Littérature scientifique sur le sujet « Art, modern – 21st century – congresses »
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Articles de revues sur le sujet "Art, modern – 21st century – congresses"
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Demeschenko, Violeta. « Peculiarities of genre formation in 21st century cinematography ». Culturology Ideas, no 23 (1'2023) (2023) : 55–67. http://dx.doi.org/10.37627/2311-9489-23-2023-1.55-67.
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This scientific exploration is an attempt to consider the theoretical problems of genre development in modern cinema. Even today in the 21st century, modern cinematography remains one of the art forms that continues to develop dynamically. It is this development that continues to transform its genre classification rather quickly. This process occurs because the large number of modern films does not fit into the traditional genre classification and creates the need to search for new principles regarding the formation of the genre as such. The process of genre creation takes place permanently, both in cinematography and in art in general. In relation to this process it is important to highlight the clarification and understanding of the specifics of existing film genres, the classification of which must be constantly reviewed in order to understand the directions of the development of modern film art and to realize its specifics. Solving such a task requires taking into consideration the evolution of the genre system, which has turned into a continuous process that lasts throughout the 20th-21st centuries. Moreover, with regard to this process it is crucial to define the main trends related to the tradition of genre creation, which is influenced by artistic and socio-cultural factors.
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Chmil, Hanna, Victor Sydorenko, Olena Berehova, Maryna Mishchenko et Nataliia Zhukova. « Artistic Paradigms in The 21st Century : The Variability of Human Choice ». Herança 7, no 2 (21 mars 2024) : 69–81. http://dx.doi.org/10.52152/heranca.v7i2.832.
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The relevance is that modern art is a field that requires the analysis of all creative processes because in its context there are continuous updates and changes in priorities. These transformations call for research on creativity and the creator, who expresses his position through an artistic interpretation of reality or imagination. The purpose of the article the modern cultural space, the nature of the interaction between the artist and the audience, and the significance of the creator, whose activity no longer serves to satisfy purely aesthetic needs, but is accompanied by the emergence of new types of art aimed at social resonance and self-expression, is revealed. As a result, the concepts of "modern art" and "postmodernism" were characterized. The study discusses the evolution of modern art, including its shift from modernist to postmodern characteristics, the impact of technology, and the changing relationship between artists and society. It also highlights the role of art in addressing societal issues and calls for further research in various fields influenced by art. The article reveals the role of art in human life, changes in perception, and social influence.
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Demeschenko, Violeta. « Features of genre formation in film art of the 21st century ». Interdisciplinary Cultural and Humanities Review 2, no 2 (1 novembre 2023) : 11–19. http://dx.doi.org/10.59214/2786-7110-2023-2-2-11-19.
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The relevance of the study lies in rethinking the specifics of existing film genres, the processes of their transformation in the cinema of the 21st century. Objective of the study is to recreate the logic of the formation of a modern genre system that includes new hybrid forms. The following methods are used: structural-system, general scientific methods of theoretical research (analysis, synthesis, induction, deduction, generalisation, classification, etc.). The features of the formation of modern film genres were examined. It is established how new hybrid genres are formed, and the features of dialectical development of genre forms are analysed. The genesis of documentary animation is considered, using examples of well-known modern works made in this genre form. The results of the study can be used for further systematic examination of hybrid forms of film genres, which will allow including this material in the training programmes of specialists in the field of film studies, art history, audiovisual journalism, film and television directing, and to define the hybrid genre as a separate category at creative film festivals and screenings
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Ye, Ping, Liu Qi Wu et Duo Wang. « Landscape City : The Ideal Direction of Cities Development of 21st Century in China ». Advanced Materials Research 243-249 (mai 2011) : 6660–63. http://dx.doi.org/10.4028/www.scientific.net/amr.243-249.6660.
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Landscape city is a new concept of city construction which is proposed by Chinese famous scientist Qian Xuesen.It contains many factors such as garden、culture、art 、technology . Landscape city covers the western modern urban theory, and at the same time Chinese culture connotation, it stands for 21st century Chinese socialist urban development ideal direction. In the early of 1990s, one of the famous scientists of China, Professor Qian Xuesen proposed the concept of landscape city, and it embodies Qian’s deeply expectation that the cities in the 21st century are landscape cities. What is the landscape city? From Professor Qian’ 68 pieces of articles, letters and interviews, we can conclude a formula that is: Landscape City = Garden City + culture city + art cities + modern technology city. Our cities have different natural and geographical conditions and also have different society function. But for most of them, should set landscape city as their development goal, this should be the Chinese nation’s noble ideals of the living environment in the 21st century.
