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Artículos de revistas sobre el tema "Ecology in art"

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

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1

Ryan, Leslie. "Art + Ecology". Environmental Philosophy 4, n.º 1 (2007): 95–116. http://dx.doi.org/10.5840/envirophil200741/28.

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2

McDonald, Lisa. "Ecology, Alterity—Art". International Journal of Science in Society 6, n.º 2 (2015): 13–23. http://dx.doi.org/10.18848/1836-6236/cgp/v06i02/51443.

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3

Becker, Carole. "Art and Ecology". Review of Education, Pedagogy, and Cultural Studies 19, n.º 2-3 (enero de 1997): 193–208. http://dx.doi.org/10.1080/1071441970190203.

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4

PARRY, FIONA. "Art and Ecology: Art can be Green". Art Book 15, n.º 3 (agosto de 2008): 71. http://dx.doi.org/10.1111/j.1467-8357.2008.00980.x.

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5

Swan, Alison. "The Ecology of Art". Janus Head 14, n.º 1 (2015): 196. http://dx.doi.org/10.5840/jh201514112.

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6

Luken, James O. "The ecology of art". Frontiers in Ecology and the Environment 11, n.º 4 (mayo de 2013): 218–19. http://dx.doi.org/10.1890/1540-9295-11.4.218.

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7

van Bohemen, Hein. "Infrastructure, ecology and art". Landscape and Urban Planning 59, n.º 4 (mayo de 2002): 187–201. http://dx.doi.org/10.1016/s0169-2046(02)00010-5.

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8

Lam, Steven, Gabi Ngcobo, Jack Persekian, Nato Thompson, Anne Sophie Witzke y Liberate Tate. "Art, Ecology and Institutions". Third Text 27, n.º 1 (enero de 2013): 141–50. http://dx.doi.org/10.1080/09528822.2013.753196.

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9

Woolery, Lee Ann. "Art‐based perceptual ecology". Frontiers in Ecology and the Environment 21, n.º 3 (abril de 2023): 111. http://dx.doi.org/10.1002/fee.2619.

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10

Neperud, Ronald W. "Art, Ecology, and Art Education: Practices & Linkages". Art Education 50, n.º 6 (noviembre de 1997): 14. http://dx.doi.org/10.2307/3193683.

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11

Green, David. "Land, Art: A Cultural Ecology". International Journal of Environmental Studies 67, n.º 3 (junio de 2010): 473. http://dx.doi.org/10.1080/00207230902888506.

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12

Zuzanek, Jiri y Marlene Lee. "Social ecology of art audiences". Journal of Cultural Economics 9, n.º 1 (junio de 1985): 65–84. http://dx.doi.org/10.1007/bf02267488.

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13

Rozenberg, Gennady Samuilovich. "Ecology calendar". Principles of the Ecology 46, n.º 4 (diciembre de 2022): 115–16. http://dx.doi.org/10.15393/j1.art.2022.13342.

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14

Rozenberg, Gennady Samuilovich. "Ecology calendar". Principles of the Ecology 50, n.º 4 (diciembre de 2023): 88–89. http://dx.doi.org/10.15393/j1.art.2023.14562.

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15

Korosov, Andrey Victorovich. "System Ecology Of The Common Adder". Principles of the Ecology 25, n.º 4 (diciembre de 2017): 84–85. http://dx.doi.org/10.15393/j1.art.2017.7243.

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16

Sauvagnargues, Anne. "Ecology of images and art machines". Philosophy Journal 9, n.º 4 (2016): 48–62. http://dx.doi.org/10.21146/2072-0726-2016-9-4-48-62.

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17

O'Brien, Paul. "Art and Ecology: A New Orthodoxy". Circa, n.º 60 (1991): 18. http://dx.doi.org/10.2307/25557674.

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18

Weldon-Yochim, Zoe. "Exposure: Native Art and Political Ecology". Journal of Curatorial Studies 12, n.º 1 (1 de abril de 2023): 88–92. http://dx.doi.org/10.1386/jcs_00082_7.

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Review of: Exposure: Native Art and Political Ecology Curated by Kóan Jeff Baysa, Nivi Christensen (Inuit), Satomi Igarashi, Erin Vink (Ngiyampaa), Tania Willard (Secwepemc Nation) and Manuela Well-Off-Man, Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe, 20 August 2021-10 July 2022
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19

Graham, Mark A. "Art, Ecology and Art Education: Locating Art Education in a Critical Place-based Pedagogy". Studies in Art Education 48, n.º 4 (julio de 2007): 375–91. http://dx.doi.org/10.1080/00393541.2007.11650115.

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20

Gorbach, Vyacheslav. "Problems of population ecology". Principles of the Ecology 13, n.º 1 (marzo de 2015): 96–99. http://dx.doi.org/10.15393/j1.art.2015.4141.

