Gotowe bibliografie tematyczne / Art as proposition

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Art as proposition”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 9 lutego 2022

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Artykuły w czasopismach na temat "Art as proposition"

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Paul Deharme i Anke Birkenmaier. ""Proposition for a Radiophonic Art”". Modernism/modernity 16, nr 2 (2009): 406–13. http://dx.doi.org/10.1353/mod.0.0102.

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Hulks, David. "World Art Studies: a radical proposition?" World Art 3, nr 2 (wrzesień 2013): 189–200. http://dx.doi.org/10.1080/21500894.2013.823886.

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Anke Birkenmaier. ""Proposition for a Radiophonic Art": Introduction". Modernism/modernity 16, nr 2 (2009): 403–5. http://dx.doi.org/10.1353/mod.0.0090.

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Hidayat, Desman, Apriani Kurnia Suci i Gita Khadijatu Saliha. "Market Segmentation, Customers, and Value Propositions Analysis for Polymer Clay Art Business Start-Up". Binus Business Review 7, nr 1 (30.05.2016): 89. http://dx.doi.org/10.21512/bbr.v7i1.1488.

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Polymer clay art is one of the creative businesses that are recently starting to get a lot of attentions. To prepare a startup business in this field, analysis from a lot of aspects is needed. The purpose of this article was to explain the approach of the polymer clay art business startup from the market segmentation, customer, and value proposition side of the business. The method was applied by analyzing those steps in details. The analysis started from brainstorming to choose the market matching to business, the customer side, value proposition, and between both aspects. The result of the analysis shows the business focus of the polymer clay art business, where the value propositions are focusing on unique decorations, and several types of customer segments.
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Laguarda, Alice. "Art et Politique". Emulations - Revue de sciences sociales, nr 9 (10.09.2018): 57–68. http://dx.doi.org/10.14428/emulations.009.004.

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Le développement de pratiques artistiques participatives, relationnelles et contextuelles au sein des sociétés capitalistes démocratiques s’accompagne de multiples modes de relations entre l'artiste et le public. Mais nombre de ces propositions semblent s’être perdues dans la complexité de la matière sociale, propice à la confusion entre animation socio-culturelle, instrumentalisation du public et des artistes ou esthétique compassionnelle. Faut-il en déduire alors que l’artiste est condamné à n’être qu’un professionnel de la communication, qu’un thérapeute des maux de la société ? La poussée des projets et interventions en milieu urbain invite à se demander quelles positions existent aujourd’hui qui permettraient d'évaluer la possibilité d’une fonction critique et polémique de l'artiste. Jochen Gerz nous incite dans Les mots de Paris à réfléchir à la perte de valeur politique de l’espace public. En fondant sa proposition sur la participation d’« exclus » et en ne figeant pas son projet dans une forme conventionnelle, il inverse les règles du jeu artistique et institutionnel, instaure le trouble dans l’appréhension morale de cette « œuvre collective ». Nicolas Simarik et Jean Kerbrat élaborent quant à eux des projets qui cherchent à redéfinir l’autorité de l’artiste, invitant le public à construire un usage actif et critique de l’espace public. L’idée d’une résistance apparaît, contre les logiques de séparations, par l’élaboration de gestes de « profanation ». Ces propositions nous confrontent au sentiment de perte d’appartenance au monde commun, à l’« envahissement du social » et remettent en question, dans leurs processus comme dans leurs partis pris esthétiques, la relation souvent purement fonctionnaliste qu’entretient aujourd’hui le politique vis-à-vis de l’art.
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Yap, Sau Bin. "Artist as Purveyor of Meanings: Notes, Proposition and Reprise". International Journal of Creative Multimedia 1, nr 1 (18.05.2020): 32–38. http://dx.doi.org/10.33093/ijcm.2020.1.1.5.

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This essay is based on the author’s thoughts and notes taken over the years as an art practitioner. It is driven by referencing various texts on art theory, philosophy and criticism. Importantly it is influenced by the author’s own practice as an artist and artistic idea (gnosis). By adapting the notion of the artist as “purveyor of meanings"–the text discusses learning as a syncretic idea build on explorative intuition (and reaction) towards exposure to disparate type, style and approach of art forms. Notably, the discussion is presented in a performative manner by writing to ask, “What do I do as an artist?” instead of the expected probing of wondering what art is
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Fillis, Ian, Kim Lehman i Morgan P. Miles. "The museum of old and new art". Journal of Vacation Marketing 23, nr 1 (1.08.2016): 85–96. http://dx.doi.org/10.1177/1356766716634153.

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Entrepreneurial marketing is used to understand new venture creation in the vacation tourism sector through a case study of private art museum in Tasmania that has become a tourist destination of major international significance. The Museum of Old and New Art (MONA) has emerged as a major driver of tourism in the region. Interrogation of the arts and cultural tourism literature sets up a key research proposition – in arts and cultural tourism, the unique artistic tastes of the entrepreneur often trump customer needs and preferences by shaping the visitor’s experience through creative artistic innovation. The findings support our proposition, with additional grounding through the impact of the owner/manager and associated entrepreneurial marketing and effectuation impacts.
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Day, Kevin. "Reversal, Disconnect, and Proposition". Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, nr 2 (30.07.2021): 1–8. http://dx.doi.org/10.1145/3465624.

