Articles de revues : « Art and technology – history »

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Carrier, David, et Didier Maleuvre. « Museum Memories. History, Technology, Art ». Journal of Aesthetic Education 35, n^o 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, n^o 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, n^o 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, n^o 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, n^o 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, n^o 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, n^o 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, n^o 2 (1989) : 245. http://dx.doi.org/10.2307/1575238.

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Dietz, Steve. « Ten Dreams of Technology ». Leonardo 35, n^o 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, n^o 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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Piene, Otto, et Robert Russett. « Sky, Scale and Technology in Art ». Leonardo 41, n^o 5 (octobre 2008) : 510–18. http://dx.doi.org/10.1162/leon.2008.41.5.510.

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Otto Piene discusses his projects with new media as well as the history and tradition of techological art. Topics range from archaic megalithic structures to large-scale, outdoor contemporary works articulated and enhanced by electronic forms of expression. Piene discusses his concept of ‘sky art’ and examines his attempts to expand the physical proportions of art and to communicate publicly with a large audience. Other issues raised include the beneficial effects of integrating art and science, the need to reevaluate and update art education and the importance of developing new forms of technological art that will improve communication and more effectively express human concerns.

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Harrison, D. « The Art, Science , and Technology of Medieval Travel ». English Historical Review CXXIV, n^o 511 (17 novembre 2009) : 1476–78. http://dx.doi.org/10.1093/ehr/cep334.

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Kater, M. H. « Heidegger's Confrontation with Modernity : Technology, Politics, and Art ». German History 9, n^o 2 (1 avril 1991) : 254–56. http://dx.doi.org/10.1093/gh/9.2.254.

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Poster, Mark. « Culture and History : The Cases of Leisure, Art, and Technology ». French Historical Studies 18, n^o 1 (1993) : 131. http://dx.doi.org/10.2307/286958.

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Koszarski. « Intoduction : Art, Industry, Technology ». Film History 23, n^o 1 (2011) : 3. http://dx.doi.org/10.2979/filmhistory.23.1.3.

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Sobirovna, Usmanova Mukhlisakhan, et Akbaraliyeva is the daughter of Marjona Rakhmatillo. « PROVIDING INFORMATION ABOUT TEXTILES AND ITS HISTORY IN TECHNOLOGY CLASSES ». International Journal of Artificial Intelligence for Digital Marketing 1, n^o 1 (14 mars 2024) : 37–40. http://dx.doi.org/10.61796/ijaifd.v1i1.69.

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Tymofiienko, Bohdan. « Technological Art : History of the Concept and Its Interpretation ». ARTISTIC CULTURE. TOPICAL ISSUES, n^o 20(1) (22 avril 2024) : 190–95. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306930.

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The article examines the interdisciplinary nature of technological art, which involves the interaction of art, science, and technology. It discusses the impact of rapid technological development on the socio-cultural landscape of the world, as well as the modification of our perception of the surrounding environment. The main focus is on the history of the concept of “technological art”, which encompasses the evolution of the interplay between art and technology from mechanical through digital media to virtual and augmented reality technologies. Various interpretations of this concept are considered, particularly in the works of Frank Popper, who highlights the shift in aesthetics in the digital age, Paul Virilio’s critical view of technologies through their destructive impact on society, and Edward A. Shanken, who sees new perspectives for creativity in technological art. Jill Fantauzza notes a certain tension between technological art and traditional art, while Ellen Perlman speaks of two different directions in the functioning of technological art — the first aimed at integrating cutting-edge technologies as a form of artistic expression with the actualization of philosophical ideas, and the second direction aimed at inclusive engagement of a broad audience, presenting technological innovations with an entertainment or educational purpose. The author concludes that technological art should be viewed not only as a category of art that uses technological tools but as a broader reflection of the process of integrating the latest achievements into artistic processes, affecting the socio-cultural landscape. By combining aesthetic, conceptual, and technological dimensions, technological art fosters the emergence of new forms of art, expanding the arsenal of artists with new methods.

