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Journal articles on the topic 'Time and art'

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Published: 4 June 2021
Last updated: 1 August 2024

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1

Dankwa-Mullan, Irene, M. Christopher Roebuck, Joseph Tkacz, Oluwadamilola Motunrayo Fayanju, Yi Ren, Gretchen Purcell Jackson, and Yull Edwin Arriaga. "Disparities in receipt of and time to adjuvant therapy after lumpectomy." Journal of Clinical Oncology 38, no. 15_suppl (May 20, 2020): 534. http://dx.doi.org/10.1200/jco.2020.38.15_suppl.534.

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534 Background: Adjuvant treatment after breast conserving surgery (BCS) has been shown to improve outcomes, but the degree of uptake varies considerably. We sought to examine factors associated with post-BCS receipt of and time to treatment (TTT) for adjuvant radiation therapy (ART), cytotoxic chemotherapy (ACT) and endocrine therapy (AET) among women with breast cancer. Methods: IBM MarketScan claims data were used to select women diagnosed with non-metastatic invasive breast cancer from 01/01/2012 to 03/31/2018, who received primary BCS without any neoadjuvant therapy, and who had continuous insurance eligibility 60 days post-BCS. Logistic and quantile regressions were used to identify factors associated with receipt of adjuvant therapy (ART, ACT, AET) and median TTT in days for ART (rTTT), ACT (cTTT), and AET (eTTT), respectively, after adjustment for covariates including age, year, region, insurance plan type, comorbidities, and a vector of ZIP3-level measures (e.g., community race/ethnicity-density, education level) from the 2019 Area Health Resource Files. Results: 36,270 patients were identified: 11,996 (33%) received ART only, 4,837 (13%) received ACT only, 3,458 (10 %) received AET only, 5,752 (16%) received both ART and AET, and 9,909 (27%) received no adjuvant therapy within 6 months of BCS. (318) 1% of patients received combinations of either ART, AET or ACT. Relative to having no adjuvant therapy, patients > 80 years were significantly less likely to receive ART only (relative risk ratio [RRR] 0.65), ACT only (RRR 0.05), or combination ART/AET (RRR 0.66) but more likely to receive AET alone (RRR 3.61) (all p < .001). Patients from communities with high proportions of Black (RRR 0.14), Asian (RRR 0.13), or Hispanic (RRR 0.45) residents were significantly less likely to receive combination ART and AET (all p < .001). Having HIV/AIDS (+11 days; p = .01) and residing in highly concentrated Black (+8.5 days; p = .01) and Asian (+12.2 days; p = .04) communities were associated with longer rTTT. Longer cTTT was associated with having comorbidities of cerebrovascular disease (+6.0 days; p < .001), moderate to severe liver disease (+12.3 days; p < .001) and residing in high-density Asian communities (+18.0 days; p < .001). Shorter eTTT (-11.4 days; p = .06) and cTTT (-14.8 days; p < .001) was observed in patients with comorbidities of dementia. Conclusions: Results from this cohort of privately insured patients demonstrate disparities in receipt of post-BCS adjuvant radiation and systemic therapy along multiple demographic dimensions and expose opportunities to promote timely receipt of care.
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2

McCabe, Martin, and Michael Wilson. "Art Discourse: Time Based Art." Circa, no. 69 (1994): 18. http://dx.doi.org/10.2307/25562694.

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3

Nag, Koustav. "Post-Colonial Time: The Evaluation of Printmaking Practice and Present Time." Praxis International Journal of Social Science and Literature 6, no. 4 (April 25, 2023): 39–47. http://dx.doi.org/10.51879/pijssl/060404.

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Printmaking has a long and rich history that dates back thousands of years. The earliest forms of printmaking were developed in ancient china, where the artist would create prints using wood blocks as early as the 7th century. However, in the 15th century in Europe, printmaking began to develop into a proper art form. Johannesburg was a German goldsmith printer and inventor widely credited with movable type printing in the mid-15th century. In 1455 Bible was the first important Book in history. In the 16th century, Goa was the first place in India where printing technology started during the British period. Initially, it was used for religious printing and some commercial printing, like religious posters, pamphlets etc. later 20th century, this printing process transformed into fine art printmaking techniques. It became an educational part of developing printing technology and technician. This printing technology became a curriculum for the Art & Craft College, like Madras art college, Kolkata Govt. Art and Craft College, J.J art college, Lahore art college (now in Pakistan), and another essential college is Kala Bhavana under the Visva Bharati University. From post-colonial to contemporary times, printing to printmaking evolved in many ways. Most places academically followed the colonial curriculum, but commercial printing technology rapidly changed. Academically Visva Bharati University Santiniketan develops new technology for the students.
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4

Gaifman, Milette, and Lillian Lan-Ying Tseng. "Art and Time." Art Bulletin 103, no. 1 (January 2, 2021): 6. http://dx.doi.org/10.1080/00043079.2021.1840256.