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This paper examines the potential countertactics of contemporary interactive media art to interrogate the data-mining practices that encode the everyday and exploit user data in the big data economy. It argues that noise is the "other" of information, a way to counter the operation of turning the world into data commodities. Through a Brechtian methodology informed by philosophy and critical theories of media and technology, the paper suggests that amplifying the "noise" of the digital media assemblages deviates from their everyday normative functions and estranges our relationship to them, inviting critical ways of understanding, relating to, and engaging these ubiquitous systems. All three noted artworks destabilize the protocols of data-mining to examine data politics. Specifically, the paper looks at three different tactics that amplify the "noise" of digital culture in different ways: reversing roles, disconnecting, and proposing viable alternatives.
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Washburn, Dorothy K. "An Interactive Test of Color and Contour Perception by Artists and Non-Artists". Leonardo 33, nr 3 (czerwiec 2000): 197–202. http://dx.doi.org/10.1162/002409400552504.

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The author explores Richard Latto's proposition that art com-municates effectively because art-ists manipulate basic features of form that the human perceptual system has evolved to detect. She offers an empirical test of the correlated proposition-that view-ers of art use these same fea-tures to assess art. The author presents the results of an experi-ment in which both artists and non-artists were asked to discern and draw shapes in patterns de-fined by iterating dots. She finds that both groups used color in the case of positive shape and form edge in the case of negative space, thereby confirming that both makers and viewers of art fo-cus on the same kinds of features to recognize and assess form.
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Joselit, David. "Conceptual Art of the Press Release, or Art History without Art". October 158 (październik 2016): 167–68. http://dx.doi.org/10.1162/octo_a_00276.

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As in neoliberal market theory, where maximal information is said to make markets more efficient, what Joselit calls “Conceptual art of the press release” (in which the artwork is “translated” into text as a proposition about its meaning) makes even difficult art easy to consume. The once radical proposal of Conceptual art—that objects exist in a transactional relation with text (and prosaic photographic documents)—has now become business as usual. But this is not merely the result of the now-standard practice of training artists in MFA programs, where learning consists of verbally justifying one's artworks before a cohort of peers and artist-instructors, nor the demands of a global and increasingly virtual art market. It is also a condition of today's academic practice in which art history is little more than the weaving together of primary and secondary sources that “historicize” and “theorize” objects without attending to them specifically. The current challenge for artists and critics is not to forego engaging with information, but rather to resist the allure of its transparency in favor of tracking its plasticity—in other words, the shapes of social governance and aesthetic speculation that its myriad overlapping channels assume.
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Rozprawy doktorskie na temat "Art as proposition"

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Baraud, Dominique. "Proposition ornementale pour un "Celtic Revival"". Paris 1, 1989. http://www.theses.fr/1989PA010546.

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Cette recherche presente l'etude graphique et symbolique de l'ornementation celtique, au travers des trois principaux evangeliaires du haut moyen age irlandais : le livre de kells, celui de lindisfarne, et enfin celui de durrow. Sont ainsi remis a jour, principes d'harmonie, langage symbolique et repertoire formel, -issus de la tradition celtique - pour une creation ornementale, a caractere sacre, premices d'un " celtic revival ". L'elaboration de ce type particulier d'expression engendre, par ailleurs, l'etude de notre contexte artistique sacre. Problemes, contraintes et directives sont exposes, nous amenant insensible- ment au choix d'une option spirituelle, retrouvee elle aussi dans notre passe artistique : le depouillement de l'art cistercien. Paradoxe difficile a etablir : la richesse irlandaise et la pure- te de l'art cistercien constituent, pour la creation ornementale proposee, une double option graphique et spirituelle. La reference a "l'art nouveau" justifiera les fondements de notre attitude. Un triple objectif est ainsi poursuivi: en remettant a jour l'art celtique, nous proposons de revaloriser la notion d'ornementation pour une nouvelle expression de l'art sacre
This work is about graphic and symbolic studies of celtic ornamentation, through the three main gospels of the irish high middle ages: the book of kells, the book of lindisfarne and the book of durrow. The principles of harmony, the symbolism of language, and formal repertory are brought back to life to create a new ornamentation, with a sacred characteristic, early beginnings of a celtic revival. The elaboration of this particular type of expression generates the studies of our artistic and sacred context. Problems, constraints, and instructions are exposed, leading us imperceptibly to choose a spiritual option found again in our artistic past : the purity of cistercian art. This paradox is difficult to define: irish treasures and pureness of cistercian art constitute a double option: a graphic and spiritual one, for the suggested ornamental creation. Reference to "modern art" will justify the bases of our attitude. A triple objective is reached: bringing back to life celtic art, we'll propose to revalue the notion of ornamentation, to get a new expression of sacred art
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Tillotson, Zoe. "Ephemeral art : a philosophical proposition about the nature of time and being". Thesis, University of the Arts London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650331.

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Spaulding, Eric M. "The patient as art a critique from aesthetics of the transhumanist proposition /". Deerfield, IL : Trinity Graduate School, 2007. http://dx.doi.org/10.2986/tren.006-1561.

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NOVOA, PADRON MARIA TERESA. "Art public, étude de cas : Caracas, Montréal et Paris de 1980 à 1993, suivie d'une proposition personnelle". Paris 8, 1995. http://www.theses.fr/1995PA081108.