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Markov, Alexander V. « THE PSYCHOLOGY OF ART AS AN ART HISTORY DISCIPLINE ». Articult, n^o 4 (2022) : 80–101. http://dx.doi.org/10.28995/2227-6165-2022-4-80-101.

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The article deals with the general educational and special function of the discipline “Psychology of Art” in the system of training art historians. It is proved that this discipline is a part of critical theories, propaedeutic for producing a critical attitude to both aesthetic experience and the usual forms of expression of this experience. Thus, the discipline compensates for shortcomings in the philosophical education of art critics and introduces the principles of constructing a theoretical system as a multiple introduction of new forms of reflection. The historical approach to reading the discipline never contradicts these projects of systematization. The study of the discipline allows students to form the experience of independent research, the fitness to find a theoretical productivity in prominent works on the theory and history of art, and finally, to formulate the problem not as a result of aesthetic experience or individual procedures of knowledge, but as an effect of accepting art as a dynamic system for evaluating and qualifying objects, processes, and actions.

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Ratnadewi, Ratnadewi, Ariesa Pandanwangi et Agus Prijono. « Implementation of Art and Technology in Batik Purwakarta ». JTAM | Jurnal Teori dan Aplikasi Matematika 4, n^o 1 (24 avril 2020) : 64. http://dx.doi.org/10.31764/jtam.v4i1.1872.

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Indonesia is dominated by cities that have a history of batik, but Purwakarta does not have a history of batik. But thanks to the persistence of policy holders, Purwakarta currently has batik obtained by elevating the local wisdom of the city of Purwakarta. After surveys and interviews, several batik motifs were designed. The batik motif shape, size and position will be studied which will formulate mathematical equations based on basic geometric shapes such as circles, arches, lines, rectangles, which are implemented into the form of computer graphics (turtles) graph and explained in the form of an algorithm (pseudocode) computer programming to make autogenerative motifs on Purwakarta batik that did not exist before. Batik design is inspired by food and tourist locations which form the basis of the formation of typical Purwakarta batik motifs. Jatiluhur Dam, Datura Metel L. Flower, Sate Maranggi, Mangosteen Fruit is a local wisdom owned by the city of Purwakarta. The results of the morning glory batik design and Jatiluhur dew through mathematical and turtle charts are then formulated so that the batik motif design can be saved by documenting the mathematical equation or the pseudocode of the batik motif. With the results of digital motifs, the process of repeating patterns, duplicating and storing data becomes easier.

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O'Connor, Richard J. « Integrating Optical Videodisc and CD/ROM Technology to Teach Art History ». Journal of Educational Technology Systems 17, n^o 1 (septembre 1988) : 27–32. http://dx.doi.org/10.2190/xjke-27fd-2wmp-3nrt.

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This study determines the feasibility of combining Level III microcomputer-controlled videodisc instruction with large text-based data searching provided by Compact Disc/Read Only Memory (CD/ROM) technology in an individualized instructional program in Art History. In addition, the project is intended to determine the practicality of repurposing generic videodisc and CD/ROM programs through development of programming macros that can be used by teachers to individualize program content. The National Gallery of Art videodisc and the CD/ROM version of the Grolier Academic American Encyclopedia are used as course software, with a two screen MS-DOS hardware configuration.

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Demshina, Anna Yur’evna. « Technology «culture of dialogue» in education specialists in history of art ». Vestnik of Saint Petersburg State University of Culture 4 (décembre 2017) : 179–83. http://dx.doi.org/10.30725/2619-0303-2017-4-179-183.

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Li, Tong. « Science vs Art in the History of Learning, Design, and Technology ». TechTrends 64, n^o 2 (23 janvier 2020) : 190–92. http://dx.doi.org/10.1007/s11528-020-00475-7.

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Nastic, Aleksandra, Bertrand Jodoin, Christine Fitzgerald, Sylvain Desaulniers, Luc Pouliot, Daniel MacDonald, Fernanda Caio et al. « Painting with Metal : When History and Art Meet Thermal Spray ». AM&P Technical Articles 182, n^o 3 (1 avril 2024) : 37–40. http://dx.doi.org/10.31399/asm.amp.2024-03.p037.