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5

Martí, Antoni. "Time and art." Enrahonar. Quaderns de filosofia 15 (March 1, 1989): 95. http://dx.doi.org/10.5565/rev/enrahonar.767.

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6

GROYS, BORIS. "Time-based art." Res: Anthropology and aesthetics 59-60 (March 2011): 337–41. http://dx.doi.org/10.1086/resvn1ms23647799.

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7

Smith, Jeffrey K., and Lisa F. Smith. "Spending Time on Art." Empirical Studies of the Arts 19, no. 2 (July 2001): 229–36. http://dx.doi.org/10.2190/5mqm-59jh-x21r-jn5j.

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8

Stiegler, Bernard. "Kant, Art, and Time." boundary 2 44, no. 1 (January 5, 2017): 19–34. http://dx.doi.org/10.1215/01903659-3725845.

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9

Li, Z., C. Wang, and R. P. Agarwal. "Time-hybrid heat and wave equations on scattered $n$-dimensional coupled-jumping time scales." Issues of Analysis 29, no. 2 (June 2022): 42–58. http://dx.doi.org/10.15393/j3.art.2022.11910.

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10

IIZUKA, Kunihiko. "ART : Neural Network for Real Time Learning." Journal of Japan Society for Fuzzy Theory and Systems 9, no. 3 (1997): 327–31. http://dx.doi.org/10.3156/jfuzzy.9.3_327.

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11

Gritane, Agita. "Representing Time: Art and Artist." International Journal of Culture and History (EJournal) 3, no. 3 (2017): 157–61. http://dx.doi.org/10.18178/ijch.2017.3.3.093.

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12

Cartlidge, Edwin. "The art of space-time." Science 359, no. 6371 (January 4, 2018): 41. http://dx.doi.org/10.1126/science.aar6576.

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13

Olszanowski, Magdalena. "Femininity, Time and Feminist Art." Feminist Media Studies 15, no. 5 (September 3, 2015): 904–6. http://dx.doi.org/10.1080/14680777.2015.1075278.

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14

Quigley, Paula. "The art of keeping time." Short Film Studies 10, no. 2 (April 1, 2020): 203–6. http://dx.doi.org/10.1386/sfs_00015_1.

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Abstract Like the protagonist, both the short story and the short film are subject to the demand to arrive 'on time'. Violently freed from the imperatives of conventional storytelling, this film considers the moment when the laws of time and language fall away in favour of an eternal 'they is'.
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15

Perini, Julie. "11th Time-Based Art Festival." Afterimage 41, no. 3 (November 1, 2013): 2–3. http://dx.doi.org/10.1525/aft.2013.41.3.2.

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16

Armstrong, Sarah, Priya Bhide, Vanessa Jordan, Allan Pacey, and Cynthia Farquhar. "Time-lapse systems for ART." Reproductive BioMedicine Online 36, no. 3 (March 2018): 288–89. http://dx.doi.org/10.1016/j.rbmo.2017.12.012.

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17

White, Theodore. "Art a Waste of Time?" Harvard Educational Review 83, no. 1 (March 26, 2013): 93–95. http://dx.doi.org/10.17763/haer.83.1.u758p2482x423847.

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I'm a low-level government bureaucrat. My job is pretty mundane: I send a lot of e-mail and work with spreadsheets. That kind of office work can deaden the soul. But occasionally, when I get to do something creative, like put together a sign, pamphlet, or slideshow, I feel a sense of peace and wish I could do it more. This past spring, I finally decided to ramp up my job skills and have some fun taking a college design class.
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18

Philpot, Eloise. "The Labyrinth as Time Art." Athens Journal of Humanities and Arts 3, no. 2 (March 29, 2016): 73–90. http://dx.doi.org/10.30958/ajha.3.2.1.