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GAO, Xiaotian. « WALL PAINTING IN THE NON-CANONICAL TYPOLOGY OF THE GENRE-SPECIES STRUCTURE OF CHINESE FINE ART ». HUDPROM : The Ukrainian Art and Design Journal 2023, no 2 (15 octobre 2023) : 87–95. http://dx.doi.org/10.33625/hudprom2023.02.087.
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The article deals with a non-canonical art practice in modern Chinese fine art, mural painting of public spaces. The actualization of the above-mentioned problem is caused by the appearance of changes and supplements to the morphological system of Chinese fine art: Chinese state has opened up to the world, dynamic urbanization has begun, the attitude of the society to public spaces and the tasks of mural painting in their visualization have changed. The purpose of the article is to understand the place of modern wall painting in the non-canonical structure of fine art in China at the beginning of the 21st century. The research methodology is based on the methods of both general theoretical analysis and formal-stylistic and compositional-coloristic analysis of works of art. The author analyzes publications in which the state of Chinese and foreign scientific discourse on the specified problem is investigated. Based on the examples of the analysis of the wall painting of Shanghai, Nanjing, Mianyang, and various Chinese villages, the main stylistic, compositional and coloristic means of artistic expressiveness of the murals of the 2020s are determined, and the functional features of modern wall painting as a non-canonical art practice of the latest Chinese fine art are revealed. It has been proven that at the beginning of the 21st century a non-canonical structure of fine art, dialogic in its communicative nature, began to form in the country, which is a part of general processes in the field of modern art. It is stated that today Chinese muralism is in the initial stage of its formation. The study of stylistic, compositional and coloristic means of artistic expressiveness of works of modern wall painting, which appeared at the beginning of the 21st century in China, allows us to assert that the main artistic style of modern wall painting remains realism and its varieties, hyperrealism and photorealism, focused on fairly traditional compositional solutions, but a bright color range. Considering the lack of systematic morphological studies of the fine art of modern China, we believe it necessary to continue analyzing the latest art practices, which today make up the non-canonical structure of the country’s fine art.
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Kostenko, Nataliia. « PEDAGOGICAL TRADITIONS OF DOMRA PERFORMANCE INKHARKIV IN THE 21ST CENTURY ». Aspects of Historical Musicology 22, no 22 (2 mars 2021) : 27–50. http://dx.doi.org/10.34064/khnum2-22.02.
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An essay on the modern history related to the domra has been offered in the light of the jubilee event – the 95th anniversary of the Department of Folk Instruments of Ukraine of Kharkiv National University of Arts named after I. P. Kotlyarevsky. The aim of the research is to assess the current state of the domra art in Kharkiv on the basis of systematization of scholarly and methodological materials. Among the tasks of the research there is a description of the activities of modern teachers-domrists, who represent the Kharkiv Domra School; to systematize historical periods and provide a generalization of the events of the modern history of the domra performance. The presentation of the main material requires the involvement of historiographical, biographical and systematic methods of modelling. The object of the research is academic folk-instrumental art; the subject is domra art in the cultural spacetime of Kharkiv. The material is the historiography of the modern domra research and the experience of concert-performing and pedagogical activities of the staff of the Department of Folk Instruments of Ukraine at Kharkiv National University of Arts named after I. P. Kotlyarevsky. The presentation of the main material. On the basis of historiography and systematization, an assessment of the events that have taken place in the domra performance and science over the past 20 years is provided. Historical periods in the system of higher education of Ukraine and personalities of domrists who played a significant role in the cultural life of Ukraine are identified. The current state of the domra performance, competition and festival events, methodological and pedagogical resources are highlighted. In the process of updating the repertoire of the domra players of the 21st century an important role belongs to the compositions of a large form accompanied by a symphony or folk orchestra, arrangements from the repertoire of other instruments (the flute, the violin, and the saxophone). The repertoire is traditionally based on original compositions by Kharkiv composers. Conclusions. We have provided essays on modern teachers who are the successors of prominent figures of the domra art of the Department of Folk Instruments of Ukraine at KhNUA named after I. P. Kotlyarevsky. The most complete list of recent data has not previously been provided. A characteristic feature of the new period in the history of the domra class is the involvement of promising young people in the work. Their achievements in the creative, scientific and organizational-educational plane are quite significant and form the foundation for the future glory of the domra performance.
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Till, Geoffrey. « 21st Century Ellis : Operational art and strategic prophecy for the modern era ; 21st Century Sims : Innovation, education, and leadership for the modern era ». Mariner's Mirror 101, no 4 (2 octobre 2015) : 491–92. http://dx.doi.org/10.1080/00253359.2015.1097234.