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La these qui suit traite de l'art public compris comme oeuvres d'art bidimensionnelles et ou tridimensionnelles, situees dans les espaces publics de la ville, determinant ou etant determines par la morphologie urbaine, et qui, de par leur caractere public, sont constitutives d'oeuvres, patrimoine de la communaute et, en derniere instance, de l'etat qui la represente. L'un des objectifs de ce travail est de decouvrir le processus plastique de quelques experiences d'art public contemporain, realisees aussi bien dans notre pays d'origine, le venezuela, comme en dehors de celui-ci. Pour l'etude de cas, nous avons choisi les villes de caracas, montreal et paris avec les oeuvres suivantes: a caracas: - amenagement dans le metro de petare. - jardin de sculptures dans le parc de l'est; - ensemble de sculptures place venezuela. A montreal: - place berri - parc de sculptures rene levesque. - jardin de sculptures, centre culturel canadien. A paris: - embalage du pont-neuf. - coeur d'honneur du palais royale - axe majeur a cergy pontoise. En fin, nous exposerons nos propre propositions d'intervention dans l'espace public, qui vont dans le sens d'une recherche attentive des demandes emanant de la vie actuelle. Nos propositions personnelles quant a elles, naissent de la necessite de traiter l'espace urbain comme support du langage plastique
The following thesis is dealing with public art as a bidimensional or tridimensional piece of art situated in public locations determining or being determined by urban morphology. It's public status is creating the communauty patrimony and at least state patrimony. One of the purpose of this study is to discover the process of some contemporary public art experiences located as well in my own country or abroad. For the case study we choose the towns of caracas, montreal et paris with the following works. Caracas: - intervention in the petare metro - sculpture garden in the parque del est - sculpture composition plaza venezuela. Montreal: - place berri - sculpture park rene levesque - sculpture garden centre culturel canadien paris: - pont-neuf wrapped - patio d'honneur palais royal - major axis cergy- pontoise at least we'll espace our own intervention proposals on public locations. They are taking much care of the actual life needs. Our personnal proposals are dealing with the necessity to work public spaces as the support of art works
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Ramade, Bénédicte. "Infortunes de l'art écologique américain depuis les années 1960 : proposition d'une réhabilitation critique". Paris 1, 2013. http://www.theses.fr/2013PA010558.

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L'Art écologique est un mouvement né dans les années 1960 aux Etats-Unis dont l'appellation a été instituée tardivement en 1992 par "Fragile Ecologies", une exposition oraganisée au Queens Museum. La conception fonctionnaliste du rôle de l'art au service de l'écologie a jusqu'ici été minorée et indexée à d'autres courants contemporains - de l'"Earth art" à l'art public "New Genre" - dans la plupart des productions intellectuelles consacrées. Cette étude propose d'analyser la méprise critique et l'infortune de ce mouvement, mettant en évidence la nécessité de sortir du strict cadre de l'histoire de l'art. Mis en perspective avec l'histoire de l'environnementalisme américain dont les premières heures au 19e siècle ont été favorisées par l'activation de pratiques artistiques pour sensibiliser des politiciens et la population à la protection de la nature, l'Art écologique acquiert une assise historique inédite. A partir de ce nouveau récit circonstancié et l'examen attentif de l'engouement sociétal et politique pour l'écologie, il a été possible de mesurer les effets délétères paradoxaux de ce contexte. Malgré leur singularité, les approches opératives réalisées dans les années 1980 n'ont jamais été reconnues comme avant-gardistes puisque assujetties à d'autres courants artistiques fondateurs. Or, recontextualisées dans le cadre environnemntaliste et sociétal, elles démontrent un fort potentiel esthétique. Sans vouloir verser dans une mission apologétique, la proposition de cette thèse est de réhabiliter cet art qui a su résister à la face médiatique et naturaliste de l'écologie pour mieux interroger ses devoirs et ses compétences mis au service de la science écologique.
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Lorent, Marie-Françoise. "Le cimetière du Dieweg à Uccle (1868-1946). Proposition pour une méthode d’approche de l’art funéraire dans sa dimension sociologique". Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/248053.

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Cette recherche propose les outils méthodologiques de la lecture du monument funéraire afin d'éclairer la relation qu'il établit avec les défunts qu'il abrite. L'exercice a été pratiqué au cimetière du Dieweg (Uccle) pour la période 1868-1946. L'étude s'attache à décrire les profils esthétiques de la sépulture et sociologiques des défunts. Au terme de cette recherche, le monument apparaît bien comme le centre de gravité des composantes dont certaines ont été ici identifiées. Cette recherche propose donc une approche essentiellement méthodologique de l'art funéraire.
Doctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
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Hsieh, Chenwei. "Processus de création d'un système d'images interactives pour le spectacle vivant : proposition d'une méthode de développement rapide et mise en oeuvre d'une structure d'un système d'interactivité multi-niveaux et multi-sources". Paris 8, 2013. http://octaviana.fr/document/170326594#?c=0&m=0&s=0&cv=0.

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Dans cette thèse, qui se compose de trois parties principales, je présente l'analyse de mon processus de réalisation d'un système d'images interactives pour le spectacle vivant, plus spécifiquement pour un spectacle improvisé, musical, chorégraphique et réalisé collectivement par plusieurs artistes : le performeur, le compositeur et le créateur d'images interactives. La première partie a pour objet la recherche artistique à travers mon regard porté sur les œuvres d'images numériques d'autres artistes travaillant dans le spectacle vivant. La deuxième partie concerne la recherche technique, principalement relative aux outils de la captation ; elle suit le développement de mes créations successives qui ont enrichi ma propre expérience de création avec des techniques interactives. Enfin, dans la troisième partie, une structure de réalisation d'un système interactif sur multiples niveaux et avec plusieurs sources est présentée. Ce système propose une méthode de création de mapping complexe qui est s'appuie sur les développements des différents projets que j'ai réalisés avec deux logiciels de création d'applications 3D temps réel (d'abord avec Virtools, puis avec Unity). Il comporte une structure du système avec de multiples niveaux ; la partie d'entrée des différentes captations est indépendante et réutilisable ; les éléments virtuels générés par script (formes, effets spéciaux) sont bien modélisés esthétiquement et réagissent aux multiples sources d'entrées. Cette méthode qui me permet de réaliser rapidement un projet artistique, tout en pouvant lui donner une certaine complexité, devrait pouvoir être reprise par d'autres
In this thesis, I try to present my process to create an interactive system in a live performance, specifically the dance and musical improvisation made collectively with several artists: performers, composers and creators of the interactive image. The first part is the artistic research about related artists’ works in their live performances. The technical research is the subject of the second part. It consists of my experience about the technology, hardware and software in the development of interactive creations, especially the sensor system of sound and movement. In the end, I propose a structure of system with the multiple-levels and interactive sources. It is a full process to create diversified mapping interactive system. The main goal of the process is to create a faster and more intuitive interactive program. It includes a structure of multiple- level scenes controls, the reusable and independent sensors systems by using the OSC protocol, and the creative function module in platform Unity with multiple input controls
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Dodds, Christopher, i chris@iconinc com au. "Avatars and the Invisible Omniscience: The panoptical model within virtual worlds". RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080424.100301.

