Bibliographies thématiques / Art and technology – history

Littérature scientifique sur le sujet « Art and technology – history »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 26 juillet 2024

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Articles de revues sur le sujet "Art and technology – history"

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Carrier, David, et Didier Maleuvre. « Museum Memories. History, Technology, Art ». Journal of Aesthetic Education 35, no 2 (2001) : 122. http://dx.doi.org/10.2307/3333680.

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Sundt, Christine L. « Building the Bridge : Art History, Meet Technology ! » Visual Resources 13, no 2 (janvier 1997) : 161–67. http://dx.doi.org/10.1080/01973762.1997.9659006.

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Ruby, Louisa Wood, et Samantha Deutch. « Harnessing technology for art history at the Frick Art Reference Library ». XRDS : Crossroads, The ACM Magazine for Students 24, no 3 (3 avril 2018) : 20–23. http://dx.doi.org/10.1145/3186636.

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Chan, Ching-Chuan, et Cynthia Andreas. « Art Appreciation History and Technology : Bridging the Gap ». International Journal of the Humanities : Annual Review 5, no 6 (2007) : 19–24. http://dx.doi.org/10.18848/1447-9508/cgp/v05i06/41402.

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Li, Pengzhu, Magdalena Langer, Theresa Vilsmaier, Marie Kramer, Franziska Sciuk, Brenda Kolbinger, André Jakob et al. « Vascular Health of Females with History of Assisted Reproductive Technology ». Journal of Cardiovascular Development and Disease 11, no 2 (18 février 2024) : 66. http://dx.doi.org/10.3390/jcdd11020066.

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The use of assisted reproductive technologies (ART) for the treatment of infertility is gaining popularity. Limited data on the overall vascular health of females with history of ART are available. This pilot study aimed to investigate the overall vascular health of females with history of ART compared to individuals who conceived spontaneously. The assessment of overall vascular health included the measurement of brachial blood pressure, central blood pressure, and pulse wave velocity, as well as the evaluation of the arterial stiffness and carotid intima-media thickness (cIMT) of the common carotid arteries. Conventional blood lipids including lipoprotein a (Lp(a)) were also determined. In total, 45 females with history of ART and 52 females who conceived spontaneously were included (mean age: 47.72 ± 5.96 years vs. 46.84 ± 7.43 years, p = 0.525). An initial comparison revealed a significantly higher prevalence of elevated Lp(a) in ART females (p = 0.011). However, after multiple comparison correction, the significant result disappeared (p = 0.132). Within the cohort of ART females, no significantly higher cardiovascular risk was detected regarding vascular function. The potentially higher prevalence of elevated Lp(a) in ART females must be further investigated in future studies, as it might contribute to the impaired reproductive process in this cohort.
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Fotakis, Thomas, et Anastasios A. Economides. « Art, science/technology and history museums on the web ». International Journal of Digital Culture and Electronic Tourism 1, no 1 (2008) : 37. http://dx.doi.org/10.1504/ijdcet.2008.020134.

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Martin, Julie. « A Brief History of Experiments in Art and Technology ». IEEE Potentials 34, no 6 (novembre 2015) : 13–19. http://dx.doi.org/10.1109/mpot.2015.2443897.

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Carrier, David, et Robert Cavalier. « Theoretical and Practical Perspectives on Technology and the History of Art History ». Leonardo 22, no 2 (1989) : 245. http://dx.doi.org/10.2307/1575238.

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Dietz, Steve. « Ten Dreams of Technology ». Leonardo 35, no 5 (octobre 2002) : 509–22. http://dx.doi.org/10.1162/002409402320774330.

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This article presents the ten dreams of technology that frame the author/ c urator's selection of ten new media artworks. The “dreams” or themes presented by the author have been developed and/or questioned by artists throughout the history of the intersection of art and technology. This history emerges through artworks that the author describes as containing a “compelling vitality that we must admire.” The collection of dreams includes: Symbiosis, Emergence, Immersion, World Peace, Transparency, Flows, Open Work, Other, New Art, and Hacking. The author notes that these dreams of technology have a future, even if it is not yet determined.
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Chandler, Lisa, Alistair Ward et Lisa Ward. « ‘Immersed in Art’ : Engaged learning in art and design history ». International Journal of Education Through Art 17, no 2 (1 juin 2021) : 235–52. http://dx.doi.org/10.1386/eta_00063_1.