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Sultanova, Gulizar Ahmedovna. « WAYS OF SEARCHING FOR A MODERN THEME IN THE THEATRICAL ART OF DAGESTAN ». Herald of the G. Tsadasa Institute of Language, Literature and Art, no 26 (4 juin 2021) : 77–82. http://dx.doi.org/10.31029/vestiyali26/11.
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The article deals with the search for a modern theme and images in the drama and theater of the early 21st century both on the scale of the Russian theater and in the Dagestan drama. On specific examples from the practice of creative activity of the theaters of the republic for two decades of the XXI century, ways and means of solving the problem are identified.
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Bussey, Peter J. « Einstein for the 21st century. His legacy in science, art and modern culture ». Contemporary Physics 60, no 1 (2 janvier 2019) : 96–97. http://dx.doi.org/10.1080/00107514.2019.1606045.
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Mamadjanova, Elnora. « Musical Art of Uzbekistan in the 21st Century : Globalization and Preservation of Identity ». ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (7 décembre 2022) : 57–60. http://dx.doi.org/10.30819/aemr.10-7.
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This article discusses meaning of era of globalization, new definitions, and concepts. Rapid changes and transformation music heritage and genres of traditional music in modern projects can lead to ineradicable consequences in future. What is the uniqueness of the musical art of Uzbekistan, and what changes should be expected in the new era? This article focuses on changes in music education, performing art in pandemic period, and its positive and negative consequences.
Thèses sur le sujet "Art, modern – 21st century – congresses"
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Knezevic, Nina. « Interpreting the autobiographical archive ». Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/13893.
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Fletcher, Lauren Jean. « Adaptive realities : effects of merging physical and virtual entities ». Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.
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In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
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van, der Walt Jonathan Petra. « Craftsmanship in contemporary art : an exposition of selected artists’ practical non-involvement ». Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
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Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
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Williams, Court. « Sensitive skin ». Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
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The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
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Haines, David Sean. « Osmologies : towards aroma composition ». Phd thesis, Sydney College of the Arts, 2012. http://hdl.handle.net/2123/14423.
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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. « Scenario House ». Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
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Abdullah, Sarena. « Postmodernism in Malaysian art ». Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/9457.
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Gawronski, Alex. « No new Utopia ? : the crisis of art as critique under globalisation ». Phd thesis, Sydney College of the Arts, 2005. http://hdl.handle.net/2123/3967.
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Roche, Judith D. « The role of the artist at the beginning of the twenty-first century : An exploration of dialectical processes in art and science with particular reference to biologically based art ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1571.
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This thesis examines the role of the artist at the beginning of the twenty-first century. It focuses on the interaction between art and science in an exploration of the dialectical processes that may occur in that interaction. Researchers have recently developed techniques in stem cell technology and genetic modification that offer remarkable potential and bring possible advantages and disadvantages for scientists and the wider community. In response to these new technologies, scientists and artists have developed collaborative projects and, in some instances, artists have moved from the studio to the science laboratory to create work called sci-art, bio-art, or moistmedia. This new inter-disciplinary activity affords prospects of dialectical processes: it crosses many boundaries and disturbs some existing conventions and practices, and, for the artists involved, the access to innovative materials has moved their work into areas of new skills and concepts. The extent to which traditional artists and those with collaborative sci-art practices contribute to the debate on important social and cultural issues forms part of this study. The research data was gathered during semi-structured interviews with scientists and artists, of whom three scientists and five artists are involved in sci-art collaborations. Proposed dialectical processes identified in the data are outlined throughout the document. A discussion about the ways in which contemporary art and artists are located within the current social and cultural environment; the status accorded visual art education today; and the manner in which commentators and other members of the public regard the elements and functions of art, forms the initial framework. This is followed by an overview of biologically based art practices, worldwide, that provides a background for a discussion of sci-art collaborations. These collaborations are initiated by a wide range of individuals and organisations and, according to the participants, the intentions of the originator or funding body have the potential to influence the outcome of the collaboration. The research explores possible conflicts of interest between the parties involved in these interactions, and any perceived implications for creative freedom. This study also examines current attitudes towards the notion of creativity in science and art, the avant-garde, and the relevance of philosophy and theory in art practices. It discusses the extent to which technology influences the creative process, and highlights issues that augment, interrogate or philosophise about the role of the contemporary artist. The research found that, although the notion of Snow’s ‘two cultures’ still has supporters, there are more similarities than dissimilarities between scientists and artists. Although some instances of Hegelian dialectical processes were identified, the data residing in many of the participants’ responses called for a more post-structuralist, non-linear approach to the dialectic as described by Jervis (1998), Janesick (2000) and others. In this way, the data drew attention to many complex issues and tensions that emanate from the interaction between art, science, technology, government and commerce, and the interaction between artists and the culture and society in which they live at the beginning of the twenty-first century.