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This Exegesis and accompanying artworks are the culmination of research conducted into the existence of surveillance in virtual worlds. A panoptical model has been used, and its premise tested through the extension into these communal spaces. Issues such as data security, personal and corporate privacy have been investigated, as has the use of art as a propositional mode. This Exegesis contains existing and new theoretical arguments and observations that have aided the development of research outcomes; a discussion of action research as a methodology; and questionnaire outcomes assisting in understanding player perceptions and concerns. A series of artworks were completed during the research to aid in understanding the nature of virtual surveillance; as a method to examine outcomes; and as an experiential interface for viewers of the research. The artworks investigate a series of surveillance perspectives including parental gaze, machine surveillance and self-surveillance. The outcomes include considerations into the influence surveillance has on player behaviour, security issues pertaining to the extension of corporations into virtual worlds, the acceptance of surveillance by virtual communities, and the merits of applying artworks as proposition.
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Bravin, Alessandra. "L'art rupestre de la phase des cavaliers au Maroc : les sites de Foum Chenna (Vallée du Draa) et du Jebel Rat (Haut Atlas) : Analyse iconographique, thématique et proposition de chronologie". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3119.

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La première partie présente les caractères généraux de la phase dite « libyco-berbère » dans la littérature. La lecture minutieuse de la bibliographie y est suivie de l'analyse de la notion de « libyco-berbère », d'où il ressort que celle-ci ne permet pas de définir adéquatement la phase en question et qu'il est donc nécessaire de la remplacer par une nouvelle dénomination : la « phase des cavaliers ». Ses traits distinctifs sont passés en revue : introduction du cheval au Maroc, iconographie, style et en replaçant la problématique dans le contexte du Maroc du Ier millénaire av. J.-C. La deuxième partie a pour objet le plateau du Tizi 'n Tirghiyst, examiné sur la base des publications ainsi que de prospections sur le terrain. Cette approche permet de souligner sa complexité et son hétérogénéité, qui inclut la phase des cavaliers et des phases plus anciennes. La méthodologie utilisée comprend l'analyse des éléments iconographiques : le cheval et le harnachement, le cavalier et ses armes, les thèmes. La troisième partie est consacrée à l'examen de Foum Chenna. L'homogénéité du site est flagrante, en dépit de l'existence d'une phase plus ancienne sous-jacente à celle des cavaliers. L'étude minutieuse de ses éléments constitutifs conduit à l'identification de nouveaux thèmes et à la découverte de nouvelles inscriptions libyques.La quatrième partie est une comparaison des deux sites en vue de mettre en évidence analogies et différences et d'identifier les éléments permettant d'avancer une proposition chronologique.Les trois annexes sont respectivement les corpus de gravures de cavaliers du Rat, de Foum Chenna et la totalité des inscriptions libyques de Foum Chenna
The first part presents the general characters of the phase known as "Libyco-Berber". After a thorough examination of the literature, the very notion of "Libyco-Berber" is analysed and recognized as being inadequate to define the phase and it is proposed a new denomination i.e. the "phase of the horsemen."Its specific characters are analysed from the point of view of the introduction of the horse in North Africa, in terms of iconography and style, all set in the historical context of Morocco's I millennium BC.The second part relates to the plateau of Tizi 'n Tirghiyst, examined on the basis of publications and through an accurate prospecting work. From this approach emerges the complexity and heterogeneity of the rock art of this area that includes not only the phase of the horsemen but also earlier phases. The methodology includes the analysis of the iconographic typical elements: the horse and harness, his weapons and the themes.The third part is devoted to the study of Foum Chenna, in the Draa Valley. It is immediately detected the homogeneity of the site although an older phase is present. The methodology for the analysis is the detailed study of individual elements that led to the identification of new themes and the discovery of new inscriptions in Lybic letters.The fourth part is devoted to the comparison between the two sites, to highlight similarities and differences, to identify elements for a chronology.The three annexes are respectively the corpus of engravings of the horsemen phase of the Rat, of Foum Chenna and the totality of the Libyan inscriptions of this site
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Carbogim, Luís Felipe de Souza. "Aprendizagem obscura: fragmentos arranjados por proposições artísticas". Universidade Federal de Juiz de Fora (UFJF), 2011. https://repositorio.ufjf.br/jspui/handle/ufjf/2664.

