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Artículos de revistas sobre el tema "Space (Art)"

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

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1

Gollifer, Sue. "Art Space". Digital Creativity 22, n.º 2 (junio de 2011): 115–26. http://dx.doi.org/10.1080/14626268.2011.579403.

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2

Miodownik, Mark. "Space art". Materials Today 6, n.º 11 (noviembre de 2003): 13. http://dx.doi.org/10.1016/s1369-7021(03)01115-5.

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3

Petrič, E., I. L. Schlacht y B. Foing. "Art & Space: Eva Petrič's Art Project for Space and in Space". Universal Journal of Geoscience 4, n.º 3 (junio de 2016): 72–79. http://dx.doi.org/10.13189/ujg.2016.040303.

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4

Tazov, P. Yu. "Marketing of art spaces: essence, characteristics, prospects". Vestnik Universiteta, n.º 2 (21 de marzo de 2024): 31–40. http://dx.doi.org/10.26425/1816-4277-2024-2-31-40.

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The article studies the peculiarities of promoting art spaces as significant social and cultural objects that act as a locomotive for territorial development, attracting tourists and involving the population in cultural activities. Theoretical approaches to the marketing of art objects and art industry have been analyzed. The key functions of art spaces have been studied. It is proved that art spaces marketing has a more complex structure due to the promotion object multifunctionality than art objects marketing. The author’s art space marketing communication model has been proposed. It is based on the art spaces functions for visitors, sponsors, partners, and government agencies. This model allows differentiating targeted marketing communications for each audience, based on the functions and needs of target groups and partners. Unlike art marketing, art spaces marketing implies a complex communication with target audiences, which includes historical social and cultural, territorial, tourist, socialization, and other aspects of art space. The article substantiates the position that art space cannot be only a commercial project, but due to its social and cultural aspects should perform socialization tasks for young people. Hence, there is a need for legal regulation of art spaces in the public-private partnership framework. This requirement introduces its own adjustments in the marketing communications construction.
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5

Rob Latham. "Space Age Art". Science Fiction Studies 42, n.º 3 (2015): 597. http://dx.doi.org/10.5621/sciefictstud.42.3.0597.

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6

Gollifer, Sue. "Art Space: editorial". Digital Creativity 22, n.º 4 (diciembre de 2011): 289–92. http://dx.doi.org/10.1080/14626268.2011.634422.

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7

Gollifer, Sue, Andy Lomas, William Latham, Stephen Scrivener, Sean Clark y Daniel Brown. "Art Space: CAS50". Digital Creativity 29, n.º 4 (2 de octubre de 2018): 264–73. http://dx.doi.org/10.1080/14626268.2018.1534476.

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8

Peden, Douglas D. "Wave Space Art". Leonardo 37, n.º 5 (octubre de 2004): 376–82. http://dx.doi.org/10.1162/0024094041955999.

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9

Franceschet, Massimo. "Art for Space". Journal on Computing and Cultural Heritage 13, n.º 3 (5 de octubre de 2020): 1–9. http://dx.doi.org/10.1145/3402443.

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10

Philippe, Jean-Marc. "Space Art: A Call for a Space Art Ethics Committee". Leonardo 23, n.º 1 (1990): 129. http://dx.doi.org/10.2307/1578477.

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11

Jiehong, Jiang. "Chinese art outside the art space". Journal of Contemporary Chinese Art 5, n.º 2 (1 de septiembre de 2018): 111–15. http://dx.doi.org/10.1386/jcca.5.2-3.111_2.

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12

Karimimoshaver, Mehrdad, Bahare Eris, Farshid Aram y Amir Mosavi. "Art in Urban Spaces". Sustainability 13, n.º 10 (17 de mayo de 2021): 5597. http://dx.doi.org/10.3390/su13105597.

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This study investigates the effect of art on promoting the meaning of the urban space. After considering the semantic dimension of the urban space and the mechanism of transferring the meanings of art through the views of experts, a model is presented for examining the art’s cooperation in promoting urban space meaning. In the first stage, the categories of space meanings influenced by art were extracted using the qualitative method of interpretative phenomenological analysis, and by examining 61 in-depth interviews in 6 urban spaces eligible for urban art in Tehran. In the second stage, these categories were surveyed in these spaces through 600 questionnaires after converting to the questionnaire items. Based on the results, “experience and perception capability”, “social participation”, and “relationship with context” were the main themes of the semantic relationships between art and urban space. Further, the lower scores related to the theme of “social participation” in the quantitative investigations indicate that this theme was weaker than the other themes in promoting the meaning of the urban space through the art in the selected urban spaces.
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13

Gollifer, Sue. "Art Space: ACM SIGGRAPH Art Gallery 2014". Digital Creativity 25, n.º 4 (2 de octubre de 2014): 360–68. http://dx.doi.org/10.1080/14626268.2014.972060.

