Academic literature on the topic 'VIP (Artists' group)'
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Journal articles on the topic "VIP (Artists' group)"
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Хилько, Б. В., and В. А. Шарифуллина. "Peculiar properties of the artistic strategy of the Saint Petersburg artist Vic (V.Yu. Zabelin)." Iskusstvo Evrazii [The Art of Eurasia], no. 2(29) (June 30, 2023): 224–41. http://dx.doi.org/10.46748/arteuras.2023.02.007.
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Статья посвящена творчеству петербургского художника В.Ю. Забелина (Вика) и впервые вводит в научный оборот ряд его произведений. Вячеслав Юрьевич Забелин (1953–2016) — активный участник ленинградского андеграунда 1970–1980-х годов: основал творческую группу «Алипий», был одним из создателей ТЭИИ (Товарищества экспериментального изобразительного искусства) и первых независимых петербургских галерей. Исследование предпринято с целью определить особенности художественной стратегии Вика, находящейся на пересечении традиционного, авангардного и актуального искусства. Для характеристики произведений разных периодов творчества использованы методы иконологического, формального и компаративного анализа. В статье выявлены особенности использования В.Ю. Забелиным символической системы, которая базируется на христианских символах, характерных для произведений неофициальных художников позднесоветского периода. Анализируется способ сочетания разнородных мотивов в пространстве живописных полотен, в основе которых лежит техника коллажа. Авторами выдвинута гипотеза о влиянии коллажной техники на живописный метод Вика. Рассмотрение символической системы и коллажного метода в работах Вика позволяет подтвердить многократно высказанное исследователями мнение о многомерности художественного мира этого живописца. Полученные результаты открывают путь к дальнейшему более подробному изучению творчества Вика. The article gives a general description of the main aspects of the creative method of the Saint Petersburg artist Vic, an attempt is made to introduce a wide range of the artist's works into scientific circulation. Vyacheslav Yuryevich Zabelin (1953–2016) was an active participant in the Leningrad underground of the 70s and 80s: he founded the Alipiy creative group, was one of the founders of the TEII (Fellowship of Experimental Fine Arts) and the first independent Saint Petersburg galleries. The goal is to highlight the features of Vic's artistic strategy, located at the intersection of traditional, avant-garde and contemporary art. To achieve this task, a method of iconological, formal and comparative analysis is proposed based on the works of different periods of the oeuvre. The article reveals the nature of the artist's use of the symbolic system, which is based on Christian symbols, characteristic of non-official artists of the late Soviet period. The main ones are “apple”, “fish”, “light”, “dove” and “chalice”. Further, the method of connecting different motifs in the space of a painting canvas is analysed, which is based on the collage technique. A range of works is outlined in which Vic directly uses heterogeneous inclusions. Among the most characteristic are clippings from newspapers and magazines, playing cards, banknotes, photographs and reproductions of paintings. Based on the analysis, the authors put forward a hypothesis about the influence of collage technique on the method of compositional construction of pictorial works. Consideration of the symbolic system and the collage method in the works of Vic allows us to confirm the opinion repeatedly expressed by various researchers about the multidimensionality of the artist's view. The results obtained open the way for a further more detailed study of Vic's work.
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McLeod, Dayna, Ylenia Olibet, and Alanna Thain. "Curation as the Cure for the Archive." Feminist Media Histories 10, no. 2-3 (2024): 198–214. http://dx.doi.org/10.1525/fmh.2024.10.2-3.198.
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Groupe Intervention Vidéo (GIV) is an independent artist run center in Montreal “dedicated to the promotion of videos created by women (in its most inclusive definition) by distributing and presenting them” (GIV website) At the crossroads of longevity, consistency, commitment, and the precarity that accompanies most forms of feminist labor, GIV is one of the most important “accidental” archives of feminist organizing and expression in Quebec. Their curatorial practices resist any archiving separated from the practice of everyday life. This article focuses on the thirty-year history of Vidéo des Femmes dans le Parc (VFP), GIV’s annual public and outdoor screening of new works from an open call. We trace how this event serves to “call in” artists to build feminist community and continually change GIV’s definition of who their community is.
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Belder, Lucky. "Art lending in the Netherlands." Art Libraries Journal 12, no. 1 (1987): 47–50. http://dx.doi.org/10.1017/s0307472200005071.
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The loan of works of art to the public was initiated in the Netherlands in 1955 through a scheme set up by a group of artists to encourage people to purchase contemporary art. The success of this scheme attracted support from the government, which was itself acquiring works in the process of assisting artists. Works thus acquired were lent to public institutions and government bodies, but from the 1970s they were also made available for loan to the public via artotheques. These two schemes gave rise to over a hundred art lending centres including hybrid establishments owing something to both; however, direct government support of artists has recently been phased out, and as a result artotheques no longer obtain works via the government and must evolve alternative methods of acquisition.
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Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (December 17, 2018): C02. http://dx.doi.org/10.22323/2.17040302.