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Esta dissertação é um escrito que se compõe com multiplicidades que atravessam um professor de artes no seu formar-se, ou, deformar-se. É o exercício de trazer com a escrita, uma escrita de si, o processo da pesquisa, não um falar sobre a pesquisa, mas a pesquisa em si – perseguindo e sustentando a problemática como aula? Agenciando Hélio Oiticica, Gilles Deleuze, Félix Guattari e Friedrich Nietzsche, na busca de uma um corpo outro, uma aula outra em última análise. O conceito de proposição, tal como aparece na obra de Oiticica, é definido por ele como o declanchar de processos inventivos coletivos, deslocado aqui para a imanência das aulas, das leituras, das escritas, dos corpos... da vida. A proposição abala qualquer concepção dicotômica e disso deriva um campo problemático de encontros entre professor, arte, alunado, fruição, produção, poética, estética, política e ética. Esta problematização persegue a aula enquanto proposição: aulaproposição, mas não se trata da apresentação de uma didática para o ensino de artes, tampouco uma pedagogia da arte, está mais próxima de um abalo no campo educacional que faz tremer, especialmente, os alicerces da Arte/Educação, reverberando na questão tão cara à Arte/Educação escolar que traz como que um senso comum o objetivo do ensino de arte em formar um público crítico para as artes. Aulaproposição: processo de invenção coletivo anônimo, no qual os participantes são produtores, em busca de um ―estado de invenção‖, como coloca Hélio Oiticica. Daí, especialmente com Oiticica, um corpo interroga: como formar artistas e não formar público? Como formar público e não formar artistas? É possível, tendo em vista a proposição, um caminhar outro, o impossível? Relato alguns processos-aulas a partir do ―método‖ investigativo da cartografia, produzido por Deleuze e Guattari, no qual a pesquisa, pesquisador e pesquisado não se dão em separado. O processo de pesquisa é processo de invenção, importa ao pesquisador estar à espreita do acontecimento, atento às virtualidades que pululam no campo de pesquisa. Nesta ―perspectiva‖ o campo de pesquisa é jogo de forças, oficina de signos, e, a atenção do pesquisador-cartógrafo deve flutuar e pousar num movimento com o movimento vivo de um campo-jogo. Assim, preparo um corpo para estar atento difusamente aos processos que vivi com alunos e alunas de seis, sete, quinze e dezesseis anos, para exercitar a cartografia rente aos processos inventivos da experimentação dos propositores. Parte da pesquisa fora realizada a partir do meu arquivo pessoal produzido com um colégio da cidade de Juiz de Fora, especialmente interessado no processo poético-inventivo em aulas de artes visuais.
This dissertation is a written that is formed for multiplicities that cross an arts teacher on his auto form or auto deform. It is the exercise to bring with a written the research process, not to talk about the research, but the research itself – accompanying and supporting the problematic how class? Hélio Oiticica, Gilles Deleuze, Félix Guattari and Friedrich Nietzsche‘s touted consists in the search for, ultimately, another body, another class. The proposition concept, such as it appears in the Oiticica work, is defined by him as the collective inventive process initiate displaced here to the immanence of the classes, readings, writings, bodies…life. This proposition unsettles any dichotomous conception and causes meetings problematic field among teacher, art, pupils, fruition, production, poetic, aesthetics, policy and ethics. This problematization tries to understand class while proposition: classproposition. It‘s not the didactic presentation to the arts teaching, neither an art pedagogy. It‘s more closely of a seism on the educational field that especially making shake the Art/Education foundations, reverberating in the special question to the school Art/Education that brings like a common sense the objective of the art teaching to form a critical public to the arts in general. Classproposition: process of the anonymous collective invention in which the participants are producers in search of an ―invention state‖ according to Hélio Oiticica. So, especially with Oiticica, a body questions: how to form artists and public doesn‘t? How to form public and artists don‘t? Is it possible considering the proposition, another walk, the impossible one? Some class-processes are related based on the cartography investigative ―process‖ produced by Deleuze and Guattari in which the research, researcher and researched don‘t happen on the separate way. The research process is an invention process. It interest to the researcher to be lurking to the event, to be aware to the virtualities that sprout on the research field. In this ―perspective‖, the research field is forces game, signs workshop and the cartographer-researcher attention must float and land in the movement with the living movement of a game-field. Thus, a body is prepared to be diffusely aware to the processes lived together pupils with six, seven, fifteen and sixteen years old to exercise the cartography close to the inventive processes of the proponents‘ experimentation. A part of the research was done from a personal portfolio produced with a Juiz de Fora school, especially interested in the inventive poetic process in visual arts classes.
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Książki na temat "Art as proposition"

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Gauthier, Annie. Pink link, ou, La proposition rose. Montréal]: La Centrale Galerie Powerhouse, 2001.

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M, Herbert Lynn, Porter Jenelle, Heon Laura Steward i Contemporary Arts Museum (Houston), red. Matthew Ritchie: Proposition player. Houston, Tex: Contemporary Arts Museum in association with Hatje Cantz, 2003.

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Besson, Pierre. Qui est là?: Une proposition. [Paris]: J.M. Place, 2001.

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Vortex of silence: Proposition for an art criticism beyond aesthetic categories. Milano: Charta, 2004.

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Conseil des communautés culturelles et de l'immigration du Québec. La proposition de politique culturelle du Québec: "une politique de la culture et des arts", mémoire. [Montréal]: Conseil des communautés culturelles et de l'immigration, 1991.

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Conseil des communautés culturelles et de l'immigration du Québec. La proposition de politique culturelle du Québec: Une politique de la culture et des arts : mémoire présenté à la Commission parlementaire sur l'énoncé de politique en matière de culture, le 30 octobre 1991. Montréal, Québec: Le Conseil, 1991.

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Hoptman, Laura J. Drawing now: Eight propositions. New York: Museum of Modern Art, 2003.