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21

Hollis, Cynthia L. "On Developing an Art and Ecology Curriculum". Art Education 50, n.º 6 (noviembre de 1997): 21. http://dx.doi.org/10.2307/3193684.

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22

Gradle, Sally Armstrong. "When Vines Talk: Community, Art, and Ecology". Art Education 61, n.º 6 (noviembre de 2008): 6–12. http://dx.doi.org/10.1080/00043125.2008.11652071.

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23

Zheng, Bo y Sohl Lee. "Contemporary art and ecology in East Asia". Journal of Contemporary Chinese Art 3, n.º 3 (1 de diciembre de 2016): 215–22. http://dx.doi.org/10.1386/jcca.3.3.215_2.

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24

Chisholm, D. "The Art of Ecological Thinking: Literary Ecology". Interdisciplinary Studies in Literature and Environment 18, n.º 3 (1 de enero de 2011): 569–93. http://dx.doi.org/10.1093/isle/isr077.

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25

Demos, TJ. "Contemporary Art and the Politics of Ecology". Third Text 27, n.º 1 (enero de 2013): 1–9. http://dx.doi.org/10.1080/09528822.2013.753187.

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26

Li, JiaYao y SEOK HWAN LEE. "Metaverse - New Ecology of Future Art Development". International JOURNAL OF CONTENTS 19, n.º 3 (30 de septiembre de 2023): 44–58. http://dx.doi.org/10.5392/ijoc.2023.19.3.044.

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27

Korosov, Andrey Victorovich. "An emergent principle in ecology". Principles of the Ecology 3, n.º 3 (octubre de 2012): 48–66. http://dx.doi.org/10.15393/j1.art.2012.1481.

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28

Ravkin, Yury Solomonovich. "Ecology and Biogeography (some ideas)". Principles of the Ecology 6, n.º 2 (junio de 2013): 69–83. http://dx.doi.org/10.15393/j1.art.2013.2621.

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29

Korosov, Andrey Victorovich. "Neural networks for ecology: introduction". Principles of the Ecology 49, n.º 3 (septiembre de 2023): 76–96. http://dx.doi.org/10.15393/j1.art.2023.14002.

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30

Poposki, Zoran y Isaac Hok Bun Leung. "Hong Kong as a Global Art Hub: Art Ecology and Sustainability of Asia’s Art Market Centre". Arts 11, n.º 1 (7 de febrero de 2022): 29. http://dx.doi.org/10.3390/arts11010029.

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Over the past decade, Hong Kong’s art market has experienced unprecedented growth, emerging as the second largest in the world in 2020 in terms of contemporary art auctions. Factors such as the city’s free-market economy and well-developed infrastructure, as well as its unique position as a gateway to the large and growing Chinese art market, have led to major global art fairs and galleries establishing their presence in the city, in addition to the already present international auction houses. Moreover, the recent opening of M+, Hong Kong’s new museum of visual culture, as part of the West Kowloon Cultural District, is designed to further seal Hong Kong’s position and contribute to the continued growth of its art market. This paper explores the Hong Kong art ecosystem and its sustainability by focusing on leading art market institutions, anchor cultural organizations, and other key actors driving the development of the Hong Kong art system, on both the commercial and the nonprofit side; the effects of the expanding art market on the city’s art scene; the dynamics of the relationship between the Hong Kong art market and the broader Chinese art market; and the key emerging opportunities and challenges to Hong Kong’s future development as Asia’s premier art hub.
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31

Lee, Jung-Hyun y Hee-Chung Lee. "A Study on Commercialization of Mullae Art Village and Changes in Art Ecology". Korean Association of Urban Policies 14, n.º 4 (31 de diciembre de 2023): 143–65. http://dx.doi.org/10.21447/jusre.2023.14.4.8.

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This paper aims to analyze the impact of the commercialization of the recently emerged Mullae Art Village, an art cluster, on the art ecology, specifically the creative activities of artists. To achieve this goal, Focus Group Interviews (FGI) and in-depth interviews were conducted with a total of 13 artists. Various data related to Mullae Art Village were also analyzed to examine the current state of commercialization and its effects on the art ecology. The analysis revealed that Mullae Art Village has entered a rapid stage of commercialization. Significant changes in the local space are rapidly occurring, and notably, there is a reduction in the available space for artists. The study also confirmed a significant transformation within the local art scene due to the increase in commercial artistic activities. In response to these findings, the research proposes management systems for coping with local commercialization and policy suggestions for preserving artistic activities. Mullae Art Village serves as a space for diverse artistic activities, and the commercialization of the area is closely tied to these artistic endeavors. Therefore, the significance of this study lies in the discussion of strategies for sustainable development through the coexistence of art and commercialization.
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32

Korosov, Andrey Victorovich. "A word about GIS in ecology". Principles of the Ecology 22, n.º 1 (marzo de 2017): 146–47. http://dx.doi.org/10.15393/j1.art.2017.6482.