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Wedderburn, Michael Roderick. « Living in the Shadow of death : purging the unconscious for the creation of a personal visual language ». Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13250.
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This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.
Livres sur le sujet "Art, modern – 21st century – congresses"
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N, Desai Vishakha, dir. Asian art history in the twenty-first century. Williamstown, Mass : Sterling and Francine Clark Art Institute, 2007.
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Marina, Abramovic, dir. Personal structures : Time, space, existence. Cologne : DuMont, 2009.
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Peter, Hrsg :. Weibel, dir. Contemporary art and the museum : a global perspective. Ostfildern : Hatje Cantz Verlag, 2007.
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service), SpringerLink (Online, dir. Mathematics and Modern Art : Proceedings of the First ESMA Conference, held in Paris, July 19-22, 2010. Berlin, Heidelberg : Springer Berlin Heidelberg, 2012.
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Russ, Nadia. Neopoprealism starz : 21st century art. New York : Xlibris Corp, 2009.
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Licai, Deng, et Chan K. L, dir. The art of modelling stars in the 21st century : Proceedings of the 252th [i.e. 252nd] Symposium of the International Astronomical Union, held in Sanya, Hainan Province, China, April 6-11, 2008. Cambridge : Cambridge University Press, 2008.
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Thelma, Golden, et Public Broadcasting Service (U.S.), dir. Art 21 : Art in the 21st century. New York : H.N. Abrams, 2001.
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Gallery, Queensland Art, et Gallery of Modern Art (Brisbane, Qld.), dir. 21st century : Art in the first decade. South Brisbane, Qld : Queensland Art Gallery, 2010.
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All art is political : Writings on performative art. Edinburgh : Luath Press Limited, 2014.
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Galleria del Laocoonte (Rome, Italy), dir. Laocoon zoo : Art fauna 16th-21st century. Todi (PG) : D'arte, 2021.
Trouver le texte intégralChapitres de livres sur le sujet "Art, modern – 21st century – congresses"
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Ahmad, Belal, et Gaurav Kumar. « URBAN HORTICULTURE : A PATH TO SELF-RELIANCE AND NUTRITIONAL SECURITY ». Dans AGRICULTURE IN 21ST CENTURY. KAAV PUBLICATIONS, 2023. http://dx.doi.org/10.52458/9789388996815.2023.eb.ch-13.
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The art and science of integrating plants with the urban environment is known as urban horticulture. In developing nations, urban gardening already makes a major contribution to food security and nutrition. Around the world, a lot of urban areas are attempting to improve sustainability through encouraging urban farming and increasing urban greenery. New approaches like home gardening, vertical gardening, hydroponics, aeroponics, aquaponics, indoor gardening, container gardening and rooftop gardening can improve existing urban cropping systems like home gardening, community gardens, edible landscapes, and indoor planting systems. These energy-efficient, environmentally friendly, and food-secure modern methods ensure that urban neighborhoods always have access to fresh produce. More food security might be attained in future cities through the use of urban horticulture. Nonetheless, both urban and rural agriculture require attention if global food security is to be achieved.
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Kostyrya, Inna. « UKRAINIAN CULTURE IN THE INTERNATIONAL ARENA : STRATEGIES OF MODERN CULTURAL DIPLOMACY ». Dans CULTURE, ART, EDUCATION IN THE SPACE OF THE 21st CENTURY : INTERDISCIPLINARY DISCOURSE, 24–42. Liha-Pres, 2020. http://dx.doi.org/10.36059/978-966-397-225-1-2.
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Kostyrya, Inna. « UKRAINIAN CULTURE IN THE INTERNATIONAL ARENA : STRATEGIES OF MODERN CULTURAL DIPLOMACY ». Dans CULTURE, ART, EDUCATION IN THE SPACE OF THE 21st CENTURY : INTERDISCIPLINARY DISCOURSE, 24–42. Liha-Pres, 2020. http://dx.doi.org/10.36059/978-966-397-225-1-2.
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Kuznetsov, Andrei, et Olga Kuznetsova. « Engaging Universities in Capacity Building for a Co-operative Economy ». Dans Co-operation and Co-operatives in 21st-Century Europe, 144–62. Policy Press, 2023. http://dx.doi.org/10.1332/policypress/9781529226416.003.0008.