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During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
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Weisman, A., T. Yona, U. Gottlieb, R. Ingel, and Y. Masharawi. "Tattoo artists and dental workers have similar musculoskeletal pain patterns." Occupational Medicine 72, no. 1 (October 25, 2021): 43–50. http://dx.doi.org/10.1093/occmed/kqab149.
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Abstract Background Tattoo artists are an understudied population with regards to musculoskeletal (MSK) pain. Aims To explore the characteristics of MSK pain among Israeli tattoo artists and determine whether they are similar to those of dental workers. Methods An online survey including demographics and the Hebrew version of the Extended Nordic Musculoskeletal Questionnaire was disseminated via Israeli social media groups. We directly compared tattoo artists, dental workers and office workers as a reference group. Results Altogether, 114 tattoo artists, 161 dental workers and 296 office workers responded. The most prevalent pain sites were lower back (56%), neck (47%) and hand (36%) among office workers; neck (67%), lower back (62%) and upper back (42%) among the dental workers; and lower back (72%), neck (66%) and hand (55%) among tattoo artists. Contrast analysis suggested office workers were less likely to report pain in the previous 12 months compared with dental workers and tattoo artists (adjusted odds ratios [95% confidence intervals]: ORs [95% CIs] for upper limb pain: 1.13 [1.01–1.28], neck pain: 1.3 [1.15–1.47], upper back pain: 1.27 [1.12–1.43] and low back pain: 1.15 [1.02–1.3]). No significant differences were observed between dental workers and tattoo artists (upper limb pain: 1.18 [0.9–1.54], neck pain: 1.06 [0.81–1.4], upper back pain: 1.22 [0.94–1.58] and low back pain: 1.24 [0.95–1.64]). Conclusions Tattoo artists and dental workers have similar MSK pain characteristics and are different from those of office workers. These characteristics are seemingly a direct result of the physical demands associated with their line of work.
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Tanyildizi, Seda Ozen. "Scale: New Strategies in Site-Specific Art." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 107–12. http://dx.doi.org/10.18844/prosoc.v4i11.2864.
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Today, one of the crucial issues for discussions on site-specific art is scale. The journey of site-specific art, starting with a quite minimal insertion into an empty gallery space is now institutionalised according to utterly different aims, sometimes involving enormous dimensions. However, to discuss the subject of ‘site-specific art’ only with regard to high-budget projects of major institutions would mean ignoring the large group of artists who work outside these controversial circumstances, employ physical features of a site as a tool to convey their artistic approaches, and do not make compromises in the face of institutional pressure. This study analyses new alternatives regarding site-specific art today and reviews these examples through the recent popular issue of scale, considering the necessity for artists to make compromises in line with the demands of institutions or viewers. The data were collected via questionnaires and interviews, with artists who live and work in Berlin. Keywords: Site-specific art, scale, public art.
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Mahmutova, Dar'ya, and Dar'ya Gerasimova. "Digital Illustration Marketing via Blogs in the VKontakte Social Network." Virtual Communication and Social Networks 2023, no. 3 (June 2, 2023): 160–66. http://dx.doi.org/10.21603/2782-4799-2023-2-3-160-166.
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Social networks provide a convenient platform for art dealing and marketing. Many digital illustrators have art blogs where they post and promote their work, which they may also exhibit at traditional offline galleries. The sphere of digital art is highly competitive and open to new effective promotion tools, which makes it a prospective research subject. This study featured an online community of digital artists in the VKontakte social network, as well as the methods they use to attract potential buyers and increase their fandom. The research relied on the information and communication method supported by such sociological tools as expert survey and content analysis. The expert survey made it possible to classify digital illustrators into those with maximal, medium, and minimal popularity, as well as to identify the most effective promotion tools for each group. The VKontakte social network offers a wide range of promotion tools, based on the algorithms of this social network. The popularity of young digital artists depends on such factors as relevant content and joint projects with mature digital illustrators. The research contributes to the development of the genre of digital illustration and the fine art in general.
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PAEK, Kyong-Mi. "THE CREATIVE CULTURAL PRACT ICE OF SHARING ECOTOPIAN VISIONS THROUGH A COLLABORATIVE ART PROJECT / KŪRYBINĖ KULTŪRINĖ EKOTOPINIŲ VIZIJŲ DALIJIMOSI PRAKTIKA KOLABORACINIAME MENO PROJEKTE." Creativity Studies 10, no. 1 (July 3, 2017): 43–58. http://dx.doi.org/10.3846/23450479.2017.1337049.
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Today’s environmental challenges have prompted educators to explore ways to promote environmental sustainability. Contemporary artists working in ecological realms have presented distinct ways of understanding ecological concerns and proposed creative solutions to environmental challenges through ingenious means that reach people beyond scientific realms. Despite recognition of those creative cultural practices as invaluable educational resources, such efforts have not been a significant part of art curricula. This article aims to expand art’s potential role via reports on a recent curriculum development study of an on-campus collaborative art project in which practising artists known for their bioregional orientations were invited to inspire engineering students. This intracase analysis of developing group projects is followed by a cross-case analysis, which focuses on the distinguishing features that emerged from students’ responses to group activities. The findings are discussed to provide implications for the creative cultural practice of sharing ecotopian visions through art in the context of interdisciplinary learning.