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Abstract Cold spray technology provides a multidisciplinary approach to additive manufacturing at the intersection of science and art. This article describes the novel use of cold dynamic spray technology to create a large and complex 3D artwork that incorporates six different metals.

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Moyer, Ann E. « Mathematics, technology, and art in later Renaissance Italy ». Metascience 23, n^o 2 (9 juillet 2013) : 281–84. http://dx.doi.org/10.1007/s11016-013-9831-1.

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Lixian, Guo. « Developing an Art Design Courseware Based on Visual Communication Technology and Computer Aided Instruction Technology ». International Journal of Emerging Technologies in Learning (iJET) 10, n^o 3 (26 juin 2015) : 46. http://dx.doi.org/10.3991/ijet.v10i3.4581.

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Modern teaching has undergone academic reform through information technology. Given the specificity of art design, this field requires the use of multimedia resources and the popularization of teaching courseware. However, the development of teaching courseware remain problematic. The academic research results in this field are still rooted on theories and lack practical significance. This study adopts the perspective of visual communication design technology and combines it with computer-assisted instruction technology to discuss art courseware design making. The teaching courseware is designed with art design history as an example. The experimental tests reveal the effectiveness of the method. Unlike those in a traditional classroom, the learning effects of the proposed method are greatly optimized and promoted. Hence, this method has high application value.

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Papadaki, Elena. « Between the Art Canon and the Margins : Historicizing Technology-Reliant Art via Curatorial Practice ». Arts 8, n^o 3 (18 septembre 2019) : 121. http://dx.doi.org/10.3390/arts8030121.

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This article explores curatorial practice that has technology-reliant works at its epicentre, arguing that for an efficient methodology to historicize the latter there needs to be a reconfiguration of the curatorial scope and a holistic approach to viewing and documenting exhibitions. Based on theoretical research and install decisions of recent years, the ways in which curatorial practice can be reconfigured within the art canon to inform art history, as well as to accommodate developments in exhibition practices are examined.

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Averyanova, Olga N. « Reproduction Technology. From Replica to Brand ». Vestnik of Saint Petersburg University. Arts 13, n^o 2 (2023) : 243–54. http://dx.doi.org/10.21638/spbu15.2023.202.

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The article is devoted to the analysis of the works by the French artist of American origin Man Ray. The objects of the first New York period were studied, later they repeatedly have been reproduced by the author. We consider prints of non-preserved objects as the author’s version of a photographic readymade. Reproductions and replications have become an important part of the artist’s strategy in Paris and especially in America. These practices represent an example of the branding technology traditionally associated with Andy Warhol. Man Ray invented it long before the commercialization of pop art. The idea as the main artistic value, regardless of the method of its implementation and originality, becomes not only the basis of conceptual art, but also the quintessence of the phenomenon that we call an art brand. We define it as an ideology that includes the characteristics of the artist’s personality, his work and general strategies, including the marketing ones. Ray’s experiments as a modernist, artist and photographer significantly expanded the spectrum of theoretical and practical issues related to the relationship between art and commerce in an era when the aesthetic value of a work depended not only on the conditions and on circumstances of the order, but on the novelty and radicality — the time when the experiments have being absolutized. In the avant-garde, this criterion has become an indicator of the artist’s talent and success. If we define a brand as a mental cover of a product, then the application of this term to a work of art is quite justified, especially since the 20th century approved the priority of design methods of creativity, the cognitive value of an artwork became more important than the retinal one. The artist required a certain amount of ingenuity to remain a radical and be part of the market system, transforming the symbolic value of his work into an economic one. Seeming independence from the artistic conjuncture turned into a skillful balancing act between creativity and commerce.

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Rybakova, Irina V., et Sergey I. Galanin. « DESIGN AND TECHNOLOGY IN THE WORLD HISTORY OF ENAMELMAKING : FROM THE ORIGIN OF ENAMEL TECHNOLOGY TO THE OLD RUS’ ENAMELS ». Technologies & ; Quality 57, n^o 3 (28 février 2023) : 42–47. http://dx.doi.org/10.34216/2587-6147-2022-3-57-42-47.

