Bibliografías temáticas / 20th century art

Literatura académica sobre el tema "20th century art"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "20th century art"

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de Burgh, Jane. "Passionate about 20th-century art". Lancet 354, n.º 9179 (agosto de 1999): 688. http://dx.doi.org/10.1016/s0140-6736(05)77675-3.

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Wahlman, Maude S. "Africa Explores: 20th Century African Art:Africa Explores: 20th Century African Art". Museum Anthropology 15, n.º 4 (noviembre de 1991): 30–31. http://dx.doi.org/10.1525/mua.1991.15.4.30.

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Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, n.º 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.

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Flam, Jack. "Africa Explores: 20th Century African Art". African Arts 25, n.º 2 (abril de 1992): 88. http://dx.doi.org/10.2307/3337064.

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Oguibe, Olu y Susan Vogel. "Africa Explores: 20th Century African Art". African Arts 26, n.º 1 (enero de 1993): 16. http://dx.doi.org/10.2307/3337105.

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Pellizzi, Francesco. "Africa Explores: 20th Century African Art". African Arts 26, n.º 1 (enero de 1993): 22. http://dx.doi.org/10.2307/3337106.

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Küchler, Susanne. "The prototype in 20th-century art". Visual Communication 9, n.º 3 (agosto de 2010): 301–12. http://dx.doi.org/10.1177/1470357210372723.

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David W. Galenson. "Conceptual Revolutions in 20th-Century Art". Historically Speaking 10, n.º 5 (2009): 20–22. http://dx.doi.org/10.1353/hsp.0.0078.

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Dudek, Stephanie. "Written in blood: 20th century art." Canadian Psychology/Psychologie canadienne 30, n.º 2 (abril de 1989): 105–15. http://dx.doi.org/10.1037/h0079804.

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Kardum, Goran, Dubravka Kuščević y Marija Brajčić. "The Impacts of Different Sorts of Art Education on Pupils’ Preference for 20th-Century Art Movements". Education Sciences 10, n.º 1 (3 de enero de 2020): 15. http://dx.doi.org/10.3390/educsci10010015.

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The research presented here aims to determine how art education influences students’ preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students’ art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students’ preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education.
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Tesis sobre el tema "20th century art"

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Kyeyune, George William. "Art in Uganda in the 20th century". Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408702.

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Wei, Linna y Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art". Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.
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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.

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Ahn, En Young. "Translatability and 20th century Korean art (1930s to 1990s)". Phd thesis, Canberra, ACT : The Australian National University, 2003. http://hdl.handle.net/1885/9520.

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This PhD thesis is a critical inquiry into the (un) translatability of the 'difference' of an art produced in a non-'Western' context. My inquiries into the translatability of cultural differences do not deal with 'the incommensurability' of these differences, but explore the possibilities of their significant translations. This has been carried out in terms of case studies of four major Korean artists, their representative works, and the artistic developments of the 1930s-1990s in Korea. The artists in order are OH Chi Ho, PARK Seo Bo, SUH Se Ok and Kim Sooja. Each of Chapters 3 to 6 focuses on one of these artists whose work represents the most significant developments of colonial and 'postcolonial' Korean art, in reference to my theoretical arguments grounded in Chapters I and 2: the ideological and political discourses of cultural identity of a colonial and postcolonial nation's art; a marginalized nation's discourse of 'double translation' in cross-cultural transactions; and the postmodern and postcolonial concept of a 'peripheral' nation's hybridity. The term 'translation' in this thesis covers all kinds of translation: from translating the figurative to the literal, translating between different cultures and translating the past into the present. I will also use the term 'translate' as a metaphor for certain kinds of transference and dependence-linking it to Hegel's philosophy of self-consciousness and aspects of Lacan's psychoanalytic theory in order to illuminate and analyze problems involved in theorizing cultural identity and cross cultural transactions within the context of the current globalization in which geographical, economical, cultural and conceptual spaces are becoming increasingly hybrid. Throughout the thesis, Iuse the case studies of particular Korean artists as the basis of a critique of the nationalist Korean analysis of colonial and postcolonial Korean art, a postcolonial theory-inspired notion of the hybridity of an assumed peripheral culture/country (for example Korea), totalizing generalizations of 'Asianness' or 'Koreanness' of contemporary Korean art, and the Euro-centric concepts of 'cross­ cultural influence'. These studies focus on how certain Korean appropriations of 'otherness' of the 'exotic Western' imports within specific historical contexts have played an integral role in the ongoing process of conceptualizing and formulating forms of national and cultural identity.
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Cappitelli, Francesca. "The chemical characterisation of binding media in 20th century art". Thesis, Royal College of Art, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444980.