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Kanngieser, Anja. "… And … and … and … The Transversal Politics of Performative Encounters." Deleuze Studies 6, no. 2 (May 2012): 265–90. http://dx.doi.org/10.3366/dls.2012.0062.
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This paper examines Guattari's notion of transversality through a creative and ambiguous form of political intervention, the performative encounter. Drawing from Guattari's work on subject groups, in combination with Deleuze's conjunctive ‘and’, via contemporary theorisations of creative activism and affect, it maps out a movement that destabilises categorical dualisms between activists and non-activists, artists and non-artists. It proposes that transversals such as those enacted by the performative encounter open spaces for the emergence of new subjectivities, relations and worlds. In doing so it critically extends Guattari's conceptualisations of political organisation, group subjectivation and aesthetics into radical political terrains that are antagonistic of the nation-state and capital at the same time as being affirmative of possible present and future conditions.
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Mucha, Janusz. "Integration of Migrants in a Major Polish City. Kraków’s Public Cultural Institutions and the “New Ukrainians”." Studia Migracyjne – Przegląd Polonijny 47, no. 3 (181) (November 2021): 269–92. http://dx.doi.org/10.4467/25444972smpp.21.041.14461.
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The article deals with the integration processes of Polish native inhabitants of Kraków and the newest (since 2014) migrants from Ukraine (70–100,000 in a city of about 800,000). One of the main actors in these processes are municipal public cultural institutions. Using a number of methods, the needs of the Ukrainian population in Kraków were assessed and the offer of the local public institutions was studied. A focus group, IDIs, analysis of websites, Facebook profiles, and participatory observation were used. A basic problem for migrants is finding information on the local cultural offer presented in Ukrainian or Russian. Kraków does much to include foreigners into its social life. However, still closer integration, taking advantage of the potential of migrants, would be instrumental to making their life better and to making the city even more attractive to its Polish and non-Polish inhabitants and tourists. Premises and other resources at the disposal of Ukrainian private institutions are too small for large-scale cultural activity. Kraków’s cafes and pubs help, organizing concerts and meet-the-author and meet-the-artist sessions, but these events could be better organized by public cultural institutions, inviting much larger audiences. Sometimes leading Ukrainian artists visit Kraków and turn to municipal institutions looking for support and employment, only to find neither. It would be very beneficial for the city to monitor these initiatives, via Kraków’s Ukrainian websites and Facebook profiles, and take advantage of them.
Dissertations / Theses on the topic "VIP (Artists' group)"
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Foucher, Charlotte. "Un symbolisme enfoui : les femmes artistes dans les milieux symbolistes en France au passage du siècle (XIXe-XXe)." Paris 1, 2012. http://www.theses.fr/2012PA010707.
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Au passage du XIXe au XXe siècle, la dichotomie masculin/féminin où l'homme serait dévolu à la création et la femme cantonnée à la procréation bat son plein mais commence progressivement à s'effriter et à se troubler. La femme artiste constitue l'une de ces figures intermédiaires susceptible de remettre en cause l'ordre établi des genres. Dans un climat extrêmement hostile à une émancipation du féminin, visant clairement à exclure la femme du champ créatif, nous analyserons la pluralité des stratégies envisagées et déployées par ces artistes, qu'elles assimilent le discours normatif ambiant ou qu'elles contournent de manière plus subversive le réseau artistique androcentrique mis en place. L'articulation entre genres artistiques et genres sexuels, admise de la plupart des historiens de l'art, est au cœur de ce travail balayant des domaines aussi divers que les arts décoratifs, graphiques et médiumniques - champs relativement favorables au féminin - jusqu'à ceux plus difficiles à infiltrer comme la peinture et la sculpture. À l'appui des méthodes culturelles et du genre, ce sujet esquive les nombreuses études consacrées à la représentation du féminin au passage du siècle pour se placer de l'autre côté du miroir, du côté de la femme qui crée, peint ou sculpte, et démontre, par l'exhumation d'un corpus méconnu, jusqu'alors oublié, que l'esthétique symboliste, nabie et Art nouveau fut loin d'être un apanage masculin.
Books on the topic "VIP (Artists' group)"
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Gülzow, Claudia, and Arne Linde. Venus in Panik. Leipzig: Lubok-Verlag, 2010.
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F, Le Tacon, Claude Henri 1928-, Musée Georges de La Tour, and Moselle (France : 1919- ). Conseil général, eds. Emile Gallé: Nature & symbolisme : influences du Japon : catalogue d'exposition, Musée départemental Georges de La Tour, Vic-sur-Seille, 5mai-30 août 2009. Vic-sur-Seille: Musée départemental Georges de La Tour, 2009.
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Vermeulen, Ingrid. Art and Its Geographies. Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463728140.