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Museum of Modern Art (New York, N.Y.)., red. Drawing now: Eight propositions. New York: Museum of Modern Art, 2002.

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Images fixes: Propositions pour la sémiologie des messages visuels. Paris: Harmattan, 2008.

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Leconte, Bernard. Images fixes: Propositions pour la sémiologie des messages visuels. Paris: Harmattan, 2008.

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Części książek na temat "Art as proposition"

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Mustaqim, Karna, i Muliyadi Mahamood. "Construction of Design: A Formal Proposition of Graphics Analysis of Comics". W International Colloquium of Art and Design Education Research (i-CADER 2014), 173–93. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-332-3_19.

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Klein, Kristin. "Post-digital, Post-internet: Propositions for Art Education in the Context of Digital Cultures". W Post-Digital, Post-Internet Art and Education, 27–44. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_2.

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AbstractConcepts such as Post-Digital and Post-Internet act as symptomatic descriptors of digitally permeated cultures. Starting from a broad understanding of digitality in its societal and cultural-historical interdependencies, both terms are first introduced and afterward extended through the discussion of four theses, with a particular emphasis on aesthetic aspects. Elaborating on (1) distributed artworks, (2) hybrid subjects, (3) fluid materiality, and (4) blind spots, each thesis leads to a proposition for art education dealing with digital cultures. The chapter concludes by highlighting art education’s potential in reflecting on digital cultures and in developing new models and methods for practical application.
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Yuchi, Jian. "What Are Major Driving Forces to the US Manufacturing, Financial and Internet Industries?" W Value Proposition, 35–45. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5025-6_5.

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Yuchi, Jian. "Internet, Big Data, AI and E3 Economic Theory Are Driving Forces to the Transformation of the China’s Economy". W Value Proposition, 93–135. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5025-6_8.

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Pollard, Carl. "Are (Linguists’) Propositions (Topos) Propositions?" W Logical Aspects of Computational Linguistics, 205–18. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22221-4_14.

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Künne, Wolfgang. "Are Questions Propositions?" W Contributions to Phenomenology, 83–93. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-017-0207-2_6.

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Booth, David, i Renatus Ziegler. "Are There Undecidable Propositions?" W Finsler Set Theory: Platonism and Circularity, 63–72. Basel: Birkhäuser Basel, 1996. http://dx.doi.org/10.1007/978-3-0348-9031-1_6.

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Huet, Armand, Romain Pinquie, Philippe Veron, Frederic Segonds i Victor Fau. "Design Rules Application in Manufacturing Industries: A State of the Art Survey and Proposal of a Context-Aware Approach". W Lecture Notes in Mechanical Engineering, 335–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70566-4_53.

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Abstract[Context] In manufacturing industries, the design of a product needs to comply with many design rules. These rules are essentials as they help industrial designers to create high quality design in an efficient way. [Problem] However, the management of an ever-increasing number of design rules becomes a real problem, especially for new designers. Even if there exists some knowledge management tools for design rules, their capabilities are still limited and many companies continue to store their design rules in unstructured documents. Nowadays, design rule application is still a difficult task that needs a circular validation process between many expert services in a manufacturing company. [Proposition] In this paper, we will analyze the main existing approaches for design rules application from which we will demonstrate the need of a new approach to improve the current state-of-the-art practices. To minimize rule application impact on the design process, we propose to develop a Context-Aware Design Assistant that will perform design rule recommendation on the fly while designing using computer-aided technologies. Our Design Assistant relies on the modelling of the design rules and the design context in a single knowledge graph that can fuel a recommendation engine. [Future Work] In future work, we will describe the technical structure of the Context-Aware Design Assistant and develop it. The potential outcome of this research are: a better workflow integration of design rules application, a proactive verification of design solutions, a continuous learning of design rules, the detection and automation of design routines.
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Kelly, Simon, Paul Johnston i Stacey Danheiser. "Value Propositions: So What Are They?" W Value-ology, 25–42. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45626-3_2.

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Gall, Gregor. "Introduction — Themes, Concepts and Propositions". W New Forms and Expressions of Conflict at Work, 1–6. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137304483_1.

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Streszczenia konferencji na temat "Art as proposition"

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Li, Shumei. "Proposition of courses offering for martial art specialty in Shandong province". W 2013 International Conference on Sport Science and Computer Science. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/cccs130561.

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Newman, Graham. "How might Generative Art be a Proposition for Cross Curricular Learning in Schools". W Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.29.

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Lu, Jiachuan. "Study on the Influence of the Classical Aesthetics Proposition on Chinese Early Painting Concepts". W Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.23.

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Noun, Hassan, Walid Fahs, Ali Kalakech i Jamal Haydar. "Performance of Revocation Protocols for Vehicular Ad-Hoc Network. Review of State-of-Art Techniques and Proposition of New Enhancement Revocation Method". W 2018 2nd Cyber Security in Networking Conference (CSNet). IEEE, 2018. http://dx.doi.org/10.1109/csnet.2018.8602793.

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Maras, Karen. "This time without ‘feeling’: Children’s intuitive theories of art as a logical basis for learning progression in visual arts". W Research Conference 2021: Excellent progress for every student. Australian Council for Educational Research, 2021. http://dx.doi.org/10.37517/978-1-74286-638-3_3.