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This dissertation describes the application and optimisation of an analytical technique, named thermally assisted hydrolysis and methylation - gas chromatography / mass spectrometry [THM.-GCMS]. THM.-GCMS is a modification of pyrolysis - gas chromatography / mass spectrometry [Py-GCMS] which involves an on-line derivatisation process known as thermally assisted hydrolysis and methylation. The method is based on the high temperature reaction of tetramethylammonium hydroxide with macromolecular materials containing functional groups susceptible to hydrolysis and methylation. During this research THM.-GCMS was used for the chemical characterisation of the most frequently-used binding media in 20th century art: oils, acrylics, alkyds and poly(vinylacetates). The major classes of binding media used in 20th century paints have been previously studied in conservation using a range of techniques, the most important being GCMS, Py-GCMS and Fourier transform infrared spectroscopy [FTIR]. However, this project was novel in that it demonstrated the possibility of chemically characterising a wide variety of both natural and synthetic binders found in modem works of art using a single technique, THM.-GCMS. Standard samples of oils, egg yolk, acrylics, poly(vinylacetates) and alkyds as well as samples containing these materials from nine painted works of art were successfully studied using THM.-GCMS. Among the art works studied, those by Marcel Duchamp and Pablo Picasso were investigated for the first time.
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Asbury, Michael. "Hélio Oiticica : politics and ambivalence in 20th century Brazilian art". Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/8953/.

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This study investigates the presence of ambivalence as a strategy of cultural politics from modern to contemporary art in Brazil. It focuses on the development of modern art leading to the work of Hélio Oiticica, whose approach to avant-garde practice in Brazil was concurrent with intense articulations between the forces of social change and re-evaluations of the legacy of Modernism. The thesis has a strong historiographical emphasis and is organised in three parts: Part one attempts to view the emergence of Modernism in Brazil beyond the prevailing interpretations that emphasise its inadequacy compared to canonical paradigms. Part two discusses the development of abstraction in Brazil, particularly that associated with the constructivist tradition and its relationship with the prevailing positivism of a nation that saw modernity as its inevitable destiny. Such a relationship, between art and ideology, implicitly questions the purported autonomous nature of modern art. Again, what emerged were definite regional distinctions, themselves based on seemingly universal theoretical propositions. The context of Hélio Oiticica's emergence as a constructivist-oriented artist is discussed in order to establish the theoretical foundation for his subsequent articulations between notions of avant-garde and Brazilian popular culture. Part three deals with Oiticica's theoretical and artistic proposals. It centres on the artist's transition from a position concerned primarily with the aesthetic questions of art, to one in which art became engaged on a social, ethical and ultimately political level. Oiticica's relationship with concurrent developments in theatre and later in music and cinema is given particular attention. The artist's questioning of the divides between such fields of specialisation, socio-cultural borders or categories of creative production is argued to have arisen out of Oiticica's lessons from Neoconcretism as well as his individual creative approach to relations of friendship. The latter integrated the wider concept of participation that eventually drove the work through the apparent equivocation between national culture and avant-garde practice. The study concludes with an analysis of the artist's posthumous dissemination and its relation with today's contemporary Brazilian art.
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence". Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.

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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)". University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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Zabecki, D. T. "Operational Art and the German 1918 Offensives". Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.