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Established approaches to art history pedagogy typically involve a primarily passive form of instruction incorporating the viewing of works projected on screens. While such approaches can convey valuable information, they can also contribute to student disengagement and do not necessarily support deep learning. This article examines three learning initiatives incorporating an immersive teaching space to determine how these forms of technology-enhanced active learning might enhance student comprehension and engagement. The article considers how learning design incorporating the affordances of such immersive environments can provide multimodal learning experiences that stimulate student imaginations and support learning and engagement in a manner that complements rather than replaces traditional modes of instruction.
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Thèses sur le sujet "Art and technology – history"

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Yoo, Ahyoung. « To Be Two Places at Once : Technology, Globalization and Contemporary Korean Art ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500618781488661.

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Taylor, Grant D. « The machine that made science art : the troubled history of computer art 1963-1989 ». University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.

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[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy
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McCray, William Patrick. « The culture and technology of glass in Renaissance Venice ». Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290650.

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Venetian glass, especially that of the Renaissance, has been admired for centuries due to its quality workmanship and overall visual appeal. In addition, a certain mystique surrounds the glassmakers of Venice and their products. This dissertation research undertakes a comprehensive view of the culture and technology of Renaissance Venetian glass and glassmaking. Particular attention is paid to luxury vessel glass, especially those made of the "colorless" material typically referred to as cristallo. This segment of the industry is seen as the primary locus of substantial technological change. The primary question examined in this work is the nature of this technological change, specifically that observed in the Renaissance Venetian glass industry circa 1450-1550. After providing an appropriate social and economic context, a discussion of Venice's glass industry in the pre-Renaissance is given. Industry and guild trends and conditions which would be influential in later centuries are identified. In addition, the sudden expansion of Venice's glass production in the mid-15th century is described as a self-catalyzed phenomenon in response to prevailing cultural and economic conditions. Demand is identified as a necessary precursor to the production of luxury glass. Building on this concept, activities and behaviors relevant to demand, production, and distribution of Venetian glass are examined in depth. The interaction between the Renaissance consumer and producer is treated along with the position of Venice's glass industry in the overall culture and economy of the city. It is concluded that the technological changes observed in Venice's Renaissance luxury glass industry arose primarily out of perceived consumer demand. Social and economic circumstances particular to Renaissance Italy created an environment in which a technological development such as cristallo glass could take place. The success of the industry in the 15th and 16th centuries can be found in the fruitful interplay between consumers and producers, the manner in which the industry was organized, coupled with the skill of the Venetian glassmakers to make and work new glass compositions into a variety of desired objects.
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Herzog, Richard. « Art history with a click of a mouse or a flip of a page ? / ». Full text available online, 2007. http://www.lib.rowan.edu/find/theses.

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Luckner, Peter P. « The Topology of Time ». The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405958596.

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Hennig, Sybille. « The machine and painting : an investigation into the interrelationship(s) between technology and painting since 1945 ». Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
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Timney, Todd F. « Design History Matters : Visualizing Graphic Design History Through New Media ». VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.

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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challenge—to develop open-ended systems that adapt to dynamic content, customization, and multiple authorship—can be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.
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Nunez, Adaid German Alfonso. « Between technophilia, Cold War and rationality : a social and cultural history of digital art ». Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12017/.