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Learning in Visual Arts has traditionally been framed as an experiential process in which feeling and intuition complement the development of aesthetic knowledge. However, while art can be about feelings and processes that develop students’ expressive capacities, the complexity of art understanding and thinking extends beyond this narrow common-sense assumption. I argue that this assumption, which is represented in the Australian Curriculum: The Arts (ACARA, 2015), and even more firmly resonates in recent proposals for the revision of this curriculum (ACARA, 2021), obfuscates the conceptual and theoretical bases on which students make progress in art understanding. This paper examines the proposition that art understanding emerges progressively and can be described in conceptual terms, the basis of which can be identified in empirical research on the emergence of children’s intuitive theories of art. This paper examines how selected studies articulate the cognitive grounds on which students’ ontologies of art and epistemological beliefs are represented in their reasoning about art over time. It is argued that an empirically supported conception of learning anchored in students’ cognitive development in art that recognises the theoretical commitments underscoring their conceptual and practical reasoning in visual arts practices K–12 provides a logical basis for articulating progression in the subject.
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Ben Hamida, Sonia, Marija Jankovic, Franco Curatella, Simone Sasse, Suzanne Baltay, Martine Callot, Alain Huet i Jean-Claude Bocquet. "Value Proposition Design for Systems and Services by Adapting Affordance-Based Design". W ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-60089.

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In early design stages, firms need to generate and assess their value propositions. Although both business developers and systems engineers capture customers’ needs to design the value proposition, they suffer from inefficient business and engineering processes interactions. Moreover, they lack methods to elicit the needs in a structured way and to explore the best value propositions. We propose to extend the affordance-based design for systems and services in order support the elicitation and capture of stakeholders’values; and to identify boundaries of the system design problem to explore the best value propositions. Hence, affordances — which describe what system provides to other systems and stakeholders — help to frame the context. Today, affordance-based design is mainly used for artifact design. We propose to extend this approach to systems and services and complement it with a focus on stakeholders’ activities and external systems’ stages. With regard to the different system design perimeters defined by affordances, value propositions are designed. The proposed method is illustrated on an AIRBUS Defence & Space innovative project.
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Kao, Yueying, Weiming Li, Zairan Wang, Dongqing Zou, Ran He, Qiang Wang, Minsu Ahn i Sunghoon Hong. "An Appearance-and-Structure Fusion Network for Object Viewpoint Estimation". W Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/684.

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Automatic object viewpoint estimation from a single image is an important but challenging problem in machine intelligence community. Although impressive performance has been achieved, current state-of-the-art methods still have difficulty to deal with the visual ambiguity and structure ambiguity in real world images. To tackle these problems, a novel Appearance-and-Structure Fusion network, which we call it ASFnet that estimates viewpoint by fusing both appearance and structure information, is proposed in this paper. The structure information is encoded by precise semantic keypoints and can help address the visual ambiguity. Meanwhile, distinguishable appearance features contribute to overcoming the structure ambiguity. Our ASFnet integrates an appearance path and a structure path to an end-to-end network and allows deep features effectively share supervision from both the two complementary aspects. A convolutional layer is learned to fuse the two path results adaptively. To balance the influence from the two supervision sources, a piecewise loss weight strategy is employed during training. Experimentally, our proposed network outperforms state-of-the-art methods on a public PASCAL 3D+ dataset, which verifies the effectiveness of our method and further corroborates the above proposition.
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Console, Marco, Paolo Guagliardo i Leonid Libkin. "Do We Need Many-valued Logics for Incomplete Information?" W Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/851.

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One of the most common scenarios of handling incomplete information occurs in relational databases. They describe incomplete knowledge with three truth values, using Kleene's logic for propositional formulae and a rather peculiar extension to predicate calculus. This design by a committee from several decades ago is now part of the standard adopted by vendors of database management systems. But is it really the right way to handle incompleteness in propositional and predicate logics? Our goal is to answer this question. Using an epistemic approach, we first characterize possible levels of partial knowledge about propositions, which leads to six truth values. We impose rationality conditions on the semantics of the connectives of the propositional logic, and prove that Kleene's logic is the maximal sublogic to which the standard optimization rules apply, thereby justifying this design choice. For extensions to predicate logic, however, we show that the additional truth values are not necessary: every many-valued extension of first-order logic over databases with incomplete information represented by null values is no more powerful than the usual two-valued logic with the standard Boolean interpretation of the connectives. We use this observation to analyze the logic underlying SQL query evaluation, and conclude that the many-valued extension for handling incompleteness does not add any expressiveness to it.
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De Rosa, Fernando, Bento Alves Da Costa Filho i Jose Gaspar Nayme Novelli. "STUDENT GLOBALIZATION: HOW MUCH INTERNATIONALIZED ARE BRAZILIAN MBA STUDENTS? A MEASUREMENT PROPOSITION". W 8th Teaching & Education Conference, Vienna. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/tec.2019.008.006.

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Felix, Heitor, Francisco Simões, Kelvin Cunha i Veronica Teichrieb. "Image Processing Techniques to Improve Deep 6DoF Detection in RGB Images". W XXI Symposium on Virtual and Augmented Reality. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/svr_estendido.2019.8457.

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Six degrees of freedom (6DoF) Object Detection has great relevance in computer vision due to its use in applications on several areas, such as augmented reality and robotics. Even with the improved results provided by deep learning techniques, object detection of textured and non-textured objects is still a challenge. The objective of this work was to seek improvements in the six degrees of freedom detection of non-textured objects using a Convolutional Neural Network (CNN) approach through the preprocessing of the images that were used for training the network. A State of the art research was carried out on techniques that use CNN to detect objects in six degrees of freedom. We also searched for filters with enhancement factors for detection. Finally, a detection technique based on a CNN was selected and adapted to use single-channel images (grayscale) as input, instead of using three-channel images (RGB) as in the original proposition, aiming to increase its robustness while reducing the complexity of the input images. The technique was also tested with the application of two different preprocessing filters to enhance the objects’ contours on the single-channel images, one being the ”pencil effect”, and the other based on local binary patterns (LBP). With this study, it was possible to evaluate the impact on the CNN detection performance due to the application of both of the filters. The proposed technique used with one channel images and the filters on the images still could not surpass the results of the technique with the three-channel image (RGB), although it indicated paths for improvement. The pencil filter also proved to be more robust than the LBP filter, as expected.
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Raporty organizacyjne na temat "Art as proposition"

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Abrego, Lisandro, Raymond Riezman i John Whalley. How Often Are Propositions on the Effects of Customs Unions Theoretical Curiosa and When Should They Guide Policy? Cambridge, MA: National Bureau of Economic Research, maj 2001. http://dx.doi.org/10.3386/w8304.