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At the tactical level of war the Germans are widely regarded as having had the most innovative and proficient army of World War I. Likewise, many historians would agree that the Germans suffered from serious, if not fatal, shortcomings at the strategic level of war. It is at the middle level of warfare, the operational level, that the Germans seem to be the most difficult to evaluate. Although the operational was only fully accepted in the 1980s by many Western militaries as a distinct level of warfare, German military thinking well before the start of World War I clearly recognized the Operativ, as a realm of warfighting activity between the tactical and the strategic. But the German concept of the operational art was flawed at best, and actually came closer to tactics on a grand scale. The flaws in their approach to operations cost the Germans dearly in both World Wars. Through a thorough review of the surviving original operational plans and orders, this study evaluates the German approach to the operational art by analyzing the Ludendorff Offensives of 1918. Taken as a whole, the five actually executed and two planned but never executed major attacks produced stunning tactical results, but ultimately left Germany in a far worse strategic position by August 1918. Among the most serious operational errors made by the German planners were their blindness to the power of sequential operations and cumulative effects, and their insistence in mounting force-on-force attacks. The Allies, and especially the British, were exceptionally vulnerable in certain elements of their warfighting system. By attacking those vulnerabilities the Germans might well have achieved far better results than by attacking directly into the Allied strength. Specifically, the British logistics system was extremely fragile, and their rail system had two key choke points, Amiens and Hazebrouck. During Operations MICHAEL and GEORGETTE, the Germans came close to capturing both rail centers, but never seemed to grasp fully their operational significance. The British and French certainly did. After the Germans attacked south to the Marne during Operation BLUCHER, they fell victims themselves to an inadequate rail network behind their newly acquired lines. At the operational level, then, the respective enemy and friendly rail networks had a decisive influence on the campaign of March-August 1918.
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IZZO, Francesca Caterina. "20TH CENTURY ARTISTS' OIL PAINTS: A CHEMICAL-PHYSICAL SURVEY". Doctoral thesis, CA' FOSCARI, 2011. http://hdl.handle.net/10278/33884.

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Libros sobre el tema "20th century art"

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(Firm), Butterfields. 20th century art. San Francisco: Butterfields, 2000.

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(Firm), Bonhams. 20th century art. London: Bonhams, 2002.

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de Pury & Luxembourg. 20th century art. New York: de Pury & Luxembourg, 2003.

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Gallery, Paisnel. 20th century British art. London: Paisnel Gallery, 2014.

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Kong, Christie's Hong. 20th century Chinese art. Hong Kong: Christie's, 2002.

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Sotheby's (Firm). 20th century Italian art. London: Sotheby's, 2004.

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A, Papadakēs, ed. 20th century British art. London: Academy Group Ltd., 1987.

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Sotheby's (Firm). 20th century Italian art. London: Sotheby's, 2003.

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Sotheby's (Firm). 20th century Asian art. London: Sotheby's, 2004.

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Sotheby's (Firm). 20th century Italian art. London: Sotheby's, 2001.

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Capítulos de libros sobre el tema "20th century art"

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Birbragher-Rozencwaig, Francine. "Contemporary Cuban Art". En Essays on 20th Century Latin American Art, 79–101. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.

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Birbragher-Rozencwaig, Francine. "Modern Latin American Art". En Essays on 20th Century Latin American Art, 1–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-1.

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Webster, Peter. "New Visual Art for Chichester". En Church and Patronage in 20th Century Britain, 147–86. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_6.

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Körner, Hans. "Speared Heads. Portraits as Things in 20th-Century Sculpture". En Art History and Fetishism Abroad, 57–70. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-003.

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Webster, Peter. "Music, Art and Poetry: 1944–1955". En Church and Patronage in 20th Century Britain, 85–118. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_4.

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Kravagna, Christian. "Encounters with Masks: Counter-Primitivism in 20th-Century Black Art". En Art History and Fetishism Abroad, 189–204. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-010.

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Birbragher-Rozencwaig, Francine. "Art in Central America and the Caribbean since the 1990s". En Essays on 20th Century Latin American Art, 102–22. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-5.

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Birbragher-Rozencwaig, Francine. "Carnival in Latin America and the Caribbean". En Essays on 20th Century Latin American Art, 123–45. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-6.

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Birbragher-Rozencwaig, Francine. "Abstraction in Latin America". En Essays on 20th Century Latin American Art, 35–58. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-2.

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Birbragher-Rozencwaig, Francine. "Conclusion". En Essays on 20th Century Latin American Art, 146–49. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-7.