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14

Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (20 de mayo de 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.
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15

Shabout, Nada. "Whose Space Is It?" International Journal of Middle East Studies 46, n.º 1 (febrero de 2014): 163–65. http://dx.doi.org/10.1017/s0020743813001347.

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Designers and architects argue that interaction in public spaces is the product of relations between physical, cultural, social, and aesthetic components. As an art historian, my interest in and understanding of the production of public space is necessarily linked to its visual construction and to public art in particular. Urban planners have always included art in public spaces as a means of forming relationships between the people and the space. Governments have similarly understood the political significance of public space and its power to make meaning and have commissioned art accordingly. This essay reflects on the role of aesthetics and public art in the production and transformation of the modern public space in the Arab world by considering two examples from Cairo and Baghdad.
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16

Ho, Christopher y Rosalyn Deutsche. "The Space of Art". PAJ: A Journal of Performance and Art 20, n.º 1 (enero de 1998): 118. http://dx.doi.org/10.2307/3245885.

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17

Boyce, Katherine. "Art in Outer Space". Leonardo 22, n.º 3/4 (1989): 457. http://dx.doi.org/10.2307/1575452.

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18

Clarke, Jenni. "Deep space abstract art". Practical Pre-School 2013, n.º 145 (febrero de 2013): ix—x. http://dx.doi.org/10.12968/prps.2013.1.145.ix.

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19

Comte, Pierre, Sharon Lipsey y Philippe Willekens. "Space art and education". Acta Astronautica 41, n.º 4-10 (agosto de 1997): 701–5. http://dx.doi.org/10.1016/s0094-5765(98)00068-x.

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20

Csontos, Dan. "The art of space". Nature Physics 4, n.º 11 (noviembre de 2008): 828. http://dx.doi.org/10.1038/nphys1132.

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21

Mitrache, Georgică. "Architecture, Art, Public Space". Procedia - Social and Behavioral Sciences 51 (2012): 562–66. http://dx.doi.org/10.1016/j.sbspro.2012.08.206.

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22

Clarke, David. "Para/site art space". Third Text 14, n.º 50 (marzo de 2000): 73–86. http://dx.doi.org/10.1080/09528820008576838.

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23

Kac, Eduardo. "Space Art: My Trajectory". Journal of Posthuman Studies 6, n.º 1 (junio de 2022): 4–18. http://dx.doi.org/10.5325/jpoststud.6.1.0004.

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Abstract This essay traces the author’s trajectory in space art. It starts in 1986, when he first conceived of a holographic poem to be flown to deep space (scheduled for liftoff in 2023), and continues into the twenty-first century through several works, including Inner Telescope, realized with the cooperation of French astronaut Thomas Pesquet aboard the International Space Station (ISS) in 2017. The author discusses his theoretical and practical involvement with space-related materials and processes. Special attention is given to his space artwork Adsum, conceived for the Moon.
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24

Kudijanovas, Laurynas. "Art Creating Imperial Space". Lietuvos istorijos studijos 52 (21 de diciembre de 2023): 145–50. http://dx.doi.org/10.15388/lis.2023.52.8.

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25

Yusifova, Nardana. "UNIFICATION OF EXACT SCIENCES AND ART (SPACE GEOMETRY-SPACE CHEMISTRY-ART SCIENCE)". PPOR 24, n.º 2 (2023): 209–34. http://dx.doi.org/10.36719/1726-4685/94/209-234.

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26

Kang, Taehwan y Jeongyoon Kang. "A Study on Heterotopia and Private Space in Contemporary Art". Korean Society of Culture and Convergence 45, n.º 1 (31 de enero de 2023): 523–34. http://dx.doi.org/10.33645/cnc.2023.01.45.01.523.