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19

Phippard, Pat. "Femininity, time and feminist art." Journal of Gender Studies 23, no. 4 (September 16, 2014): 463–64. http://dx.doi.org/10.1080/09589236.2014.959303.

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20

Dornhof, Sarah. "Street Art out of Time." Manazir Journal 4 (October 24, 2022): 74–97. http://dx.doi.org/10.36950/manazir.2022.4.5.

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The small town of Asilah in the north of Morocco holds an annual international festival of visual and performance arts, including exhibitions, workshops, conferences, and other parallel activities. However, it is best known for the murals that are painted every year anew by invited artists on the facades of old town houses. Founded in 1978, the Arts Festival or Cultural Moussem of Asilah qualifies as the first street art festival in Morocco and has significantly shaped the cultural context for arts to interact with public spaces. It has, in particular, linked street art manifestations to ideas of cultural dialogue and south-south alliances as well as to urban regeneration and social development. At the same time, the Festival has been criticized for using the integrative concept of the moussem, a traditional communal festivity, for cultural marketing and for connecting arts and culture to the power of the monarchy. By focusing on political, aesthetic, and urban aspects of the institutionalization of the Asilah Festival, this article draws a genealogical perspective on entanglements of art, public culture, and urban politics in Morocco. It thereby analyzes the cultural context in which street art finds its place, meaning, and critical potential today.
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21

Balashova, Olga, Halyna Hleba, Tetiana Lysun, Valeriia Klochko, and Illia Levchenko. "THE WAR TIME ART ARCHIVE." Text and Image: Essential Problems in Art History, no. 1 (2023): 60–70. http://dx.doi.org/10.17721/2519-4801.2023.1.04.

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With the beginning of the full-scale invasion of Russia (February 24, 2022), the NGO «Museum of Modern Art» started the project «The Wartime Art Archive». As part of the project, co-curators collect artists' works from open sources. The researchers observe the artists and record their reactions to the war. This initiative aims to create an archive of martial art for its preservation and further research. In an interview with the co-curators of the archive, Olga Balashova, Tetiana Lysun, and Halyna Hleba, we talked about the history of the creation of the archive, its prospects, retraumatization, documenting events through an artistic image and art during the war.
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22

Louis, Sara. "Story time: Time to revive a neglected art?" 5 to 7 Educator 2009, no. 60 (December 2009): 12. http://dx.doi.org/10.12968/ftse.2009.8.12.45082.

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23

Jackson, Shannon, and Julia Bryan-Wilson. "Time Zones." Representations 136, no. 1 (2016): 1–20. http://dx.doi.org/10.1525/rep.2016.136.1.1.

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Exploring the emergence of the rubric “time-based art” across several disciplinary formations, including performance and visual art, this editors’ introduction outlines some historical theories of duration across the arts and argues for a contextual approach that accounts for both medium and institutional location.
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24

Tan, Eng M. "A time for change and a time to remain the same." Arthritis & Rheumatism 28, no. 11 (November 1985): 1201–4. http://dx.doi.org/10.1002/art.1780281102.

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25

Brieber, David, Marcos Nadal, Helmut Leder, and Raphael Rosenberg. "Art in Time and Space: Context Modulates the Relation between Art Experience and Viewing Time." PLoS ONE 9, no. 6 (June 3, 2014): e99019. http://dx.doi.org/10.1371/journal.pone.0099019.

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26

Grossberg, Stephen. "Bring ART into the ACT." Behavioral and Brain Sciences 26, no. 5 (October 2003): 610–11. http://dx.doi.org/10.1017/s0140525x03290130.

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ACT is compared with a particular type of connectionist model that cannot handle symbols and use nonbiological operations which do not learn in real time. This focus continues an unfortunate trend of straw man debates in cognitive science. Adaptive Resonance Theory, or ART-neural models of cognition can handle both symbols and subsymbolic representations, and meet the Newell criteria at least as well as connectionist models.
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27

Olton, Bert. "Lancelot: Guardian of Time." Arthuriana 10, no. 2 (2000): 105–6. http://dx.doi.org/10.1353/art.2000.0032.

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28

Lai, Linda Chiu-han. "Algorithmic Art: Shuffling Space and Time." Transfers 9, no. 2 (June 1, 2019): 112–18. http://dx.doi.org/10.3167/trans.2019.090208.