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Actas de conferencias sobre el tema "20th century art"

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Tyler, Christopher W. y Amy Ione. "Concept of space in 20th century art". En Photonics West 2001 - Electronic Imaging, editado por Bernice E. Rogowitz y Thrasyvoulos N. Pappas. SPIE, 2001. http://dx.doi.org/10.1117/12.429529.

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Gamble, Susan y Michael M. Wenyon. "17th-century optics in 20th-century art: artists working in Britain's oldest scientific institution". En OE/LASE '90, 14-19 Jan., Los Angeles, CA, editado por Stephen A. Benton. SPIE, 1990. http://dx.doi.org/10.1117/12.17978.

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Csikota, Josef. "Development of Musical Culture in Hungary in the 20th Century". En 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.6.

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Panfilova, O. G. "KREMENETS AS A CENTER OF OF POLISH AVANT-GARDE ART IN THE 1930S 20TH CENTURY". En АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-37.

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Andreeva, Olga. "Cinematography as an Unique Phenomenon of the 20th Century Culture". En Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.80.

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Malinovskaya, Elizaveta. "National Schools of the 20th Century: Cultural Identity or Conceptual Choice". En 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.128.

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Kaname, Mariko. "Considering the Drawing Education for Children during the 19th Century to the 20th Century in England". En 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-30.

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Sheng, Yinghong y Xiaowen Lin. "The Aesthetic Embodiment of Modernity in Chinese Literature in the 20th Century". En 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.052.

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Sayahdikumullah, Dikdik. "Japanese Painter on Mooi Indie Period: Case Study of Kojyo Kokan in Indonesia Early 20th Century". En International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338631.

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Цветкова, Н. Н. "THEATRICALITY IN THE ART OF TEXTILES OF THE 20th–21st CENTURIES". En КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.29.

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Во второй половине ХХ столетия в период «пластического взрыва» появились новые объемно-пространственные текстильные формы — артобъекты, инсталляции, перформансы и хэппенинги. Многие из созданных в это время работ отличаются своеобразной «театральностью». В современном текстильном искусстве тенденция соединения ткани с театральным действом остается актуальной. В статье рассмотрены примеры взаимовлияния и взаимодействия текстильных форм с пространством театра. In the second half of the twentieth century, during the period of the “plastic explosion”, new three-dimensional textile forms appeared – art objects, installations, performances and happenings. Many of the works created at this time are distinguished by a kind of “theatricality”. In modern textile art, the tendency to combine fabric with theatrical action remains relevant. The article considers examples of the mutual influence and interaction of textile forms with the theater space.
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Informes sobre el tema "20th century art"

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Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, marzo de 1994. http://dx.doi.org/10.18235/0007910.

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Malinowski, Owen, Scott Riccardella y Jason Van Velsor. PR-335-203810-R03 CT Fundamentals with Calibration and Reference Standards for Pipeline Anomaly Detection. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), marzo de 2022. http://dx.doi.org/10.55274/r0012216.

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X-ray Computed Tomography (XRCT) was initially developed and utilized in the medical industry to image the internal structure of the human body. X-ray imaging was conceived and realized at the turn of the 20th century and subsequently, XRCT, was conceived in the middle of the 20th century and its development continues today. Near the end of the 20th century industrial cone beam XRCT for applications such as dimensional metrology branched off, including its use for identifying and dimensioning flaws. XRCT has been utilized successfully for three-dimensional imaging of flaws in the small panel cut-outs from steel oil and gas transmission pipelines. However, the performance of XRCT on full-circumference pipe samples has not been assessed to determine if the technology can be used to obtain flaw dimensional information with the same accuracy that has been observed on panel cut-outs. This would enable the industry to generate full-circumference reference samples with well-characterize flaw dimensions, which would be much more practical and useful for qualification, certification, and validation of inline inspection and nondestructive examination tools, personnel, and procedures. This tasks for this project were to evaluate the state-of-the-art in XRCT technology, establish guidelines for XRCT scanning of pipeline samples, compare XRCT performance on artificial and natural flaws, and compare performance of lab-based and in-the-ditch XRCT technologies on artificial and natural flaws through scanning multiple samples utilizing multiple XRCT vendors and subsequently destructive testing the samples. The overall objective of the project was to determine if XRCT is a viable alternative to destructive testing for collecting "truth" data from flaw reference samples. Related webinar
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3

Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt y Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), junio de 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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Owyang, Michael T., Valerie A. Ramey y Sarah Zubairy. Are Government Spending Multipliers Greater During Periods of Slack? Evidence from 20th Century Historical Data. Federal Reserve Bank of St. Louis, 2013. http://dx.doi.org/10.20955/wp.2013.004.