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The purpose of this study is to discuss the important spatiality in contemporary art. Contemporary spaces show a variety of shapes and scopes, from independent private spaces to wide open public spaces. This aspect of space also appears in the art exhibition hall. Therefore, the purpose of this thesis is to examine the form of space and the viewer's visual perception in installation art among contemporary art fields. Chapter 2 examines the spatiality of installation art and discusses the visual and perceptual experiences felt in space. Chapter 3 examines private space and private space, which are the minimum units of spatial classification. Through the installation work presented in this thesis, it is possible to confirm the space that the viewer remembers and the new spatial perception that occurs in the process of experiencing the work. The last chapter discusses the new space created by the artist and the audience, the space of heterotopia that is both private and public. In this way, it is thought that it can be applied to various fields by confirming the scalability and scalability of thinking about space that contemporary art pursues.
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27

Bureaud, Annick. "Did You Say Space Art? Leonardo's Commitment to Space Art, 35 Years On". Leonardo 38, n.º 5 (octubre de 2005): 374–75. http://dx.doi.org/10.1162/leon.2005.38.5.374.

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28

Vermeylen, Saskia. "Space Art as a Critique of Space Law". Leonardo 54, n.º 1 (febrero de 2021): 115–24. http://dx.doi.org/10.1162/leon_a_01990.

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This article traces the shared history of space law and space art, putting a spotlight on the work of African artists who retell the history and future of space travel from the perspective of the African archive, producing a more inclusive history for humanity than that produced by the seemingly lofty ideals of national and international space laws.
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29

Gan, Xiongwen. "Research on the Application and Development of Digital Media Art in Urban Public Space Design". Journal of World Architecture 8, n.º 2 (21 de mayo de 2024): 62–66. http://dx.doi.org/10.26689/jwa.v8i2.6632.

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Digital media art is an emerging art form that combines digital technology and media art. It has huge potential to bring innovation to urban public spaces and provide them with vibrant artistic experiences. This article analyzes the design significance and value of digital media art in urban public space, its various forms of application in urban public space design, and the innovative ideas and paths that digital media art can take in urban public space to guide the future. The application and innovative methods of digital media art in urban public space design provide certain theoretical and practical references for urban planners and designers.
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30

Wang, Jing. "To Make Sounds inside a “Big Can”: Proposing a Proper Space for Works of Sound Art". Leonardo 49, n.º 1 (febrero de 2016): 38–47. http://dx.doi.org/10.1162/leon_a_00895.

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Creators of sound art consider sound as both a tangible reality and a conceptual term; sound art works rely on and use listening as their predominant mode of perception. The author contextualizes sound art in China and problematizes existing venues where sound art is performed and exhibited. She then suggests that a proper space is necessary to certain works of sound art, and she proposes the “big can” as an ideal venue, based upon previous experience with existing art spaces as well as the unique nature of sound art. Sound generates space; now it is time to make space for sound.
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31

Nilasari, Nindita, Tofan Dwi Hardjanto y Wiwik Retno Handayani. "CHILD-GENDERED MENTAL SPACES TRIGGERED BY SPACE BUILDERS REFLECT ART PSYCHOTHERAPY CLIENTS’ CHILDHOOD EXPERIENCES". SALASIKA Indonesian Journal of Gender Women Child and Social Inclusion s Studies 6, n.º 2 (2 de marzo de 2024): 85–95. http://dx.doi.org/10.36625/sj.v6i2.115.

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ABSTRACT The language behaviour of clients’ reflection journey on art psychotherapy in the final stage of art psychotherapy sessions entitled ‘Reflect Interview’ reflects their childhood experiences that become a lifetime memory. In this paper, the topic of how the clients can construct their conceptual ideas of childhood experiences is discussed under a cognitive approach to language study. This article argues that: 1) There are REFLECTION SPACE, REALITY SPACE, DEPICTION SPACE and POSSIBILITY SPACE of the child-gendered mental spaces in the reflection journey on art psychotherapy, 2) Subject-Verb combinations, connectives and adverbs as the space builder on the child-gendered mental spaces and 3) Intersection between gender and child has experienced by the psychotherapy clients are generally related to weakness, depression, struggle and difficulties that become children's memories during their lifetime. These results are supported by a few background cases and government role illustrations in Indonesia. Keywords: Art psychotherapy; child-gendered mental spaces; space builder.
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32

Ogawa, Go. "Effect art that dominates space". Cardiovascular Diagnosis and Therapy 8, n.º 5 (octubre de 2018): 694–95. http://dx.doi.org/10.21037/cdt.2018.01.05.

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33

Šnédarová, Jana. "Zlín: Public Art and Space". International Journal of Social, Political and Community Agendas in the Arts 17, n.º 2 (2022): 35–49. http://dx.doi.org/10.18848/2326-9960/cgp/v17i02/35-49.

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34

Sedlovskiy, Anatoliy Anatolievich. "Space in Art and Cinema". Journal of Flm Arts and Film Studies 3, n.º 2 (15 de mayo de 2011): 58–64. http://dx.doi.org/10.17816/vgik3258-64.