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Schools of art represent one of the building blocks of art history. The notion of a school of art emerged in artistic discourse and disseminated across various countries in Europe during the early modern period. Whilst a school of art essentially denotes a group of artists or artworks, it came to be configured in multiple ways, encompassing different meanings of learning, origin, style, or nation, and mediated in various forms via academies, literature, collections, markets and galleries. Moreover, it contributed to competitive debate around the hierarchy of art and artists in Europe. The ensuing fundamental instability of the notion of a school of art helped to create a pluriform panorama of both distinct and interconnected artistic traditions within the European art world. This edited collection brings together 20 articles devoted to selected case studies from the Italian peninsula, the Low Countries, France, Spain, England, the German Empire, and Russia.
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Arrabal, une oeuvre-vie panique: Essai panique. Bordeaux: Les éditions Moires, 2019.
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Field, Arthur. The Oligarchs and Their Opponents, 1378–1426. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791089.003.0001.
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This chapter describes the contrasts between the more “oligarchic” and the more “popular” components of Florentine society, from the time of the Ciompi tumult in 1378 until the formation of the Medici party in 1426. The oligarchs—some being engaged in business and many taking advantage of opportunities that arose from Florence’s expanding state—attempted, via an oligarchic political club, the Parte Guelfa, to prevent new people from entering the government and endorsed optional wars that enlarged the Florentine state. The more popular groups were merchants, often not from older families, and artisans (the popolo minuto), who wanted to open the government to new families and tended to oppose optional wars. By 1426 the more popular elements coalesced around the Medici. The chapter utilizes political debates in Florence (the Consulte e Pratiche) as well as diaries and other unpublished sources.
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Inc, Group Publishing. Why Creation Matters: For Senior High (Core Belief Bible Study). Group Publishing, 1997.
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Revising Flannery O'Connor: Southern literary culture and the problem of female authorship. Charlottesville: University Press of Virginia, 2001.
Find full textBook chapters on the topic "VIP (Artists' group)"
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Olibet, Ylenia, and Alanna Thain. "Vidéo de Femmes Dans le Parc: Feminist Rhythms and Festival Times Under Covid." In Rethinking Film Festivals in the Pandemic Era and After, 155–75. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_8.
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AbstractVidéo de Femmes dans le Parc (VFP) (Women’s Videos in the Park) is a summertime open-air screening of independent short videos, held annually since 1991 at Park La Fontaine in Montreal, Canada, by Groupe Intervention Vidéo (GIV), an independent feminist/queer distribution company. In this essay, we explore VFP’s historical use of public space and its reimagination under Covid’s urgent sanitary crisis and chronic social inequities. Within the media ecology of Montreal’s outdoor cinemas, we see GIV’s creative decision to move VFP online during Covid as part of a longer history of alternative media’s unconventional exhibition modes that address social inequalities. As such, we first situate VFP within GIV’s wider mandate of dissemination of video work by women. We then analyze VFP’s “visual architecture” under Covid, stressing the organizers’ original strategies to reproduce a sense of eventness even through online exhibition. We conclude with questions of embodied and affective labor, including audiences’ wellbeing, artist renumeration, and self-care, that the shift online entails for the organizers of VFP.
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Harutyunyan, Angela. "The reign of the ‘painterly real’ and the politics of crisis, 1999–2004." In The Political Aesthetics of the Armenian Avant-Garde. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719089534.003.0006.
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This closing chapter offers a reading of the work of two artists of the 1990s and early 2000s – David Kareyan and Narek Avetisyan, both previously members of the group ACT – and discusses their works in the context of social, political, technological as well as cultural shifts in Armenia. The two artists’ works, it argues, epitomize the contradictions of the turn of the century Armenia. This context is defined as a crisis of politics and political subjectivization vis-à-vis the state. This marked a shift from affirmative artistic practices in the conditions of the crisis of negation that characterized the mid 1990s, and gave birth to a politics of resistance. The chapter considers political, economic and art institutional transformations as interlinked processes that bring about an imperative to rearticulate art’s relationship to the social world. It locates the advent of video art, performance and installation within the advent of the media society and the techno utopias of global connectivity.
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de Luca, Tiago. "Panoramic Views, Planetary Visions." In The Moving Form of Film, 113—C8P80. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0009.
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Abstract This chapter looks at two artists’ films, Medium Earth (2013), by the British duo the Otolith Group, and Walden (2018), by the Swiss artist Daniel Zimmermann. They are bound together through their allegiance to the panoramic shot, in both 360-degree and 180-degree versions, as a mode of Earth-seeing. I argue that the circular shot in these films is utilised to make visible planetary phenomena: the Earth as a geological landmass in the former and the global trading routes subtending the economic world system in the latter. By situating both films within a wider panoramic lineage via a media-archaeology approach, the chapter argues that both are uniquely suited case studies to demonstrate the way in which they update the panoramic gaze in the context of contemporary globalising processes, including the Earth’s environmental breakdown and the so-called Anthropocene. At the same time, both films are indicative of the dissolution of the physical spaces of cinema as the medium morphs into installations and migrates to art galleries, thus reinstituting the ambulatory character of the panorama into the cinematic experience.
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Belodubrovskaya, Maria. "The Masters." In Not According to Plan. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501709944.003.0004.