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The article deals with the peculiarities and interaction of design and technology at different stages of the world history of enamel art. The origins and prototypes of enamel art and their stepwise development from pre-enamel technologies in the enamel art are revealed. The stepwise development of various technological and visual techniques in hot jewellery enamel in historical retrospect is traced and emphasised. The art history analysis of hot enamelling studies in different countries and regions reveals the main points of enamelling development. The gradual development, influence and borrowing of different techniques, regional and technological peculiarities are underlined. The dependence of technological methods and possibilities of design relevant to different historical periods is revealed; an attempt to decipher the formulation of artistic tasks of the masters of the past is made. The authors show the long experience of working out various technological methods and the necessity of preserving and direct transfer of skills from the master craftspeople to their apprentices. Conclusions are made about the stepwise long-term development of hot-jewelled enamel technologies and the direct dependence of the artistic component on technological innovations, as well as the necessity to directly study all possibilities and properties of enamel worked out in the past.

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Blanco, Ignazio, Roberto Pantani, Antonio Pizzi et Andrea Sorrentino. « State-of-the-Art Polymer Science and Technology in Italy ». Polymers 12, n^o 8 (31 juillet 2020) : 1721. http://dx.doi.org/10.3390/polym12081721.

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Mushtaq, Waseem. « CONFLUENCE OF ART AND TECHNOLOGY WITH SPECIAL REFERENCE TO CONTEMPORARY ART PRACTICE IN INDIA ». ShodhKosh : Journal of Visual and Performing Arts 3, n^o 1 (26 janvier 2022) : 27–40. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.50.

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For centuries, across the worlds, artists have struggled to invent new techniques to perfect their articulation, which in turn has changed art and its relation to the viewer. In the course of art history technology has served as a useful aid to develop innovative methods for making art. For long the utilitarian notion of technology did not clash with the metaphysical or intuitive notions of art. But in modern times the reproduction technology has raised questions concerning authenticity and originality of an artwork. In the present transitory times the digital technology is continuously redefining art and the manner in which the art/audience response circuit has undergone a paradigm shift. The present paper attempts to delineate a capsule account of the confluence between art and technology in general and discuss how Indian contemporary artists engage the art/technology interface in their art practice.

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FLATMAN, JOE. « The Art, Science and Technology of Medieval Travel ». International Journal of Nautical Archaeology 39, n^o 1 (mars 2010) : 212–13. http://dx.doi.org/10.1111/j.1095-9270.2009.00260_14.x.

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Sun, Hanxiang, Xiujuan Su, Yang Liu, Guohua Li, Xiaosong Liu et Qiaoling Du. « Association between Abortion History and Perinatal and Neonatal Outcomes of Singleton Pregnancies after Assisted Reproductive Technology ». Journal of Clinical Medicine 12, n^o 1 (20 décembre 2022) : 1. http://dx.doi.org/10.3390/jcm12010001.

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Importance: At present, few people have studied the associations between abortion history before pregnancy on the outcomes of women and their infants after assisted reproductive technology (ART). Objective: To explore the association between the history of abortion and the outcomes of singleton pregnancies after ART. Design: This was a retrospective study in a hospital from 2015 to 2020 in Shanghai, China. Pregnant women with live singleton births through ART were included (n = 3043). Abortion was classified into spontaneous abortion (SAB) and induced abortion. We compared the maternal and fetal outcomes of singleton pregnancies obtained through ART with different abortion histories. Logistic regression analysis was used to evaluate the associations between the history of pre-pregnancy abortion with perinatal complications and neonatal outcomes. Results: We observed that compared with those who had no abortion history and obtained singleton pregnancies through ART, women who had an abortion history before pregnancy (including SAB or induced abortion history) and only SAB history were more likely to have gestational diabetes mellitus (GDM), thyroid-related diseases, and placenta-related diseases. After adjusting the potential confounding factors, these differences still existed. The adjusted odds ratios (ORs) and 95% confidence interval (CI) of GDM, thyroid-related diseases, and placenta-related diseases in women with a history of abortion and only a history of SAB were 1.239 (1.030–1.492) and 1.240 (1.010–1.522), 1.589 (1.261–2.002) and 1.724 (1.344–2.213), 1.465 (1.183–1.815) and 1.433 (1.132–1.814), respectively. However, we did not observe the association between the history of induced abortion and GDM and thyroid-related diseases. Conclusions and Relevance: Our research showed that pregnant women with singleton pregnancies through ART who had a history of abortion or only a history of SAB were more likely to have GDM, thyroid-related diseases, and placenta-related diseases. Pregnant women who had both SAB and induced abortion before pregnancy had a higher risk of thyroid-related diseases and placenta-related diseases, while women who had only a history of induced abortion had a higher risk of placenta-related diseases. Further research is needed to explore the biological mechanism of different types of abortion related to subsequent pregnancy.