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Evoking his early personal experiences, computer art pioneer Paul Brown wrote in the mid-1990s that to work with computers was akin to a ‘kiss of death’. According to him, as a result of sheer prejudice, the majority of people in the art world did not acknowledge such artworks as interesting, valid or important. Although recurrent in the literature concerned with such art, Brown’s claims must be confronted with the relative success of artistic practices interchangeably labelled as computer, new media, cybernetic, electronic or simply digital art. However, as attested by this proliferation of labels as well as by the development of numerous dedicated awards, degrees, galleries, museums, awards and publications, the success of such practices cannot be explained by artistic merit alone. Since many in the art world do not accept these artworks, as Brown and others suggest, how can we explain the works’ success in securing and developing their own space over the course of fifty years? This thesis investigates the emergence, development and institutionalisation of the field termed here as ‘art, science and technology’ (AST) between 1965 and the mid-1970s in Europe and North America. Also recognised by the aforementioned labels (among others), AST is an umbrella term that arguably designates the artistic practices interested in the adoption, theorisation and dissemination of post-war technologies and, particularly, information technology. Yet, despite this shared interest, here I argue that it is the particular institutional arrangement of AST that best distinguishes it from other artistic practices. A direct consequence of its rejection, AST’s emergence as a separate field is here explained via a revision of its initial social and cultural contexts. Arising from the technophile cultural climate of the long 1950s, and alongside the massive investments in technology made by Western governments in the same period, early AST developed not within traditional artistic spaces but within industries and universities. In the late 1960s, however, with the rise of economic, political and social uncertainties alongside escalating international conflicts, it became increasingly difficult to justify an art produced with the tools and support of the military– industrial complex. If on the one hand artists such as Brown understood these new artworks as central to art and its history, a normative development of a new technological era, on the other hand opponents located at the centre of contemporary art lambasted these new artworks for their supposedly scientific, commercial and aesthetic pretensions. Differently from previous attempts aimed at justifying the artistic worthiness of art produced with post-war technology, this thesis presents the history of such practices from the point of view of its own struggle – that is, its fight for survival. Ultimately, here I explain and describe how AST became detached from art while claiming its status. This is an effort not interested in the merits of these practices per se but, instead, concerned with AST’s development as an autonomous and prosperous field.
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Levi, Rachel M. « A Digital Crisis ? Art History and Its Reproductions in the 20th and 21st Century ». Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/689.

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This thesis analyzes the emergence, presence, and use of digital reproductions in the scholarship of art history and how these reproductions impact individual encounters with art. It will address matters related to the authenticity of reproductions, the development of modern technologies, and the rise of new media, reflecting on issues related to integrating technology into the discipline and proposing how to deal with the digital reproductions in the study of art history.
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Ikard, Carol. « The Aesthetic Experience, Flow, and Smart Technology : Viewing Art in a Virtual Environment ». ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2831.

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Smart technology can support art educators and museum professionals in mediating the aesthetic experience. It can also increase museum attendance, enrich the viewer's delight and engagement with artworks and art collections, and provide an avenue for extending art on a global level. The purpose of this study was to determine the extent to which a mobile art app with text-based narrative influences scores on an aesthetic experience questionnaire. This quantitative research measured the difference in pretest and posttest human-computer interaction scores on the Aesthetic Experience Questionnaire Form after participants used two versions of a mobile art app. Csikszentmihalyi's flow was the theoretical framework. After the administration of the pretest to 67 participants, 25 participants successfully viewed an art app with or without verbiage and then completed the posttest. Results revealed a significant (p < .001) mean increase in questionnaire scores among the group that used the app with verbiage (mean difference = 0.41), but no significant improvement among the group that used the app without verbiage (mean difference = -0.03). These findings indicate that certain mobile technologies are capable of mediating an aesthetic experience. Future research may provide information to educators and museums about the quality of the aesthetic experience. This information may increase and enrich human aesthetic experiences with art and may assist to develop human understanding of different perceptions that ultimately engender inclusivity and positive social change.
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Livres sur le sujet "Art and technology – history"

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Maleuvre, Didier. Museum memories : History, technology, art. Stanford, Calif : Stanford University Press, 1999.

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van, Oosten Thea, Shashoua Yvonne, Waentig Friederike et ICOM Committee for Conservation. Meeting, dir. Plastics in art : History, technology, preservation. München : Siegl, 2002.

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B. Weinreb Architectural Books Limited. Italian architecture : Art history and technology. London : B. Weinreb Architectural Books Ltd, 1987.

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Stacey, Pierson, dir. Song ceramics : Art history, archaeology and technology. London : Percival David Foundation of Chinese Art, School of Oriental and African Studies, University of London, 2004.

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Bingham, Jane. Science & technology. Oxford : Raintree, 2006.

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Kockelkoren, Petran. Technology : Art, fairground and theatre. Rotterdam : NAi Publishers, 2003.

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Ingpen, Robert R. Art and technology through the ages. New York : Chelsea House Publishers, 1995.

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Ingpen, Robert R. Art and technology through the ages. New York : Chelsea House Publishers, 1995.

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Melanie, Keen, dir. Frequencies : Investigations into culture, history and technology. [London] : Institute of International Visual Arts, 1998.