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Chapter Three discusses the implications of the director-centered mode of film production and suggests why entrusting self-governance and self-censorship to a select group of director-masters was counterproductive. The Soviet film industry did not have producers, and only directors had the creative and technical expertise to make films. This unique expertise, which was hard to replicate, as well as their status as “engineers of human souls,” put Soviet film directors in a formidable position vis-à-vis the party-state. Moreover, most of them were not propagandists, but artists, and their professional agenda was never entirely subsumed by Stalinism.
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Kocabay-Sener, Nihal. "Resisting With Art." In Advances in Media, Entertainment, and the Arts, 440–59. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4655-0.ch022.
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Surveillance has become an element of everyday life. Modern society is used to surveillance. It has become inconspicuous. But art makes surveillance apparent. In this chapter, the notion of surveillance art was debated, and surveillance art was evaluated as activist art. In surveillance art, there are artworks created by singular artists or art groups. In this chapter, two groups were analyzed: Surveillance Camera Players and Manifesto for CCTV Filmmakers. The two art groups focused on CCTV. Surveillance Camera Players tried to take attention by playing in front of the CCTV in the public sphere. Surveillance Camera Players created awareness for surveillance cameras that normalized in everyday life. Manifesto for CCTV Filmmakers also invited to make a film via CCTV footage. The manifesto noticed to determine with the act. Consequently, surveillance art creates social awareness, and it is a way to resist surveillance.
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Tan, Chang. "From the One to the Many." In The Minjian Avant-garde, 46–74. Cornell University Press, 2024. http://dx.doi.org/10.7591/cornell/9781501773181.003.0003.
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This chapter focuses on Qiu Zhijie, a critical figure in the group of artists that first engaged with minjian performatively and via words in the 1990s. It shows how Qiu challenged the elite art of calligraphy with the mundane act of merely writing words. By doing so, it allowed Qiu to merge, conceptually and affectively with diverse subjectivities from minjian, turning the individual into a filter and an archive of the multitude. The chapter details how Qiu's turn to minjian was triggered by his encounters with the global art world. It describes Qui's response to the slights and pressures from the world through a shift in his politics from impassioned critiques of centralized power to a militant advocacy of the native and the collective, taking a position that would qualify as both Chinese and avant-garde.
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Lan, Kai-Wen. "Representability of Moduli Problems." In Arithmetic Compactifications of PEL-Type Shimura Varieties. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691156545.003.0002.
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This chapter elaborates on the representability of the moduli problems defined in the previous chapter. The treatment here is biased towards the prorepresentability of local moduli and Artin's criterion of algebraic stacks. The geometric invariant theory or the theory of Barsotti–Tate groups has been set aside: the argument is very elementary and might be considered outdated by the experts in this area. The chapter, however, discusses the Kodaira–Spencer morphisms of abelian schemes with PEL structures, which are best understood via the study of deformation theory. It also considers the proof of the formal smoothness of local moduli functors, illustrating how the linear algebraic assumptions are used.
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Giddins, Gary. "Yin, Yang, and Noir (Oliver Lake / Charlie Haden)." In Weather Bird, 59–61. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0015.
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Abstract Oliver Lake was nearly 30 when his first recordings made their way— via his own label, Passin’ Thru—from St. Louis to New York. That was 20 years ago, and his subsequent career offers a kind of Baedeker of the era’s jazz itinerary. First we encountered him, along with many promising musicians of the early ‘70s, in a collective (St. Louis’s Black Artists Group), performing with a malleable ensemble that favored “little instruments” and modal subjects, or standing alone, an unaccompanied altoist with a distinctively stark, urgent style. He made the obligatory trip to Paris before settling in Brooklyn, part of an unusually mature generation of newcomers who were bred in all the new musics of the ‘60s, rock and soul as well as jazz, and could hear beyond them to previously established forms and functions. Although he mentioned Paul Desmond and Jackie McLean as early inspirations, Lake had a sound as individual as his hair, a tonsure circled by dreads. His timbre was cured in acid, but his intonation remained centered and sure. By the end of the ‘70s, he had recorded two sets of duets (notably Buster Bee, with Julius Hemphill), and embarked on a long alliance with drummer Pheeroan ak Laff.
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McCann, Ben. "Duvivier’s silent films." In Julien Duvivier. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719091148.003.0003.
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This chapter will look at Duvivier’s first forays into filmmaking, and chart the development of the Duvivier ‘touch’ over a decade of working in silent film. It will explore the visual aspects of the silent films and allow continuities and consistencies to be traced between these early works to show a director developing a singular style and then refining it in the later, more technically accomplished films post-1930. In 1925, Duvivier joined the production company 'Film d’Art’, where he worked for nine years, and where he honed his expertise on collaborating groups of artists and technicians on a number of consecutive projects. Such collaborative working methods would serve him well throughout his career. The chapter also pay close attention to those silent films which had a religious subject - Credo ou la tragédie de Lourdes (1924), L’Agonie de Jérusalem (1927) and La Vie miraculeuse de Thérèse Martin (1929) - a film about the Carmelite saint Thérèse of Lisieux. The chapter concludes with an in-depth look at Duvivier’s most famous silent film, Au Bonheur des dames (1930), an adaptation of Emile Zola’s classic novel, starring Dita Parlo.