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Owyang, Michael, Valerie Ramey y Sarah Zubairy. Are Government Spending Multipliers Greater During Periods of Slack? Evidence from 20th Century Historical Data. Cambridge, MA: National Bureau of Economic Research, febrero de 2013. http://dx.doi.org/10.3386/w18769.

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6

Carrión-Tavárez, Ángel. The Situation of Puerto Rico in the First Half of the 20th Century. Editado por Ángel Carrión-Tavárez. Puerto Rico Institute for Economic Liberty, diciembre de 2021. http://dx.doi.org/10.53095/13582003.

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After 390 years of Spanish colonialism, Puerto Rico was ceded by Spain to the United States, as a result of the Spanish-American War and the Treaty of Paris. At the dawn of the 20th century, the situation on the Island was one of extreme poverty, high unemployment, and widespread illiteracy. Federal programs alleviated the situation on the Island but began to institutionalize a major problem: the evil of passively waiting for economic aid from abroad, instead of seeking to solve the problems by its own initiative.
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7

Kholoshyn, I., T. Nazarenko, O. Bondarenko, O. Hanchuk y I. Varfolomyeyeva. The application of geographic information systems in schools around the world: a retrospective analysis. IOP Publishing, marzo de 2021. http://dx.doi.org/10.31812/123456789/4560.

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The article is devoted to the problem of incorporation geographic information systems (GIS) in world school practice. The authors single out the stages of GIS application in school geographical education based on the retrospective analysis of the scientific literature. The first stage (late 70 s – early 90s of the 20th century) is the beginning of the first educational GIS programs and partnership agreements between schools and universities. The second stage (mid-90s of the 20th century – the beginning of the 21st century) comprises the distribution of GIS-educational programs in European and Australian schools with the involvement of leading developers of GIS-packages (ESRI, Intergraph, MapInfo Corp., etc.). The third stage (2005–2012) marks the spread of the GIS school education in Eastern Europe, Asia, Africa and Latin America; on the fourth stage (from 2012 to the present) geographic information systems emerge in school curricula in most countries. The characteristics of the GIS-technologies development stages are given considering the GIS didactic possibilities for the study of school geography, as well as highlighting their advantages and disadvantages.
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Kisangani, Emizet. The 2023 Elections in the Democratic Republic of Congo: Challenges and Opportunities. APRI - Africa Policy Research Private Institute gUG (haftungsbeschränkt)., diciembre de 2023. http://dx.doi.org/10.59184/sa.036.

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The DRC presidential election will take place on December 20th, 2023. Voters are hoping for developments amid enduring instability and a history of electoral misconduct, while global interest centers around the nation’s strategic minerals.
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9

Goh, Geok Yian y John Miksic. The Istana Kampung Gelam (IKG) Site: A Preliminary Report. National University of Singapore Press, mayo de 2022. http://dx.doi.org/10.56159/sitereport10.

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Archaeological research at the Kampong Gelam site began in March 2000 and was concluded on 21 September 2000. The database accompanying this report, however, contains data entries for artefacts from later excavations that have found their way into the collection which the authors and their team analysed and processed. The finds were mostly 19th and 20th century ceramics and earthenware.
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Berger, Thor y Erik Prawitz. Collaboration and Connectivity: Historical Evidence from Patent Records. Department of Economics and Statistics, Linnaeus University, abril de 2023. http://dx.doi.org/10.15626/ns.wp.2023.02.

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Why has collaboration become increasingly central to technological progress? We document the role of lowered travel costs by combining patent data with the rollout of the Swedish railroad network in the 19th and early-20th century. Inventors that gain access to the network are more likely to produce collaborative patents, which is partly driven by long-distance collaborations with other inventors residing along the emerging railroad network. These results suggest that the declining costs of interacting with others is fundamental to account for the long-term increase in inventive collaboration.
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