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Francastel, Pierre. Art & technology in the nineteenth and twentieth centuries. New York : Zone Books, 2000.

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Chapitres de livres sur le sujet "Art and technology – history"

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Earnshaw, Rae. « History ». Dans Art, Design and Technology : Collaboration and Implementation, 1–7. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58121-7_1.

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Stanchev, Peter L. « Multimedia Standards. History. State of Art ». Dans Future Generation Information Technology, 39–42. Berlin, Heidelberg : Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-27142-7_6.

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Chau, Christina. « Systems Aesthetics : A Key Polemic in Contemporary Kinetic Art History ». Dans Movement, Time, Technology, and Art, 57–73. Singapore : Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4705-3_4.

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Guidi, Simone. « Virtuality Beyond Reproduction. Remarks on the History of Metaphysics ». Dans Conceiving Virtuality : From Art To Technology, 181–210. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24751-5_12.

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Su, Chen. « The Affect of History Cultural Art in Art Education ». Dans Advanced Technology in Teaching - Proceedings of the 2009 3rd International Conference on Teaching and Computational Science (WTCS 2009), 657–64. Berlin, Heidelberg : Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-11276-8_87.

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Guo, Shuchun. « The Nine Chapters on the Mathematical Art and Liu Hui ». Dans History of Science and Technology in China, 591–667. Singapore : Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7853-3_16.

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Hutson, James, Jason Lively, Bryan Robertson, Peter Cotroneo et Martin Lang. « Painting by Numbers : A Brief History of Art and Technology ». Dans Creative Convergence, 37–85. Cham : Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-45127-0_3.

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Shan, Hailan. « Application of CAI Computer Technology in Teaching Western Art History ». Dans Application of Intelligent Systems in Multi-modal Information Analytics, 112–17. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15740-1_18.

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Boyd Davis, Stephen, et Simone Gristwood. « Computing, Design, Art : Reflections on an Innovative Moment in History ». Dans IFIP Advances in Information and Communication Technology, 101–15. Cham : Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47286-7_7.

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Bier, Carol. « Geometry in Islamic Art ». Dans Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1–21. Dordrecht : Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-3934-5_10111-1.

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Actes de conférences sur le sujet "Art and technology – history"

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Ter-Stepanian, Anahit. « USING GAMES IN ART HISTORY COURSES ». Dans International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.2280.

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OKeefe, Linda. « Sound Art and New Media : An Alternate History ». Dans Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/soundartandnewmedia.

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Holt, Bonnie J., et Laura Hartwick. « Visual image retrieval for applications in art and art history ». Dans IS&T/SPIE 1994 International Symposium on Electronic Imaging : Science and Technology, sous la direction de Carlton W. Niblack et Ramesh C. Jain. SPIE, 1994. http://dx.doi.org/10.1117/12.171782.

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Pappa, Marina. « INTERDISCIPLINARY APPROACH IN LANGUAGE TEACHING : USING ART AND HISTORY ». Dans 15th International Technology, Education and Development Conference. IATED, 2021. http://dx.doi.org/10.21125/inted.2021.1143.

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Hao, Weikun. « Research and Education in the Contemporary Context of Art History From the Vision to the Art ». Dans International Conference on Education, Management and Computing Technology (ICEMCT-16). Paris, France : Atlantis Press, 2016. http://dx.doi.org/10.2991/icemct-16.2016.175.

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Malo, Silvia, et Diego González. « GAMIFICATION AS A TEACHING STRATEGY IN THE LEARNING PROCESS OF ART HISTORY ». Dans 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.0202.

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Matsui, Y., K. Nagatake, M. Takeshita, K. Katsumata, A. Sano, H. Ichikawa, H. Saitohu et M. Sakaki. « Development and Technology of High Voltage VCBs ; Breaf History and State of Art ». Dans 2006 International Symposium on Discharges and Electrical Insulation in Vacuum. IEEE, 2006. http://dx.doi.org/10.1109/deiv.2006.357280.

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Srivastava, Sakshi, et Chhavi Bajpai. « PLATFORM FOR ART MARKETPLACE UTILIZING BLOCKCHAIN TECHNOLOGY ». Dans Computing for Sustainable Innovation : Shaping Tomorrow’s World. Innovative Research Publication, 2024. http://dx.doi.org/10.55524/csistw.2024.12.1.42.