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Huws, Ursula. « Nature, Technology and Art : The Emergence of a New Relationship ? » Leonardo 33, n^o 1 (février 2000) : 33–40. http://dx.doi.org/10.1162/002409400552216.

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The three-way relationship between nature, technology and the human subject has been a problematic and shifting one in the history of Western art and thought. In this article, the author begins by summarizing this history, pointing to the inadequacy of most theoretical accounts in the face of the growing interpenetration of the “natural” by the “technological” resulting from such developments as genetic engineering and artificial intelligence. The author goes on to argue that the convergence between scientific developments in the field of artificial life and the emergent art movement points to the development of a new understanding of this relationship and a new role for the artist.

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Hatano, Hiroyuki. « Photographic collections in Japan : accessibility and new technology ». Art Libraries Journal 14, n^o 4 (1989) : 7–10. http://dx.doi.org/10.1017/s0307472200006453.

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Photographic collections are relatively undeveloped in Japan, although in the last decade a national photographic museum has been established, and other museums have opened departments of photography. Problems of access to collections of photographs of works of art have impeded the study of art history, but the capacity of new technologies to store, and to facilitate the retrieval of, visual images, is beginning to transform the situation.

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Honcharuk, Serhii, et Vladyslav Marusenko. « Impact of Technology on Electronic Broadcasting Development ». Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, n^o 2 (20 octobre 2023) : 166–76. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289285.

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The purpose of the article is to analyze the history of television art and electronic broadcasting in Ukraine; to find out the technologies that influence the development of the television industry; to consider the media market offers to the modern viewer and to conduct a comparative analysis of audiovisual works offered by the Internet; to find possible options for synthesis between television and the Internet; to find out the advantages and disadvantages of broadcasting and online media. Research Methodology. The following methods were used: theoretical – to study the historiography of the development of television, namely, information sources, infographics and publications; practical – to review the offers of the modern media market and compare it with audiovisual content on the Internet; analysis – to study the content under study in detail, in particular, an overview of television and the Internet, to understand the quality of media production; analogy – to draw clear parallels between the media product of television production and the Internet. Scientific novelty. For the first time, a detailed analysis of the history of electronic art in the context of screen broadcasting development is carried out, namely, the technologies of influence on television broadcasting, viewer tastes and preferences at certain stages of media market development are considered. The state of contemporary electronic art development and its impact on the viewer is analyzed, and a general vision of the viewer audience is formed. Variants of media products of the synthesis of television and the Internet are presented, taking into account new genres of audiovisual works. Conclusions. The article analyses the history of the formation and development of Ukrainian electronic art. The main stages of television technology formation and improvement of electronic broadcasting and cinema techniques have been identified. The state of transformation and changes in electronic art in the modern world, as well as the factors influencing the rapid changes in the technologies of screen broadcasting, have been analyzed. A general picture of the technology’s impact on the development of the modern media space has been formed.

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Akobirova, Madina B. « THE ROLE OF "FOLK CRAFT" SCIENCE IN IMPROVING THE LIVING CULTURE AND SPIRITUALITY OF THE PEOPLE ». CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, n^o 12 (1 décembre 2021) : 135–39. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-27.

