods and guidelines for identifying, collecting, and analysing both qualitative and quantitative green space and health data from statistical databases, national citizen surveys, and map-based participatory surveys. And all practitioners will find guidelines for achieving programmatic alignment in their work for delivering health-promoting green space.
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9

Garrell, Michael M. There are No Space Wars, How do CINCs Fight Using Space Forces? Fort Belvoir, VA: Defense Technical Information Center, February 1994. http://dx.doi.org/10.21236/ada279372.

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10

Canavan, G. H. Fraction of space debris collisions that are catastrophic. Office of Scientific and Technical Information (OSTI), August 1996. http://dx.doi.org/10.2172/378932.

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