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33

Bennett, A. R. "The Ecology of Art-iculation and Aggregate Reading". Publications of the Modern Language Association of America 131, n.º 2 (marzo de 2016): 356–63. http://dx.doi.org/10.1632/pmla.2016.131.2.356.

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The ecological digital humanities evoke a method of thinking that is responsive to what jane bennett terms “the ecology of things.” Neither strictly an ecocriticism nor a pursuit solely of environmental(ist) concerns, the ecological digital humanities explore the material and philosophical interconnectedness of actants in assemblages. They attempt, digitally, to think what Timothy Morton calls “the ecological thought.”
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34

Haley, David. "SPECIES NOVA[TO SEE ANEW]:ART AS ECOLOGY". Ethics & the Environment 8, n.º 1 (marzo de 2003): 143–50. http://dx.doi.org/10.2979/ete.2003.8.1.143.

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35

Glazebrook, Trish. "ART OR NATURE?:ARISTOTLE, RESTORATION ECOLOGY, AND FLOWFORMS". Ethics & the Environment 8, n.º 1 (marzo de 2003): 22–36. http://dx.doi.org/10.2979/ete.2003.8.1.22.

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36

Dyens, Ollivier. "The Emotion of Cyberspace: Art and Cyber-Ecology". Leonardo 27, n.º 4 (1994): 327. http://dx.doi.org/10.2307/1576008.

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37

Glazebrook, Trish. "Art or Nature?: Aristotle, Restoration Ecology, and Flowforms". Ethics & the Environment 8, n.º 1 (2003): 22–36. http://dx.doi.org/10.1353/een.2003.0005.

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38

Haley, David. "Species Nova [ To See Anew ]: Art as Ecology". Ethics & the Environment 8, n.º 1 (2003): 143–50. http://dx.doi.org/10.1353/een.2003.0006.

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39

Brunner, Christoph, Roberto Nigro y Gerald Raunig. "Post-Media Activism, Social Ecology and Eco-Art". Third Text 27, n.º 1 (enero de 2013): 10–16. http://dx.doi.org/10.1080/09528822.2013.752200.

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40

Demos, TJ. "The Art and Politics of Ecology in India". Third Text 27, n.º 1 (enero de 2013): 151–61. http://dx.doi.org/10.1080/09528822.2013.752201.

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41

Miles, Malcolm y Zoe Strecker. "Eco-aesthetic dimensions: Herbert Marcuse, ecology and art". Cogent Arts & Humanities 3, n.º 1 (21 de marzo de 2016): 1160640. http://dx.doi.org/10.1080/23311983.2016.1160640.

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42

Siewers, Alfred Kentigern. "Stone: An Ecology of the Inhuman by Jeffrey Jerome Cohen". Arthuriana 27, n.º 3 (2017): 87–88. http://dx.doi.org/10.1353/art.2017.0028.

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43

Ardiani, Yanita Mila. "Ecology and Architecture in the art of making an Aesthetics Artwork". IOP Conference Series: Earth and Environmental Science 998, n.º 1 (1 de febrero de 2022): 012035. http://dx.doi.org/10.1088/1755-1315/998/1/012035.

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Abstract Architectural inspiration comes from a combination of various multidisciplinary sciences. One of the combinations that inspire Architects to produce works is the combination of Ecology and Architecture, where each other is interrelated. Ecology and natural forms in Ecology can inspire new architectural forms. This paper will discuss the origin of inspiration from ecology that can be applied in Architectural Aesthetics. The method used is to collect precedent studies and literature studies related to these matters. Then, in the end, the works of Bina Nusantara University Architecture Students who designed Aesthetics forms from Architectural Ecology installations will be shown in the Aesthetics course. Experimentation experiments and discussions can inspire students to produce an architectural work from the aesthetic form of a combination of Ecology and Architecture.
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44

Vasil’chenko, Alla A. "ORSK JASPER (JASHMA) AS AN OBJECT OF ECOLOGY OF CULTURE OF ORENBURG". RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, n.º 1 (2022): 143–55. http://dx.doi.org/10.28995/2073-6401-2022-1-143-155.

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The article deals with the Orsk jasper within the two components of the “ecology of culture” concept – ecology of the natural environment and cultural heritage. It analyzes the artistic development of the Orsk jasper, as use of a natural material and as one of the folk art crafts of the Orenburg region and the centers of stone-cutting art of the Southern Urals. The author considers the actual place of Orsk jasper in different spheres of cultural and practical activity and substantiates the necessity of an integrated ecological and cultural approach in the study, preservation and development of the natural and cultural heritage of the Orenburg region: the natural environment and stone-cutting art, as objects of cultural ecology.
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45

Taškāne, Alise. "ENVIRONMENT AND ECOLOGY ISSUES IN WORKS OF GERMAN STREET ART". Culture Crossroads 13 (9 de noviembre de 2022): 48–64. http://dx.doi.org/10.55877/cc.vol13.114.