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Why are art-science dialogues important, and how should they take place? How do our everyday culture and institutional constructs define and delimit such possibilities? Why do contemporary art lovers still presume they are immune to and from scientific knowledge? How should a visitor of a media art event make sense of the machine work? Algorithmic Art: Shuffling Space & Time (AA) directed these questions to technical experts, artists, art lovers, and the public through a series of themed discussions and a six-hundred-square-meter indoor playground of machines and computational installations. AA also sought to key in on the question of survival. What mark has the struggling existence of the twenty-year-old School of Creative Media at the City University of Hong Kong left to Hong Kong’s (media) art history? The school remains the only pedagogic research center in Hong Kong where conceptual issues of new media art creation and how to “live” in an age of big data are interrogated through scholarship and practice.
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29

Drummond, Diana. "Lucy Orta, “Art for our time”." TEXTILE 4, no. 2 (July 2006): 208–13. http://dx.doi.org/10.2752/147597506778052269.

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30

이화식. "Awareness and Art Education for Time." Journal of Art Education 35 (September 2013): 189–219. http://dx.doi.org/10.35657/jae.2013.35.0.008.

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31

Sosa, Michael, Roman Jakobson, Krystyna Pomorska, and Stephen Rudy. "Verbal Art, Verbal Sign, Verbal Time." Slavic and East European Journal 30, no. 3 (1986): 433. http://dx.doi.org/10.2307/307895.

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32

Kaikini, Srajana. "Art in the time of disease." Journal of Cancer Research and Therapeutics 10, no. 2 (2014): 229. http://dx.doi.org/10.4103/0973-1482.136538.

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33

Edmonds, Ernest. "Logic and Time-Based Art Practice." Leonardo. Supplemental Issue 1 (1988): 19. http://dx.doi.org/10.2307/1557904.

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34

Baas, Jacquelynn. "Awake: The Art of Taking Time." Curator: The Museum Journal 49, no. 3 (July 2006): 277–81. http://dx.doi.org/10.1111/j.2151-6952.2006.tb00220.x.

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35

Galan, F. W., Roman Jakobson, Krystyna Pomorksa, and Stephen Rudy. "Verbal Art, Verbal Sign, Verbal Time." World Literature Today 59, no. 4 (1985): 668. http://dx.doi.org/10.2307/40142194.

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36

Marchese, Francis T. "Conserving Digital Art for Deep Time." Leonardo 44, no. 4 (August 2011): 302–8. http://dx.doi.org/10.1162/leon_a_00206.

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Displaying digital art in the late twentieth and early twenty-first centuries is already proving to be a challenge. Exhibiting this same art in the distant future will depend upon new thinking and practices developed today by artists, conservators, and curators. Established software engineering methods for dealing with aging systems can provide a new model for the conservation of digital art, and a foundation for the enhancement of art-historical scholarship. Artists with an interest in a more refined approach to the programming that underpins their work will also be interested in software engineering concepts.
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37

Bowring, Belinda. "Sturtevant: On Art and Its Time." Afterall: A Journal of Art, Context and Enquiry 18 (July 2008): 82–91. http://dx.doi.org/10.1086/aft.18.20711699.

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38

Sinnerbrink, Robert. "Art and Time by Allan, Derek." Australasian Journal of Philosophy 92, no. 2 (November 20, 2013): 385–87. http://dx.doi.org/10.1080/00048402.2013.858756.

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39

Pribenszky, Csaba, Anna-Maria Nilselid, and Markus Montag. "Response: time-lapse systems for ART." Reproductive BioMedicine Online 36, no. 3 (March 2018): 290–92. http://dx.doi.org/10.1016/j.rbmo.2017.12.011.

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40

Roche Cárcel, Juan Antonio, and Ángel Enrique Carretero Pasín. "Evanescence: Time in Modern Plastic Art." Fudan Journal of the Humanities and Social Sciences 13, no. 4 (August 20, 2020): 535–58. http://dx.doi.org/10.1007/s40647-020-00291-6.

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41

Spence, S. A. "Art: The Time of Our Lives." BMJ 319, no. 7209 (August 28, 1999): 583. http://dx.doi.org/10.1136/bmj.319.7209.583.

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42

Verdon, Monsignor Timothy. "Art in time of Corona virus." Museum Management and Curatorship 35, no. 3 (May 3, 2020): 215–16. http://dx.doi.org/10.1080/09647775.2020.1762357.