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Sørbø, Eirik. "Balancing Educational Purposes Within Higher Electronic Music Education – A Biestaian Perspective." In Music Technology in Education, 211–32. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.108.ch8.
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The massive invasion of electronic dance music in the popular music scene in combination with accessible and affordable technology has created a large group of young musicians having acquired their skills and experience via online resources, often in solitude. This, in turn, creates challenges for the teachers regarding what the expected knowledge base is for the students entering the programs, how to maintain a balanced program, and how to relate to ever-evolving technologies, just to mention a few. In an educational system such as the Norwegian system, based on learning objectives and effectivity, some aspects of the broader educational purpose tend to get downsized. Based on the framework of Biesta’s educational purposes, this article proposes that educators in higher electronic music education emphasize subjectification in addition to qualification and socialization, and the objective of this article is to address questions pertinent to how teachers and curriculum-makers in popular electronic music might create balanced programs for their students. It is argued that subjectification might be approached through the emphasis on the students’ unique artistic expression, and that this opportunity is distinct in art education in general and in electronic music education in particular. Further, it is argued that electronic music students might benefit from having a conscious relationship to the technologies they are immersed in, in order to see alternative ways of making (popular) electronic music.
Conference papers on the topic "VIP (Artists' group)"
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Cedrón, María Gutiérrez, and Jose Pons. "Thinking about the Storm: Analysis of the concert/performance that fuses music, wearable technology and bodily expression." In VI Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvimulti2024-072.
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Thinking about the Storm was a concert performance developed by the NubeiLab group during the residency of Emerging Creators in the Mariñán neighborhood in 2022. We will dedicate ourselves in this article to analyzing the convergence between the different artistic disciplines that shaped the representation. On the one hand we will expose the work process for the realization of the technological wearable used as clothing for a part of the performance, and on the other hand we will analyze the process of direction and musical and sound improvisation, to finally expose the final result of the convergence of different arts materialized in the performance presented in the same artistic residence.
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Rusu, Alexandra. "E-LEARNING SOLUTIONS FOR REVITALIZING TRADITIONAL TEXTILE TECHNOLOGIES. THE MAPS OF TIME PROJECT." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-274.
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Traditional textile technologies are part of cyber-culture in all its complexity but the solutions only record the technological past and do not influence the personal development of underprivileged groups. The digital information development should mark changes not only in communication but also in education and human communities' dynamic. E-learning programs in cyber-space are undoubtedly agents of cultural change but they should be created for an immediate impact on communities and for stressing issues like alternatives for unemployed people and lifelong learning for a greater mobility. This great power of the Web to reunite people and shape their future is conditioned by the involvement and decision making of individuals. For an interactive e-learning system we have to use real time simulation social games that allow the creation of ideal spaces for the development of a learning-by-playing virtual environment, focused on skills and technologies. Also, augmented reality applications are important in developing intuitive interaction between the user and the virtual content. Using video games tactile devices or TUNE technology could enhance the real time involvement in the exploration of the "memories" of physical artifacts and technologies. "The Maps of Time" is a project developed by a team of artists and researchers from the National University of Art, Bucharest. We are building a structure for the immersive experimentation of ancient technologies in the virtual world with the purpose of preserving and revitalizing ancient traditional technologies bring them into contemporary context and present them as viable and tested solutions in lifelong education. The e-learning aspect of the project focuses on local community empowerment using visual support, expert online lessons and advice for learning traditional technologies (textile, ceramic or metal technologies). Although the e-learning sessions involve a small community in Oltenia region (south of Romania), especially school children, we are aiming for a larger audience, from experts to individuals that want to develop artistic skills. Interactive media will be used to grow awareness on sustainable traditional technologies. Digitalizing ancient technologies operational phases not only helps children discover talents but could also offer alternatives for unemployed people and be a method of active recreation. Learning technologies, creating objects to populate habitats, involving other people develops an interactive virtual community in which everyone can learn skills via information-knowledge gaining, specialist training, artist and designer involvement.
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García González, María Dolores. "El uso de Instagram en la formación del alumnado de arte como complemento a la docencia presencial y a la docencia online universitaria." In IN-RED 2020: VI Congreso de Innovación Educativa y Docencia en Red. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inred2020.2020.12015.
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This communication exposes the results of an ongoing study related to the use and potential of the Instagram social network as a complementary tool in the acquisition of competences for the students of the Sculpture II subject in face-to-face and online teaching. The objective of this research is to establish the theoretical foundations of a working model based on the use of ICT and social networks as possible propelling and inspiring elements of artistic practices, especially those oriented to the sculptural field. For this study, the group_f52 Instagram account has been created in order to enhance the learning of the contents of the subject, based on the communicative power that the image has on this platform, the possibilities of interaction and multiple contents that it offers, thus as its accessibility. The study, which is in the Interaction and redirection phase towards online teaching, was well received by the reference group. The audiovisual materials have been viewed by 80% of the members who follow the account and it is expected that, after the closure of the facilities, Instagram will become a virtual space for coexistence for the group.