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This article deals with the development of environmental and ecological issues in Germany since the 1970s, and how these issues are represented in works of street art since the beginning of the development of modern graffiti, and later street art, in Germany. The purpose of this research is to identify differences in the ecological and environmental issues in works of graffiti and street art from the 1970s to present day in Germany. This has been done by examining general themes of environmental and ecological issues in graffiti and street art and by studying some of the specific examples of artwork, using research methods by visual analysis based on study “Reading Images: The Grammar of Visual Design” by Gunther Kress and Theo van Leeuwen, and visual analysis of iconography and iconology, described by Marion G. Müller in “The SAGE Handbook of Visual Research Methods” by Eric Margolis and Luc Pauwels. The first phase of the research involves an overview of the socio- political background of the ecological and environmental issues in Germany since the 1970s, as well as development of modern graffiti and street art in Germany in the context of ecology and environment, using the method of iconology. The second phase involves examining physical examples of graffiti and street art in Germany. The final phase deals with regional differences reflected in artists’ work in Germany. This article will provide general insights in graffiti and street art in Germany and it will explore how German artists tackle the environmental and ecological issues in their works.
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46

Wakker, Viktor. "To the ecology of trematodes Opisthioglyphe ranae (Telorchidae)". Principles of the Ecology 26, n.º 1 (marzo de 2018): 38–59. http://dx.doi.org/10.15393/j1.art.2018.6584.

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47

MARIA, TATIANA F., JAN VANAVERBEKE, ANN VANREUSEL y ANDRÉ M. ESTEVES. "Sandy beaches: state of the art of nematode ecology". Anais da Academia Brasileira de Ciências 88, n.º 3 suppl (10 de octubre de 2016): 1635–53. http://dx.doi.org/10.1590/0001-3765201620150282.

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ABSTRACT In this review, we summarize existing knowledge of the ecology of sandy-beach nematodes, in relation to spatial distribution, food webs, pollution and climate change. We attempt to discuss spatial scale patterns (macro-, meso- and microscale) according to their degree of importance in structuring sandy-beach nematode assemblages. This review will provide a substantial background on current knowledge of sandy-beach nematodes, and can be used as a starting point to delineate further investigations in this field. Over decades, sandy beaches have been the scene of studies focusing on community and population ecology, both related to morphodynamic models. The combination of physical factors (e.g. grain size, tidal exposure) and biological interactions (e.g. trophic relationships) is responsible for the spatial distribution of nematodes. In other words, the physical factors are more important in structuring nematodes communities over large scale of distribution while biological interactions are largely important in finer-scale distributions. It has been accepted that biological interactions are assumed to be of minor importance because physical factors overshadow the biological interactions in sandy beach sediments; however, the most recent results from in-situ and ex-situ experimental investigations on behavior and biological factors on a microscale have shown promise for understanding the mechanisms underlying larger-scale patterns and processes. Besides nematodes are very promising organisms used to understand the effects of pollution and climate changes although these subjects are less studied in sandy beaches than distribution patterns.
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48

Jiang, ZiWen y Feng Wang. "Study on Environmental Art Design Based on Ecology Concept". Journal of Sensors 2022 (8 de febrero de 2022): 1–8. http://dx.doi.org/10.1155/2022/8034930.

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Ecological design concept is a design concept aimed at advocating green environmental protection and sustainable development, which is widely used in different cases of environmental design including urban and kindergarten. In our study, using literature research, case reference, and field research as research methods, through the theoretical research of domestic and foreign kindergarten environment design and interpretation of typical cases to summarize the ecological design method and design strategy, can be further applied in larger field such as urban, basin, and/or region. Then, take “Chenguang” kindergarten in Beijing as example to analyze ecological element in there. Aiming at ecological landscape, ecological humanities, and ecological experience as the goal, the kindergarten’s architectural appearance and indoor and outdoor environment have been transformed and redesigned. Ecological principle and ecological strategy from our study present an important reference meaning in improving the quality of urban space environment and shaping a good city image which are of great significance.
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49

LYDON, Patrick M. y Suhee KANG. "Art and Ecology at the Edge of Osaka, Japan". Landscape Architecture Frontiers 9, n.º 1 (2021): 134. http://dx.doi.org/10.15302/j-laf-1-050029.

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50

Watkins, Charles. "Art Meets Ecology: The Arborealists in Lady Park Wood". Landscape History 42, n.º 1 (2 de enero de 2021): 150–51. http://dx.doi.org/10.1080/01433768.2021.1928903.

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