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Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.
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35

Miller, Ron. "The Archaeology of Space Art". Leonardo 29, n.º 2 (1996): 139. http://dx.doi.org/10.2307/1576350.

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36

Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, n.º 1(94) (7 de julio de 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.

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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.
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37

Jewesbury, Daniel. "Public Space & 'Public Art'". Circa, n.º 98 (2001): 13. http://dx.doi.org/10.2307/25563756.

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38

Steiner, Jon. "The art of space management". Journal of Facilities Management 4, n.º 1 (enero de 2006): 6–22. http://dx.doi.org/10.1108/14725960610644195.

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39

Cartlidge, Edwin. "The art of space-time". Science 359, n.º 6371 (4 de enero de 2018): 41. http://dx.doi.org/10.1126/science.aar6576.

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40

jagodzinski, jan. "The Prosthetic Space of Art". Qualitative Inquiry 21, n.º 6 (14 de mayo de 2015): 510–19. http://dx.doi.org/10.1177/1077800415581887.

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41

Eaton, Lynn. "Hospital finds space for art". BMJ 336, n.º 7652 (8 de mayo de 2008): 1037.2–1037. http://dx.doi.org/10.1136/bmj.39566.641979.4e.

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42

KAWAGUCHI, Yoichiro. "The Art in Virtual Space". Journal of the Society of Mechanical Engineers 102, n.º 971 (1999): 619–20. http://dx.doi.org/10.1299/jsmemag.102.971_619.

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43

Dunkley, Wayne. "Creating Space: Web Art Practice". Leonardo 38, n.º 4 (agosto de 2005): 276. http://dx.doi.org/10.1162/leon.2005.38.4.276.

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44

Harley, Ralph. "Edward Steichen's modernist art-space". History of Photography 14, n.º 1 (enero de 1990): 1–22. http://dx.doi.org/10.1080/03087298.1990.10441018.

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45

Jarvis, Michael John. "Finding a space for art". International Journal of Education Through Art 10, n.º 1 (1 de marzo de 2014): 85–98. http://dx.doi.org/10.1386/eta.10.1.85_1.

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46

Bottinelli, Silvia. "Pedagogy, Art and Public Space". Public Art Dialogue 7, n.º 1 (2 de enero de 2017): 57–69. http://dx.doi.org/10.1080/21502552.2017.1288539.

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47

Kotov, Nicholas A. "The art of empty space". Science 358, n.º 6362 (26 de octubre de 2017): 448. http://dx.doi.org/10.1126/science.aap8994.

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48

LEGENKY, Yuriy y Viktoria STRELCHUK. "VIRTUAL SPACE AS ART DESIGN". Humanities science current issues 2, n.º 66 (2023): 69–74. http://dx.doi.org/10.24919/2308-4863/66-2-9.

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49

Gueorguiev, Manol y Adrian Anagnost. "Pandemic Design: Art, Space, and Embodiment". Design Issues 38, n.º 3 (2022): 5–19. http://dx.doi.org/10.1162/desi_a_00688.

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Abstract The COVID-19 pandemic has fundamentally altered experiences of space and engendered new spatial design tactics. This article discusses DIY pandemic design tactics used by U.S. microbusinesses to reshape embodied experiences of interior retail spaces, in relation to contemporary artworks. Over the course of the pandemic, large corporations developed standardized, mass-produced designs for pandemic wayfinding and interior demarcation. In contrast, many microbusinesses used DIY pandemic design tactics having formal qualities and phenomenological implications that resemble precedents in contemporary art. Although pandemic safety protocols could be seen as a form of social control, this article depicts their visualization in graphics and barriers as acts for reshaping collective space and as endangered forms of local, non-homogenized design.
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50

Demshina, A. Yu. "Dialogic building art space as a form of cultural development". Vestnik of Saint Petersburg State University of Culture, n.º 2 (31) (junio de 2017): 44–48. http://dx.doi.org/10.30725/2619-0303-2017-2-44-48.

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Art space have become quite common. They play an important role in shaping the cultural landscape and the development of the modern city. On the example of the creative spaces of St. Petersburg and the author’s personal experience can be traced to the capacity and features of these locations. You can highlight a typology of self-organized commercial and non-commercial art spaces by type of activity, identify diff erences in communication and contemporary art spaces with informal organizations of the Soviet period. The difference of the art space of the events of contemporary art seems less pressure on the part of the organizers and the absence of persuasive verbal comments frequently
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