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In this article, the role of “folk art” as one of the specialty disciplines for students in the direction of “technological education” in raising the life culture and spirituality of the people, types of Uzbek folk art, stages of history and development of Applied Art, types, history and technology of weaving, carpet weaving, decorative art are highlighted.

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Sohrabi, Mehdi, et Arefe Zarrinshad. « Novel “Ionology Art for Art Ionology Methods” in 4π plasma focus device space : Bridging art, science and technology ». Journal of Cultural Heritage 43 (mai 2020) : 219–26. http://dx.doi.org/10.1016/j.culher.2019.11.014.

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Zhenyi, Li. « THE HISTORY OF ART EDUCATION IN CHINA ». Научное мнение, n^o 12 (25 décembre 2023) : 199–207. http://dx.doi.org/10.25807/22224378_2023_12_199.

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The article examines the prerequisites for the formation of art education in Ancient China, the first government institutions aimed at uniting artists at the imperial court and training novice painters in fine arts, as well as changes in the structure of institutions under the influence of historical events. The author studies the history of the penetration of European and Western painting into the Chinese cultural and educational space, the emergence of the division of painting into traditional Chinese (guohua) and Western (xianghua) branches, and touches upon the modern trends and the current situation of art education in China.

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Monaghan, Úna. « The Chinwag : Memory, Digital Technology and Traditional Music ». Leonardo Music Journal 27 (décembre 2017) : 60–61. http://dx.doi.org/10.1162/lmj_a_01019.

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Siwi, Marcio. « Modern Architecture in Latin America : Art, Technology, and Utopia ». Hispanic American Historical Review 98, n^o 4 (1 novembre 2018) : 753–54. http://dx.doi.org/10.1215/00182168-7160688.

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Court, Paul. « New Technology, New Technicians and an Ancient Art ». Canadian Theatre Review 131 (juin 2007) : 40–44. http://dx.doi.org/10.3138/ctr.131.006.

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The use of technology is as old as our species. Our hunter-gatherer ancestors would not have survived without tools, and every society in human history has had a technological base that was essential to its survival and integral to its culture. Technology is such an essential part of human society that most of it has become invisible to us. I have been in several meetings in which the use of “technology” was on the agenda, but the word “technology” actually referred to nothing more than the use of computers. The real technological triumph of the meeting itself, conducted inside a heated building in winter and far from a tropical zone, was unacknowledged. The fact that we had not convened out of doors – naked and freezing within walking distance of our burrows – was taken for granted.

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Filipová, Marta. « Navigating Czech art history after the Second World War ». Art East Central, n^o 2 (2022) : 147–52. http://dx.doi.org/10.5817/aec2022-2-7.

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Halsey-Dutton, Bonnie. « Artifacts in Cyberspace : A Model of Implementing Technology into Art History Education ». Art Education 55, n^o 4 (juillet 2002) : 19. http://dx.doi.org/10.2307/3193964.

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Takano, Yukinori. « History and State-of-the-Art Technology of Paper Machine Wet Section ». JAPAN TAPPI JOURNAL 69, n^o 9 (2015) : 920–36. http://dx.doi.org/10.2524/jtappij.69.920.

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Miller, Carolyn R. « Tilsløring og afsløring af retorikken ». Rhetorica Scandinavica, n^o 47 (2008) : 30–54. http://dx.doi.org/10.52610/adoz8175.

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Rhetoric has been characterized throughout its history as an art that must conceal itself to succeed. Two arenas where rhetoric has been most successfully concealed are those of science and technology. This essay explores the general conditions and justifications for the concealment of rhetoric, finding that four principles appear repeatedly in the ancient tradition: suspicion, spontaneity, sincerity, and mimesis. In response, rhetorical art has developed strategies to allay suspicion, create the impression of spontaneity and sincerity, and emphasize the direct mimetic power of language, strategies that themselves must be concealed. Two examples drawn from the rhetoric of science and technology, specifically the discourse of risk analysis, illustrate the operation of rhetorical concealment. The first example, a foundational 1969 scientific article by engineer Chauncey Starr, relies on an unacknowledged rhetoric of pathos; the second, the 1975 Reactor Safety Study by the U.S. Nuclear Regulatory Commission, relies on an appeal to ethos, disguised as technical expertise. Keywords rhetoric of science, risk analysis, pathos, ethos, mimesis, concealed rhetoric