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The chapter offers a ‘landscape review’ to reflect on the state-of-the-art assessment of the gap between competencies and knowledge needed to boost the role of the cooperative sector in a modern economy and the supply of research and training through higher education. It argues for the need to correct the focus of the education provision by universities and business schools to ensure a tighter fit with changing business conditions favouring plurality and new societal demands supporting participatory democracy. The chapter identifies related capabilities and skill shortages that need to be addressed and maintains that co-operatives should be more receptive to mainstream business and management education. The analysis lays foundations for international cross-sectoral initiatives that can be delivered by academia in collaboration with the cooperative sector.
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Besarab, Olena. « MASS CULTURE (MASS ART) IN CONTEMPORARY SCIENTIFIC RESEARCHES ». Dans Іншомовна комунікація : інноваційні та традиційні підходи, 17–35. Primedia eLaunch LLC, 2021. http://dx.doi.org/10.36074/ikitp.monograph-2021.02.
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The research deals with phenomenon of mass art (mass culture) as one of the components of mass art modern world. An attempt to identify mass culture, mass art as a phenomenon is made and main approaches to its treatment and different aspects of its study in contemporary science are analysed. The first part of the work offers an overview of researchers’ views on the problem of definition of mass culture, mass art phenomenon and reveals ways of self-identification of it in the course of its development. Main features of mass culture, mass art are also studied. The second part of the work is devoted to the analysis of main approaches to the study of mass art and mass culture in early and in modern scientific works. As we see this phenomenon is widely examined by representatives of different research schools and scientific spheres. Philosophers, political scientists, writers, art critics, culturologists are involved in this process. The majority of the twentieth century researchers perceived mass culture as negative aspect of cultural social development because of its low level of quality and as a part of bourgeois culture focused on manipulating the minds of the masses. On the other hand the 21st century researchers realizing all the negative moments (idolatry, personality levelling) consider mass culture and mass art as natural necessary phenomenon of modern life, a base for development of professional art, a product of modern technology, show-business. The analyses of the phenomenon of mass art, mass culture gives us the picture of variety in opinions and approaches to this phenomenon as well as of the great number of aspects of scientific interest to the problem. In the majority of cases researchers’ concepts of mass culture, mass art clearly reflects the ideas of the periods they belong to.
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Roche, Fabio López de la. « From Uribe’s “Democratic Security” to Santo’s Peace Accords with the FARC : Hate, Fear, Hope and other Emotions in Contemporary Colombian Politics ». Dans A Post-Neoliberal Era in Latin America ?, 71–92. Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781529200997.003.0004.
Texte intégralRésumé :
This article first presents explanatory factors concerning Colombian divergence from the recent tendency in several Latin American countries towards 21st century models of political socialism or in conjunction with post neoliberal development. A second part explores the complex legacy of political culture bequeathed by the governments of Álvaro Uribe Velez (2002-2006 and 2006-2010) which involved an important military effort to combat the Revolutionary Armed Forces of Colombia (FARC by its Spanish acronym) but was not able to defeat them, although their debilitation undoubtedly constituted one of the factors that led to the negotiations in Havana. Hatred and fear of the FARC promoted by President Uribe’s discourse supported by the mainstream media and important journalistic sectors are then explored as factors in conjunction with societal ideological homogenization around the policy of "Democratic Security". A third part deals with redefinitions in the political culture and hegemonic communicative regime promoted by President Juan Manuel Santos (2010-2014 and 2014-2017), which favored promoting successful conclusion of the peace process with the FARC and initiation of a new, complex and still uncertain phase of national reconciliation among Colombians, notwithstanding obstinate Uribistic loathing of both the FARC and President Santos and President Uribe’s systematic and ideological delegitimization of the peace process. This section also deals with issues concerning the October 2, 2016 ratificatory plebiscite of the Havana Accords, the triumph of the rejectionists, the renegotiation of the Accords with representatives of the rejectionists by the government’s negotiating team, the mobilization of the citizenry in defense of the Accords, and, the ratification of the revised accord by the Congress at the Colon Theater. Finally, the "Conclusions" outline some of the challenges and possible alternatives for the country’s political development during the post-Accord era.
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Fabryka-Protska, Olha. « Folklore tradition as a system of spiritual and cultural symbols of the Ukrainian diaspora ». Dans Art Spiritual Dimensions of Ukrainian Diaspora, 165–94. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-7.