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Blockchain is a new technology that has the power to transform international trade and build dependable connections inside multi-party networks of business. There are several real-world applications for blockchain technology. One particular sector where it fits very well with the way art forensics and transactions are carried out, monitored, and documented is the art industry. This inspires us to continue building the ArtChain platform in order to support the art industry. We introduce ArtChain, an integrated trade system built on blockchain technology, in this article. From bottom to top, it consists of the deployment scripts, the front end, the back end, the services, the smart contract, and the chain connection. To the best of our knowledge, this is Australia's first blockchain-enabled art trade platform. For the purpose of art asset registration, provenance, and traceability, it offers a transparent, privacy-preserving, and tamper-proof transaction history. Our unbiased examination and assessment demonstrate the applicability and usefulness of the ArtChain platform.
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Colibaba, Anca cristina, Irina Gheorghiu, Stefan Colibaba, Odette Arhip, Claudia elena Dinu et Ovidiu Ursa. « FLIPPED CLASSES OR TAKING ADVANTAGE OF STUDENTS' ADDICTION TO STATE-OF-THE-ART TECHNOLOGY ». Dans eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-243.

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The article is a study based on MyStory, a project funded by the European Commission (under KA3 ICT) for the years 2011-2013, which was developed within an international partnership including institutions from Finland, Ireland, Lithuania, Romania, Slovenia and the United Kingdom. The project created a collection of oral history items, life stories narrated by senior citizens and gathered by young people. The project made good use of the educational value of these testimonials which recreated the recent history of Europe from different angles and transferred their lessons to the young generation. Oral history as an authentic combination of history, culture and language stimulates discussion and encourages reflection. It is a powerful learning tool. When oral history is supported by ICT, it undoubtedly becomes one of the best ingredients to increase students' motivation to learn foreign languages. The method, called 'flipped learning', highly encourages a student-centred learning environment, where the student is actively engaged and empowered to take the lead in the learning process. The flipped classroom asks teachers to give up their leading role in teaching in order to encourage students' contributions. It also asks students to change from passive to committed participants and assume the responsibility for their learning. The paper focuses on the method which involves use videos as the main channel of content delivery and which was applied with students at the School of Medicine, Iasi. We analyse the activities carried out during the flipped classes as well as the benefits highlighted by teachers and students (increased student-teacher interaction, increased student responsibility for their learning, increased student motivation and participation in class).
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Priest, Gail. « The Now of History : Tomographic and Ficto-Critical Approaches to Writing About Sonic Art ». Dans RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.9.

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Rapports d'organisations sur le sujet "Art and technology – history"

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Ashdown, Susan P., et Kimberly A. Phoenix. Half Scale, Full Engagement : Uniting Art, History and Technology to Teach Patternmaking. Ames : Iowa State University, Digital Repository, novembre 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1342.

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Carlin, P. W., A. S. Laxson et E. B. Muljadi. The History and State of the Art of Variable-Speed Wind Turbine Technology. Office of Scientific and Technical Information (OSTI), mars 2001. http://dx.doi.org/10.2172/776935.

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Blakeley, John. Development of Engineering Qualifications in New Zealand : A Brief History. Unitec ePress, février 2016. http://dx.doi.org/10.34074/ocds.027.

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Post 1840, New Zealand’s early engineers had mainly trained in Britain prior to emigrating. The need for educating and training young engineers was soon recognised. This was initially done by means of a young engineer working under the close supervision of an older, experienced engineer, usually in a cadetship arrangement. Correspondence courses from the British engineering institutions became available from 1897. Several technical colleges in New Zealand implemented night classes to assist students who were preparing for the associated examinations. The first School of Engineering was established at Canterbury University College in 1887. Teaching of engineering, initially within a School of Mines, commenced at Auckland University College in 1906. Engineering degrees did not become available from other universities in New Zealand until the late 1960s. The New Zealand Certificate in Engineering (NZCE) was introduced as a lower level of engineering qualification in the late 1950s and was replaced by a variety of two-year Diploma in Engineering qualifications from 2000, now consolidated together and known as the New Zealand Diploma in Engineering (NZDE) and taught at fifteen institutions throughout New Zealand from 2011. At an intermediate level, the three-year Bachelor of Engineering Technology degree qualification (BEngTech) was also introduced from 2000 and is now taught at seven institutes of technology and polytechnics, and the Auckland University of Technology.
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Kume, Junko. Medieval European Art History in Japan. Edicions de la Universitat de Lleida, 2023. http://dx.doi.org/10.21001/itma.2023.16.03.