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Martinón-Torres, Marcos, David Knight, Sacha Tomic, Jeffrey Allan Johnson, William H. Brock, Néstor Herran, Marina Maestrutti et Hjalmar Fors. « Laboratories of Art. Alchemy and Art Technology from Antiquity to the 18th Century ». Ambix 62, n^o 4 (2 octobre 2015) : 386–96. http://dx.doi.org/10.1080/00026980.2015.1129853.

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Jenabi, Ensiyeh, Mahdieh Seyedi, Ronak Hamzehei, Saeid Bashirian, Mohammad Rezaei, Katayoon Razjouyan et Salman Khazaei. « Association between assisted reproductive technology and autism spectrum disorders in Iran : a case-control study ». Clinical and Experimental Pediatrics 63, n^o 9 (15 septembre 2020) : 368–72. http://dx.doi.org/10.3345/cep.2020.00073.

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Background: Autism spectrum disorder (ASD) is a neurodevelopmental disorder defined by impairments in social interaction and verbal and nonverbal communication.Purpose: Determine the association between use of assisted reproduction technology (ART) and the risk of ASD among children.Methods: This case-control study included 300 participants (100 cases, 200 controls). The control group included women with a child aged 2–10 years without ASD, while the cases were women with a child aged 2–10 years with ASD. We used a researcher-made questionnaire. Data were analyzed using Stata ver. 14 at the 0.05 significance level.Results: In the univariate analysis, there was significant association between child sex, delivery mode, history of preterm delivery, history of using ART, and maternal age at child’s birth and the risk of ASD. After the adjustment for other variables, this association was significant for male sex (2.66; 95% confidence interval [CI], 1.11–4.31; P=0.001) and history of using ART (4.03; 95% CI, 1.76–9.21; <i>P</i>=0.001). Therefore, after the adjustment for confounder variables, there was no significant association between ART and the risk of ASD among children (4.98; 95% CI, 0.91–27.30; <i>P</i>=0.065).Conclusion: After the adjustment for other variables, risk factors for ASD were male sex and history preterm delivery. Thus, there was no significant association between ART and the risk of ASD among children.

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Zacharias, Kari, et Matthew Wisnioski. « Land-Grant Hybrids : From Art and Technology to SEAD ». Leonardo 52, n^o 3 (juin 2019) : 261–70. http://dx.doi.org/10.1162/leon_a_01479.

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The authors explore the role that public and land-grant universities play in sciences, engineering, arts and design (SEAD). They combine a networked institutional history of art and technology collaborations with an ethnographic study of SEAD initiatives. They use the notion of land-grant hybrids to describe widespread entanglements between research, teaching and public engagement. Their study identifies three “matters of concern” that aid in rethinking the origins, current practices and possible futures of SEAD: disparities in sponsored collaboration, the need for hybrid practitioners to demonstrate measurable impact and the ambiguities of what counts as appropriate art and reputable research.

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Zhang, Bo. « The development of Chinese animation art in the digital era ». OOO "Zhurnal "Voprosy Istorii" 2022, n^o 12-3 (1 décembre 2022) : 338–47. http://dx.doi.org/10.31166/voprosyistorii202212statyi119.

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The wide application of computer technology and the Internet has brought about global network technology changes. In this digital age, digital media art, which has become mainstream, has a huge impact on traditional art forms. In this context, this study examines the main stages that Chinese animation art has gone through up to date and the possibilities of integrating digital technology platform with China's distinctive national culture on this particular platform.

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Delano-Smith, Catherine. « The Art, Science, and Technology of Medieval Travel ». Journal of Historical Geography 36, n^o 1 (janvier 2010) : 117–18. http://dx.doi.org/10.1016/j.jhg.2009.11.014.

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Articles de revues sur le sujet « Art and technology – history »

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