Texte intégralRésumé :
The aim of this section is to reveal the specificity of the folklore tradition in the system of spiritual and cultural symbols of the Ukrainian diaspora, which can be traced in various forms of functioning (revival, preservation, transformation, transmission). The methodology of the research lies in the synthesis of theoretical principles and methods, the leading of which are: systemic-analytical, historical, culturological, art studies, and others. The multifaceted nature of the research necessitates the application of an interdisciplinary approach and the integration of methods from humanities such as history, art studies, music art, culturology, and so on. The main principle of the work is a comprehensive approach. The ethnocultural experience of Ukrainians, fulfilling their important cognitive, educational, and socializing functions in the process of historical development, undoubtedly undergoes changes, but the ethnocultural heritage continues to live in the spiritual culture of the present. The musical folklore tradition, which until recently was preserved in the folk memory, is one of the oldest forms of spiritual culture of Rusyn-Ukrainians and Lemkos in the Carpathian region. In the first decades of the 21st century, the folklore tradition appears as a constantly active part of modern culture, particularly in the repertoire of artistic ensembles of many genres on the concert stage. The representation of its forms in transformed versions of folklore tradition (as folklorism) on the border between Ukraine, Slovakia, and Poland is traced in the functioning of amateur and professional artistic ensembles, the development of the festival movement, the preservation of linguistic dialects in musical genres, their popularization in compositional creativity and, undoubtedly, in concert performance.
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Vedava, Psyence. « The Dance of Aurora ». Dans Advances in Media, Entertainment, and the Arts, 307–31. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-8884-0.ch015.
Texte intégralRésumé :
This chapter suggests that embodied ritual practices of the feminine—involving media, art, psycho-spiritual technologies, and techniques of the occult—manifest transmedial auric fields that weave the dance of Aurora, the dance of awakening of the Goddess of Light. These fields resonate with the universal heart vibe, channeling the healing energies of the cosmic Mother to the physical, the digital, the mental, and the tech-noetic. Specific examples from the work of three women are presented, namely Dr. Lila Moore, Vedava (the author of this chapter) and Sedona Soulfire. These modern creatrixes actualize their media priestess function by fusing consciousness and the imaginative with the ancient and the futuristic, in the convergence of art, body, technology, and 21st century feminine spirituality.
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Mayo, Sherry. « A Model for a Collective Aesthetic Consciousness ». Dans Advances in Media, Entertainment, and the Arts, 159–72. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8679-3.ch013.
Texte intégralRésumé :
During the 20th century, the modern media was born and viewed as an industrial factory-model machine. These powerful media such as film, radio, and television transmitted culture to the passive masses (Enzensberger; 1974). These art forms were divorced of ritual and authenticity and were reproduced to reinforce their prowess (Benjamin, 1936). In the 21st century post-media condition, a process of convergence and evolution toward a social consciousness, facilitated by a many-to-many social network strategy, is underway. Web 2.0 technologies are a catalyst toward an emergence of a collectivist aesthetic consciousness. As the prophecy of a post-industrial society (Bell, 1973) becomes fulfilled, a post-media society emerges whose quest is for knowledge dependent upon economy that barters information. This paper identifies a conceptual model of this recent paradigmatic shift and to identify some of the possibilities that are emerging.
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Giddins, Gary. « Touring the Jazz Museum (JVC 2000) ». Dans Weather Bird, 267–71. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0071.
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Abstract Is jazz a dead historic thing or is it simply homesick for another era, any other era? The first concert hall ever built to house jazz is about to go up at Columbus Circle; the academy is rapt with attention, building new departments, endowing chairs; statues will follow. But what exactly is being honored: a music of unceasing innovation and achievement, or an archive parsed into its historical components? If jazz in the 21st century is to become what classical music became in the 20th century, an art of reconnaissance and interpretation, then this year’s 2000 JVC Jazz Festival may be remembered as a key transitional event. For the first time in its history, JVC looked backward every night. Two concerts by modern players, Don Byron and Dave Douglas, were canceled for lack of audience interest. But, then, Byron was scheduled to play his score for a silent picture and Douglas has been exploring Mary Lou Williams. It’s as though we were strapped into a time machine without the lever that moves it forward or back: Time marches on, but we are stuck—with our memories.
Actes de conférences sur le sujet "Art, modern – 21st century – congresses"
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Robson, F. L., et D. J. Seery. « Advanced Aeroderivative Gas Turbines in Coal-Based High Performance Power Systems (HIPPS) ». Dans ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-131.