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Wang, Ying Miao, and Carolina Quintero Rodriguez. "The Aesthetic Factors Shaping Chinese Millennial Consumers' Purchase Intentions of Luxury Pyjamas: Implications for Future Design." In 22th AUTEX World Textile Conference. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-u2ezkj.
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The luxury fashion market is rapidly expanding worldwide, and the demand for designer pyjamas is on the rise. Pyjamas originated in South Asia as loose, lightweight trousers or two-piece suits for sleeping and lounging, and evolved into swishy palazzo-like pants and jumpsuit styles popular in Europe. Over time, pyjamas have undergone multiple functional and aesthetic changes while the luxury fashion goods purchasing power of Chinese millennials who were born in a rapidly evolving digital world has increased fast. However, limited academic research on luxury pyjamas and scarce information on this specific consumer group are available. This study examines the main aesthetic factors that influence Chinese millennial consumers' purchase intention of luxury pyjamas and specifically evaluates the importance of design elements such as artistry, colour, texture, fit, silhouette, innovation, and craftsmanship. An online survey was conducted with 124 Chinese participants via the Chinese social media platform WeChat to determine their aesthetic preferences for luxury pyjamas. The findings reveal that Chinese millennial consumers regard pyjamas as functional items and mainly wear them at home. Aesthetic considerations are the main purchase driver of sleepwear, with the visual texture of pyjamas as the most important aesthetic factor for Chinese millennial consumers, emphasizing the need for product developers to choose exquisite and appealing fabrics. Colour and artistic elements, such as colour collocation and pattern print, also have a significant impact on their purchase intention. This study provides valuable insights for luxury sleepwear developers seeking to enhance the aesthetic design aspects of their products to meet the needs and preferences of Chinese millennial luxury consumers.
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Duarte, Fernanda, Rosangella Leote, Rodrigo Dorta Marques, and Rodrigo Rezende. "The research context of GIIP - International and Interinstitutional Research Group in Art, Science and Technology." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.134.
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The GIIP “Interinstitutional and International Research Group on Art, Science and Technology” was certified at CNPq by UNESP in 2010. It is directed by Rosangella Leote and Fernanda Duarte. We have developed investigation that are allocated in six research lines which are coordinated by Brazilian and foreign researchers. We aim to focus on works of art with emerging media where can be observed transductions, at any level, between the three areas that entitle the group, taking into account the contributions of these different fields, in an interdisciplinary way, but prospecting transdisciplinary emergence. This group is linked to the research line “Artistic processes and procedures” of the Post Graduate Program in Arts, (level 5/CAPES), at the Institute of Arts at UNESP (SP/Brazil); the activities take place within the Laboratory of Art, Science and Technology.The dynamic of the work brings together and leads to masters, doctoral and post-doctoral degrees. The participation of undergraduate and graduate students takes place, both by invitation among peers and voluntary adherence, as well as through the role of research guidance for CIs (PIBIC CNPq/UNESP/FAPESP), masters, doctorates (CAPES, FAPESP or without scholarship) and supervision (with or without scholarship, Brazilians or foreigners) of post-docs and co-tutorships, in addition to technical and monitoring activities (scholarship BAAE I and II - UNESP). GIIP brings together 49 people, including permanent researchers, students, technicians or collaborators. The network comprises researchers in National territory (Public IES), and in international territory (through exchange agreements). The group is continually open to the involvement of new researchers, collaborators or listeners, in its weekly meetings, with part of the team presential and another via the internet. Due to the pandemics, all activities are being carried out online. In addition to artistic activities, our intellectual production involves publications, conferences, seminars, lectures, exhibitions, international exchanges agreements, development of assistive interfaces with intellectual property, transference of technology and patent registration (in process at UNESP).One of the important results obtained has been the development of the “Zonas de Compensação/Compensation Zones” extension project, also international. It is a project that opens our results in research that crosses the edge of the University and reaches the non-academic society.There are other extension activities that are developed by GIIP, which we consider to be very well received. GIIP's original lines of research have been changing over time, a symptom of the evolution of investigation. Today they are Creation in Art and Science; Assistive interfaces for the arts: from diffusion to inclusion; Neuroscience for Art - Art for Neuroscience; Visual and special effects in audiovisual and shows; Poetics of space and time; and Art/Education Methodologies for people with disabilities. As the group's research processes involve the collaboration of several Brazilian and foreign universities, interdisciplinary, collaborative and individual projects are developed. They are investigative and/or extensive. The group's synergy impacts the production of its individuals, transforming and expanding their research objects and career paths.
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Bougueng Tchemeube, Renaud, Jeffrey Ens, Cale Plut, Philippe Pasquier, Maryam Safi, Yvan Grabit, and Jean-Baptiste Rolland. "Evaluating Human-AI Interaction via Usability, User Experience and Acceptance Measures for MMM-C: A Creative AI System for Music Composition." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/640.