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Berger, J. M. A Paler Shade of White: Identity & In-group Critique in James Mason’s Siege. RESOLVE Network, kwiecień 2021. http://dx.doi.org/10.37805/remve2021.1.

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Discussions of extremist ideologies naturally focus on how in-groups criticize and attack out-groups. But many important extremist ideological texts are disproportionately focused criticizing their own in-group. This research report will use linkage-based analysis to examine Siege, a White nationalist tract that has played an important role shaping modern neo-Nazi movements, including such violent organizations as Atomwaffen Division and The Base. While Siege strongly attacks out-groups, including Jewish and Black people, the book is overwhelmingly a critique of how the White people of its in-group fall short of Nazi ideals. Siege’s central proposition—that the White in-group is disappointing, deeply corrupt, and complacent—shapes its argument for an “accelerationist” strategy to hasten the collapse of society in order to build something entirely new. Finally, this report briefly reviews comparable extremist texts from other movements to draw insights about how in-group critiques shape extremist strategies. These insights offer policymakers and law enforcement tools to anticipate and counter violent extremist strategies. They also highlight less-obvious avenues for potential counter-extremist interventions and messaging campaigns.
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Hossain, Niamat Ullah Ibne, Raed Jaradat, Michael Hamilton, Charles Keating i Simon Goerger. A historical perspective on development of systems engineering discipline : a review and analysis. Engineer Research and Development Center (U.S.), kwiecień 2021. http://dx.doi.org/10.21079/11681/40259.

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Since its inception, Systems Engineering (SE) has developed as a distinctive discipline, and there has been significant progress in this field in the past two decades. Compared to other engineering disciplines, SE is not affirmed by a set of underlying fundamental propositions, instead it has emerged as a set of best practices to deal with intricacies stemming from the stochastic nature of engineering complex systems and addressing their problems. Since the existing methodologies and paradigms (dominant pat- terns of thought and concepts) of SE are very diverse and somewhat fragmented. This appears to create some confusion regarding the design, deployment, operation, and application of SE. The purpose of this paper is 1) to delineate the development of SE from 1926-2017 based on insights derived from a histogram analysis, 2) to discuss the different paradigms and school of thoughts related to SE, 3) to derive a set of fundamental attributes of SE using advanced coding techniques and analysis, and 4) to present a newly developed instrument that could assess the performance of systems engineers. More than Two hundred and fifty different sources have been reviewed in this research in order to demonstrate the development trajectory of the SE discipline based on the frequency of publication.
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Hendricks, Kasey. Data for Alabama Taxation and Changing Discourse from Reconstruction to Redemption. University of Tennessee, Knoxville Libraries, 2021. http://dx.doi.org/10.7290/wdyvftwo4u.

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At their most basic level taxes carry, in the words of Schumpeter ([1918] 1991), “the thunder of history” (p. 101). They say something about the ever-changing structures of social, economic, and political life. Taxes offer a blueprint, in both symbolic and concrete terms, for uncovering the most fundamental arrangements in society – stratification included. The historical retellings captured within these data highlight the politics of taxation in Alabama from 1856 to 1901, including conflicts over whom money is expended upon as well as struggles over who carries their fair share of the tax burden. The selected timeline overlaps with the formation of five of six constitutions adopted in the State of Alabama, including 1861, 1865, 1868, 1875, and 1901. Having these years as the focal point makes for an especially meaningful case study, given how much these constitutional formations made the state a site for much political debate. These data contain 5,121 pages of periodicals from newspapers throughout the state, including: Alabama Sentinel, Alabama State Intelligencer, Alabama State Journal, Athens Herald, Daily Alabama Journal, Daily Confederation, Elyton Herald, Mobile Daily Tribune, Mobile Tribune, Mobile Weekly Tribune, Morning Herald, Nationalist, New Era, Observer, Tuscaloosa Observer, Tuskegee News, Universalist Herald, and Wilcox News and Pacificator. The contemporary relevance of these historical debates manifests in Alabama’s current constitution which was adopted in 1901. This constitution departs from well-established conventions of treating the document as a legal framework that specifies a general role of governance but is firm enough to protect the civil rights and liberties of the population. Instead, it stands more as a legislative document, or procedural straightjacket, that preempts through statutory material what regulatory action is possible by the state. These barriers included a refusal to establish a state board of education and enact a tax structure for local education in addition to debt and tax limitations that constrained government capacity more broadly. Prohibitive features like these are among the reasons that, by 2020, the 1901 Constitution has been amended nearly 1,000 times since its adoption. However, similar procedural barriers have been duplicated across the U.S. since (e.g., California’s Proposition 13 of 1978). Reference: Schumpeter, Joseph. [1918] 1991. “The Crisis of the Tax State.” Pp. 99-140 in The Economics and Sociology of Capitalism, edited by Richard Swedberg. Princeton University Press.
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