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The Department of Energy’s Federal Energy Technology Center (FETC) is sponsoring the Combustion 2000 Program aimed at introducing clean and more efficient advanced technology coal-based power systems in the early 21st century. As part of this program, the United Technologies Research Center has assembled a seven member team to identify and develop the technology for a High Performance Power Systems (HIPPS) that will provide in the near term, 47% efficiency (HHV), and meet emission goals only one-tenth of current New Source Performance Standards for coal-fired power plants. In addition, the team is identifying advanced technologies that could result in HIPPS with efficiencies approaching 55% (HHV). The HIPPS is a combined cycle that uses a coal-fired High Temperature Advanced Furnace (HITAF) to preheat compressor discharge air in both convective and radiant heaters. The heated air is then sent to the gas turbine where additional fuel, either natural gas or distillate, is burned to raise the temperature to the levels of modern gas turbines. Steam is raised in the HITAF and in a Heat Recovery Steam Generator for the steam bottoming cycle. With state-of-the-art frame type gas turbines, the efficiency goal of 47% is met in a system with more than two-thirds of the heat input furnished by coal. By using advanced aeroderivative engine technology, HIPPS in combined-cycle and Humid Air Turbine (HAT) cycle configurations could result in efficiencies of over 50% and could approach 55%. The following paper contains descriptions of the HIPPS concept including the HITAF and heat exchangers, and of the various gas turbine configurations. Projections of HIPPS performance, emissions including significant reduction in greenhouse gases are given. Application of HIPPS to repowering is discussed.
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Yingdong, Guo. « Integrative principles of vocal art in China at the beginning of the 21st century ». Dans GLOBAL MODERN TRENDS IN RESEARCH. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-446-7-10.
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Scott, Timothy C., et Robert J. Ribando. « Revising Thermo/Fluids Education for the 21st Century ». Dans ASME 2006 International Mechanical Engineering Congress and Exposition. ASMEDC, 2006. http://dx.doi.org/10.1115/imece2006-13536.
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During the 1960s, major revisions took place in undergraduate thermo/fluids (thermodynamics, fluid mechanics and heat transfer) textbooks and in the pedagogy used to teach these disciplines. In the decades since, students and instructors have both changed. Many students arrive with less-than-adequate mathematics and study skills, rely almost exclusively on the Internet for reference materials, and have very little "hands on" knowledge of how things work. The number of instructors with practical expertise or industrial experience has decreased markedly as well. Yet the methods by which material is presented and the tools and resources students are exposed to have not changed sufficiently. In contrast, the tools available in industry have improved significantly and the knowledge needed by graduates to use these tools has not kept pace. This paper looks at how thermo/fluids has evolved over the past five decades and points out some areas that are not receiving sufficient attention. These include the use of computers as teaching aids, the training of students in the software packages prevalent in modern industry, and the need to update the database of design information. The almost exclusive use of the Internet and other non-refereed sources of information by students is also a significant problem that needs addressing.
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Ranu, Harcharan Singh, et Aman Sweet Bhullar. « Biomedical Engineering Design Education at King Saud University : A First of Its Kind Approach ». Dans ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-65244.
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Biomedical Engineering in the Millennium is building the future of biology and medicine. New products, from biotechnology and novel devices for diagnosis and treatment, are marketed through interactions between universities, medical centers, small start-up companies, and large, more established firms. The role of biomedical engineering in the 21st century has already been highlighted by Ranu as far as research, education and space age technologies are concerned. Therefore, educating the modern biomedical engineering students in design processes is extremely important. This paper highlights how biomedical engineering design is taught for the first time to King Saud University students in Saudi Arabia. The conclusion drawn from this is that for the first time an innovative design course has been developed to teach the biomedical engineering students at King Saud University to meet the needs of tomorrow’s biomedical engineers.
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Цветкова, Н. Н. « THEATRICALITY IN THE ART OF TEXTILES OF THE 20th–21st CENTURIES ». Dans КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.29.
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Во второй половине ХХ столетия в период «пластического взрыва» появились новые объемно-пространственные текстильные формы — артобъекты, инсталляции, перформансы и хэппенинги. Многие из созданных в это время работ отличаются своеобразной «театральностью». В современном текстильном искусстве тенденция соединения ткани с театральным действом остается актуальной. В статье рассмотрены примеры взаимовлияния и взаимодействия текстильных форм с пространством театра. In the second half of the twentieth century, during the period of the “plastic explosion”, new three-dimensional textile forms appeared – art objects, installations, performances and happenings. Many of the works created at this time are distinguished by a kind of “theatricality”. In modern textile art, the tendency to combine fabric with theatrical action remains relevant. The article considers examples of the mutual influence and interaction of textile forms with the theater space.