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Nucera, Diana J., et Catalina Vallejo. Media-making Pedagogies for Empowerment & ; Social Change : An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, février 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Girard, Nancy. Prospective Course - ART H 4XX/5XX Beyond Graffiti, History of Street Art. Ames (Iowa) : Iowa State University, janvier 2011. http://dx.doi.org/10.31274/cc-20240624-1171.

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Webb, Philip, et Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, novembre 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.
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Crooks, Roderic. Toward People’s Community Control of Technology : Race, Access, and Education. Social Science Research Council, janvier 2022. http://dx.doi.org/10.35650/jt.3015.d.2022.

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This field review explores how the benefits of access to computing for racialized and minoritized communities has become an accepted fact in policy and research, despite decades of evidence that technical fixes do not solve the kinds of complex social problems that disproportionately affect these communities. I use the digital divide framework—a 1990s policy diagnosis that argues that the growth and success of the internet would bifurcate the public into digital “haves” and “have-nots”—as a lens to look at why access to computing frequently appears as a means to achieve economic, political, and social equality for racialized and minoritized communities. First, I present a brief cultural history of computer-assisted instruction to show that widely-held assumptions about the educational utility of computing emerged from utopian narratives about scientific progress and innovation—narratives that also traded on raced and gendered assumptions about users of computers. Next, I use the advent of the digital divide framework and its eventual transformation into digital inequality research to show how those raced and gendered norms about computing and computer users continue to inform research on information and communication technologies (ICTs) used in educational contexts. This is important because the norms implicated in digital divide research are also present in other sites where technology and civic life intersect, including democratic participation, public health, and immigration, among others. I conclude by arguing that naïve or cynical deployments of computing technology can actually harm or exploit the very same racialized and minoritized communities that access is supposed to benefit. In short, access to computing in education—or in any other domain—can only meaningfully contribute to equality when minoritized and racialized communities are allowed to pursue their own collective goals.
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Cunningham et Wilcox. PR-015-12205-R01 Technology Challenges for Liquid CO2 Pump Stations. Chantilly, Virginia : Pipeline Research Council International, Inc. (PRCI), décembre 2013. http://dx.doi.org/10.55274/r0010023.

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As a result of proposed new climate change legislation requiring carbon capture and sequestration (CCS) of atmospheric carbon dioxide (CO2) emissions, there has been increased interest in the development of carbon capture technology worldwide. CCS aims to reduce CO2 emissions to the atmosphere by capturing it from the emissions of large producers and storing it underground. One often overlooked component of the CCS process is the transmission of captured CO2 to sequestration sites. This anthropogenic, or man-made, CO2 presents unique challenges to transportation because of the inclusion of impurities such as water (H2O), Hydrogen Sulfide (H2S), Carbon Monoxide (CO), Hydrogen (H2), and Methane (CH4). These impurities cause changes in the properties of the CO2 stream and complicate the design of pipelines. Pure CO2 pipelines for Enhanced Oil Recovery (EOR) have a long history of operation in North America, but this technology must be adapted to anthropogenic CO2 uses. Other technologies can potentially be adapted from the oil and gas industry. There are still challenges to be addressed, however, before anthropogenic CO2 pipeline technology can be considered mature. The objective of this project is to pinpoint areas of CO2 pipeline technology that still require development related to anthropogenic CO2 pump stations and their operation when transporting CO2 as a dense phase or supercritical fluid. This report focuses on identifying these challenges and providing a research roadmap to guide the development of anthropogenic CO2 technology to maturity. This project identified key technology challenges related to the gas properties, equipment, and operation of anthropogenic CO2 pipeline pump stations. Through an extensive literature review, interviews with industry professionals, and input from the PRCI committee, a list of relevant technology challenges was developed. The technologies were then ranked the level of development of these challenges using the Technology Readiness Level (TRL) scale to identify technologies in need of significant development. This report addresses the progress of technologies determined to have a low TRL level of development.
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Orenstein, Harold S. Selected Readings in the History of Soviet Operational Art. Fort Belvoir, VA : Defense Technical Information Center, mai 1990. http://dx.doi.org/10.21236/ada231842.

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