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With the rise of artificial intelligence (AI), there has been increasing interest in human-AI co-creation in a variety of artistic domains including music as AI-driven systems are frequently able to generate human-competitive artifacts. Now, the implications of such systems for the musical practice are being investigated. This paper reports on a thorough evaluation of the user adoption of the Multi-Track Music Machine (MMM) as a minimal co-creative AI tool for music composers. To do this, we integrate MMM into Cubase, a popular Digital Audio Workstation (DAW), by producing a "1-parameter" plugin interface named MMM-Cubase, which enables human-AI co-composition. We conduct a 3-part mixed method study measuring usability, user experience and technology acceptance of the system across two groups of expert-level composers: hobbyists and professionals. Results show positive usability and acceptance scores. Users report experiences of novelty, surprise and ease of use from using the system, and limitations on controllability and predictability of the interface when generating music. Findings indicate no significant difference between the two user groups.
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Alexander, Gregory, Sheila Matoti, and Pieter Van Zyl. "ASCERTAINING THE USE OF EXTRACURRICULAR ACTIVITIES IN PROMOTING LEARNERS’ HOLISTIC DEVELOPMENT IN MULTICULTURAL SCHOOL SETTINGS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end039.
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Encouraging learners to participate in extracurricular activities should commence in the early phase of their growth where a basis for their personality, learning and development is laid. Extracurricular activities could further assist in improving learners’ creativity and artistic talents. Philosophers, such as Rousseau, Spencer and Dewey further reiterate the value of extracurricular activities in developing social relationships and intellectual intelligence. Learners associate with different peer groups which may satisfy their socialisation, self-assessment, self-identification and the fulfilment of their needs in becoming self-actualised. Learners can further be enabled to reach self-actualisation by participating in academic activities, such as maths, science clubs and research projects. Such activities seemingly contribute to learners’ academic development which in turn may assist them in mastering certain life tasks; developing leadership roles; increasing their involvement in the community and expressing their civil responsibility. Amidst the latter, it is noted that the lack or in some cases, the non-existence of extracurricular activities hinder learners’ growth and learning, especially in multicultural school settings, where the foundation for learners’ development has to occur in a conducive environment. Multicultural schools in the Letjweleputswa educational district, Free State province of South Africa seem not to use extracurricular activities as an effective tool in promoting learners’ holistic development. The aim of this paper is to ascertain the use of extracurricular activities in promoting learners’ holistic development in the Letjweleputswa educational district. Via a qualitative research methodology, three focus group interviews were conducted with 20 learners attached to four multicultural schools. Findings of the study revealed that learner participants are of the view that their involvement in extracurricular activities could give them a greater chance of being employed; of getting a better job; of being accepted into university and of developing certain attributes, such as creativity, innovation, problem solving and endurance. The study further recommends that multicultural schools in the Letjweleputswa educational district need to implement various extracurricular activities as a means of developing various traits and competencies such as learners’ physical-, emotional-, cognitive and social skills; moral underpinnings, life-skills, well-being, leadership qualities, analytical thinking processes and communication abilities.
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ABAZOĞLU, Muhammet. "The revolution against the traditional beginning of poems in ancient Arabic poetry (Abu Nawas as a model)." In VI. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress6-2.
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The Arabic poem remained on a unified approach for long periods, and its mold was set by a group of paternal poets who were classified in the first class among critics, and Imru’ al-Qais, Zuhair, and al-Nabigha al-Dhubiani came in the forefront. With these ancestors, the Arabic poem became a model to be followed by those who came after them, and they even began to adhere to the same approach as a custom that should be followed. So the poem had to start by standing on the ruins, and then move on to depicting the different factors that arouse the poet’s approval. Finally, he ends with the main theme of his poem, whatever its purpose. But the oath that sparked great controversy later and voices rose among poets to leave it and depart from it is the beginning of the poem, or what is known as "standing on the ruins." In fact, the phenomenon of the introduction to the poem arose related to the environment and the type of civilization in it, and it remained connected to it and developed with it. These introductions were not an artistic tradition devoid of feelings and ideas, but rather constituted a methodology that carried the poets' emotions, their memories, and the events that passed through them. The development in the forms of these introductions, or the invention of other new forms, is due to the development of environmental factors and social life. Which requires modifying these introductions to keep pace with the new intellectual contents in their stylistics. In the past, the poem was a description of the ruins and the animals, a description of the horse, the camel, the arduous journey, and the description of the desert with its fears. As for the poets of the following eras, they changed - even if it was a little - in the readings of their poems, and most of their poems were not standing on ruins and describing the lost. On the contrary, a description of amusement, promiscuity, leisure life, and wine appeared in the Abbasid poetry, because they lived in a new environment. The son of Baghdad could not describe the arduous journey, the desert, and the animals that he did not see, because he was the son of a new environment, and every person starts from his environment. This research aims to shed light on the modernization that took place in the beginning of the Arabic poem, especially in the Abbasid era, specifically Abu Nawas's revolution against the old style
Reports on the topic "VIP (Artists' group)"
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Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2285173.
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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...