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43

Pies, Ronald. "Time and the Art of Psychopharmacology." Harvard Review of Psychiatry 5, no. 1 (January 1997): 36–39. http://dx.doi.org/10.3109/10673229709034723.

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44

Jamaludin, Sumaiyah @. Thandar Soe, Mohd Said Nurumal, and Norfadzilah Ahmad. "Art of Nursing: Time to Resuscitate." INTERNATIONAL JOURNAL OF CARE SCHOLARS 6, no. 2 (July 31, 2023): 1–3. http://dx.doi.org/10.31436/ijcs.v6i2.295.

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45

Lola, Galina N., and Tatiana I. Aleksandrova. "Time Code in Modern Art: Discoursive Analysis of Temporal Art-Projects." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 150–66. http://dx.doi.org/10.21638/spbu15.2021.109.

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The article explores the influence of the concept of time on modern art practices, as well as the impact of digital media on the ability of art to anticipate the future. The methodology of discourse analysis is used as a tool to reveal temporal characteristics and the communicative potential of relevant art projects. The digital age creates a simultaneous world in which one can perceive the future by being deeply involved in the present moment. Contemporary artists have the ability to grasp changes hidden from the majority, and to formalize them in works of art. The simultaneous perception of time becomes the clue to the development of this ability, while the concept of time becomes the clue to understanding the message contained in the work of art. As a result, the task of the researcher is to discover the temporal dimensions of the relevant art projects and to examine the nature of interaction between the viewer and the work of art. Taking this into consideration, special attention should be given to the method of involving the viewer in the semantic space of the artwork. The subject of analysis is the communicative model of the artwork, which is presented as a flexible, mobile semantic structure that activates the viewer’s imagination and his ability to improvise. The methodological framework for understanding the communicative model was the neo‐pragmatism theory of social action and practice-oriented social semiotics. The interpretation of the work of art as a communicative event actualizes the discourse analysis that allows us to perceive the artwork in its dynamics and to explore its’ temporal dimensions. At the same time, the discourse analysis is represented not only as an effective research tool, but also as a resource that helps the artist, the researcher and the viewer to develop a flexible and conceptual mindset.
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46

Vastokas, Joan M. "Native Art as Art History: Meaning and Time from Unwritten Sources." Journal of Canadian Studies 21, no. 4 (January 1987): 7–36. http://dx.doi.org/10.3138/jcs.21.4.7.

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47

Greenberg, Pearl. "Time, Money, and the New Art Education versus Art and Irrelevance." Studies in Art Education 37, no. 2 (1996): 115. http://dx.doi.org/10.2307/1320512.

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48

HEIN, HILDE. "Symposium: Public Art,What Is Public Art?: Time, Place, and Meaning." Journal of Aesthetics and Art Criticism 54, no. 1 (December 1, 1996): 1–7. http://dx.doi.org/10.1111/1540_6245.jaac54.1.0001.

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49

Gupta, Nisha. "Singing Away the Social Distancing Blues: Art Therapy in a Time of Coronavirus." Journal of Humanistic Psychology 60, no. 5 (May 22, 2020): 593–603. http://dx.doi.org/10.1177/0022167820927807.

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This essay explores the abundance of art flourishing as a therapeutic antidote to the COVID-19 pandemic and panic arising across the world. Specifically, I discuss how the act of viewing, making, and sharing music, street art, paintings, graphic art, cinema, and digital videos can serve as a therapeutic vehicle for empowerment, solidarity, and collective action as most human beings strive to adopt practices of extreme social distancing as the recommended community mitigation strategy to help save lives before a vaccine is developed. This essay explores how therapeutic art-making can promote physical, mental, and social health at a time in history when all of these are under threat by COVID-19. I root these claims in theoretical literature from art therapy, as well as in inspiring and heart-warming examples of the beautiful coronavirus art that has already begun to fill our digital landscape with motivation, resiliency, and hope, though the crisis is still in its early stages.
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50

Von Werlhof, Jay. "Geoglyphs in time and space." Estudios Fronterizos, no. 35-36 (January 1, 1995): 73–81. http://dx.doi.org/10.21670/ref.1995.35-36.a04.

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Using the relationship between art and religion u a take-off point. This article examines two types of earthen art: rock alignments and geoalypht. Differences and similarities in form and content are discussed. As regarding earthen art in various locations, and speculations are made as regarding their religious significance.
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