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Roelofs, Michelle B. « Mass Timber : 19 Century to Today ». Dans IABSE Congress, New York, New York 2019 : The Evolving Metropolis. Zurich, Switzerland : International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0634.
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<p>New mass timber technologies are entering the US market allowing for innovative, sustainable, and affordable designs. As the market embraces mass timber it is important to reflect on the history of mass timber and to learn best practices to ensure sustainable growth of this sector. This paper will discuss the evolution of mass timber in three parts:</p><p>19th Century: Large sawn timbers were used to construct impressive warehouse structures that still remain functional and beautiful in our cities today. Logging practices of this era led to deforestation in parts of the Americas before the rise of steel and concrete as dominant building materials.</p><p>20th Century: Mass timber using adhesives emerged in the 20th century. The novel idea of adhering small dimensioned lumber together to create massive elements is the genesis of all modern mass timber technology. This practice allows for timber to be sustainably harvested for structural applications.</p><p>21st Century: Cross Laminated Timber (CLT) has quickly shifted from a bespoke building material to an affordable system being used to address the pressing need for affordable housing. 475 W. 18<span>th</span> St is a model project that was used to compare the carbon impact of building a multi-family residential building as compared to conventional reinforced concrete.</p>
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Vandenbergh, Alex. « Terra Cotta Flat Arches : A Historic Modern-Day Challenge ». Dans IABSE Congress, New York, New York 2019 : The Evolving Metropolis. Zurich, Switzerland : International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2542.
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<p>At the turn of the 20th century, terra cotta flat arches (TCFA’s) were a popular floor system in steel framed buildings for industrial and office construction in the United States. These arches were lighter but just as fireproof as standard brick arches, and were designed empirically using proprietary allowable load tables, which were based mostly on load testing.</p><p>In the 21st century, the proprietary nature of the TCFA makes evaluating these systems problematic for the modern engineer, architect, and contractor. Renovations of buildings with TCFA floor assemblies typically will have new penetrations as well as altered loading conditions from its original construction.</p><p>It is important for all parties involved in the design and construction process of a renovation to understand the history, mechanisms, and limitations of TCFAs in order to have a successful renovation from both a design and a cost perspective. Conversely, renovating a building without the proper knowledge or experience with the existing materials can lead to change orders, time overruns, and most importantly life safety risks.</p><p>This paper is a summary of a presentation given by the same author to the Association for Preservation Technology (APT) conference in September, 2018. A more in-depth paper by the same author and colleagues Derek Trelstad and Rebecca Buntrock will appear as an article in the APT Bulletin in 2019.</p>
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Афиногенова, Н. Н., et О. В. Ковалева. « SCULPTURE FELT AS A NEW MATERIAL IN THE PLASTIC ARTS OF THE 21ST CENTURY. ARTISTIC EXPERIMENTS ». Dans КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.02.
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Декоративный войлок — вид художественного нетканого текстиля. Имеет глубокие исторические корни в материальной культуре человечества. В ХХI веке войлок окончательно оформился в самостоятельное направление современного искусства. В настоящей статье проанализирован феномен скульптурной пластичности войлока как материала, позволяющего создавать трехмерные арт-формы и композиции, актуальные в современной объемнопространственной среде. Рассмотрены примеры объектов «мягкой скульптуры» из войлока c художественной и технологической точек зрения. Decorative felt is a type of artistic non-woven textile. It has deep historical roots in the material culture of humanity. In the 21st century, felt finally emerged as an independent movement of contemporary art. This article analyzes the phenomenon of sculptural plasticity of felt as a material that allows you to create three-dimensional art forms and compositions that are relevant in the modern three-dimensional environment. Examples of objects of “soft sculpture” made of felt are considered from artistic and technological points of view.
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Lee, Jay. « Manufacturing Engineering Education Through Industry/University Cooperative Research : Issues, Challenges, and Strategies ». Dans ASME 1997 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/imece1997-1125.
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Abstract Today’s globalized manufacturing enterprise necessitates a new imperative for the academe to generate internationally astute engineers to enable manufacturing companies to collaborate in a global market in the 21st century. This paper presents author’s perspectives on manufacturing engineering education system in a changing world. First, issues, challenges, and strategies are discussed. Second, various industry/university cooperative research models in the US, Japan, Germany, and Taiwan are examined. Finally, challenges in education system and research collaboration in moving the innovation to a global marketplace is addressed.
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Malinina, Elena. « Contemporary Art Culture as a Creator of Publicity New Forms : Experience of Perm Theatrical Community ». Dans The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.
Texte intégralRésumé :
This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.