Gotowe bibliografie tematyczne / Arts, Scottish

Gotowa bibliografia na temat „Arts, Scottish”

Autor: Grafiati
Data publikacji: 27 lipca 2024
Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Arts, Scottish"

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Bell, Barbara. "The National Drama". Theatre Research International 17, nr 2 (1992): 96–108. http://dx.doi.org/10.1017/s0307883300016205.

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The National Drama was a nineteenth-century dramatic genre unique to Scotland, dealing with Scottish characters in Scottish settings. It has been neglected this century by scholars of theatre and of Scottish history in general. This is a curious oversight given the importance of the National Drama in the development of the Scottish theatre and to the image of Scotland as a nation at home and abroad. The omission may have been the result of a too close association with Sir Walter Scott in the minds of many for whom the phrase ‘High Tory Romanticism’ summed up Scott's career and influence. But, the National Drama is worthy of fresh consideration because, although it is true that dramatizations of some of Scott's Scottish works formed the core of the national repertoire, the National Drama comprised a wide variety of pieces from a range of sources and its influence over the Scottish theatre was considerable.
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Bort, Eberhard. "Review: Scottish Arts and Crafts". Scottish Affairs 63 (First Serie, nr 1 (maj 2008): 163–69. http://dx.doi.org/10.3366/scot.2008.0027.

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Williamson, Hilary. "The Scottish Visual Arts Group". Art Libraries Journal 28, nr 3 (2003): 11–14. http://dx.doi.org/10.1017/s0307472200013183.

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The Scottish Visual Arts Group is a relatively young co-operative of art librarians. However there is a significant history to the group, a substantial list of achievements and a whole new future just about to commence.
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Stenhouse, David. "Arts Policy and a Scottish Parliament". Scottish Affairs 17 (First Serie, nr 1 (listopad 1996): 1–10. http://dx.doi.org/10.3366/scot.1996.0050.

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McKinstry, Sam, i Marie Fletcher. "THE PERSONAL ACCOUNT BOOKS OF SIR WALTER SCOTT". Accounting Historians Journal 29, nr 2 (1.12.2002): 59–89. http://dx.doi.org/10.2308/0148-4184.29.2.59.

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This study examines the personal account books of Sir Walter Scott, the world-renowned Scottish author, a topic not explored before by Scott scholars or accounting historians. It sets the account books in the context of Scott's accounting education and experience, which took place at the time of the Scottish Enlightenment, an 18th century movement which saw a great flowering of writings on accountancy in Scotland as well as considerable progress in the arts and sciences. The style, layout and content of the account books is also studied from the point of view of elucidating Scott's domestic financial arrangements and expenditure patterns. These are seen as confirming the insights of Vickery [1998], who posits a liberated role for women such as Mrs Scott in ‘genteel’ households, which Scott's undoubtedly was. The study also establishes that Scott's personal expenditures, and indeed his accounting practices, otherwise conformed to the general patriarchal pattern identified by Davidoff and Hall [1987]. The final part of the article uses what has been discovered about Scott's personal accounting to revisit the question of his financial imprudence (or otherwise) in business. It concludes that Scott's risk-taking in business was not unreasonable, and was informed by his bookkeeping knowledge and practices.
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McKerrell, Simon. "Traditional arts and the state: The Scottish case". Cultural Trends 23, nr 3 (11.06.2014): 159–68. http://dx.doi.org/10.1080/09548963.2014.925281.

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Munro, Robert. "Scottish cinema now". Studies in European Cinema 13, nr 3 (wrzesień 2016): 270–72. http://dx.doi.org/10.1080/17411548.2016.1234833.

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Munro, Robert. "Performing the National? Scottish Cinema in the Time of Indyref". Journal of British Cinema and Television 17, nr 4 (październik 2020): 425–48. http://dx.doi.org/10.3366/jbctv.2020.0541.

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This article examines Scottish cinema during the period 2012–17, assessing the ways in which the nation's constitutional debate, Scottish–English relations and discourses of national identity were engaged with thematically by films produced in this period. It argues that Scottish cinema in this period ‘performs the national’, in that a number of films flag their national status and engage with discourses of national identity at a distance, unburdened by any serious demand for national representativeness, as might be the case with a ‘national cinema’. From a corpus of texts in the period which offer the possibility of being read through discourses of the nation, two genre films, White Settlers and Sunshine on Leith, are analysed in detail for their differing narrative takes on Scottish–English relations in the contemporary moment. The article concludes by surmising that while film criticism in Scottish cinema has historically been overly determined by an ideologically driven pursuit of national representativeness, perhaps the welcome emphasis which has been placed in contemporary criticism on broadening the scope of Scottish cinema studies beyond the national has implied a false dichotomy between the two, whereas it is more likely that we can locate Scottish cinema somewhere in between.
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Scullion, Adrienne. "Self and Nation: Issues of Identity in Modern Scottish Drama by Women". New Theatre Quarterly 17, nr 4 (listopad 2001): 373–90. http://dx.doi.org/10.1017/s0266464x00015001.

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The creation of the devolved Scottish parliament in 1999, argues Adrienne Scullion, has the potential to change everything that has been understood and imagined or thought and speculated about Scotland. The devolved parliament shifts the governance of the country, resets financial provisions and socio-economic management, recreates Scottish politics and Scottish society – and affects how Scotland is represented and imagined by artists of all kinds. The radical context of devolution should also afford Scottish criticism an unprecedented opportunity to rethink its more rigid paradigms and structures. Specifically, this article questions what impact political devolution might have on the rhetoric of Scottish cultural criticism by paralleling feminist analysis of three plays by women premiered in Scotland in 2000 with the flexible, even hybrid, model of the nation afford by devolution, resetting identity within Scottish culture as much less predictable and much more inclusive than has previously been understood. An earlier versions was delivered by the author on 5 March 2001 to the Royal Society of Edinburgh in receipt of the biennial RSE/BP Prize Lectureship in the Humanities. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow, where she is also the academic director of the Centre for Cultural Policy Research.
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Turnbull, Alison. "Review of Scottish Arts Council'sQuality Framework – guidelines for arts organisations(2nd ed.), 2009". Cultural Trends 20, nr 2 (czerwiec 2011): 185–91. http://dx.doi.org/10.1080/09548963.2011.563913.

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Rozprawy doktorskie na temat "Arts, Scottish"

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Robinson, Rebecca Grace. "Scottish television comedy audiences". Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1177/.

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This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. The second chapter explores historical approaches to Scottish cultural criticism and literary myths (Tartanry, Kailyardism, Caledonian anti-syzygy, Clydesidism) and sets these against contemporary mythologising by individual Scottish comedy practitioners. The second half of the thesis marks a shift from textual studies toward audience research, and in particular develops a discussion about the problematics of researching comedy and audiences qualitatively. The first part of the second half is a literature survey of selected examples of audience research which is translated from theory and epistemology, to methodology and technique in the next section which comprises a discussion of the model for the empirical data collection. The next section presents data from a quantitative survey and qualitative focus-group discussions. The last part of the second section interprets the data through triangulation although this is limited by lack of comparable critical materials. The whole attempts to explore concepts of national identity in Scottish television comedy with audiences, but also develops the additional problematic of empirical quantitative research and comedy themes.
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Smith, Aileen. "The construction of cultural identity in the visual arts in Scotland, 1918-1945". Thesis, University of Aberdeen, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247759.

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This thesis examines the hitherto somewhat neglected subject of patronage of the arts in Scotland during the twentieth century. The introduction briefly discusses existing scholarly works dealing with this subject, pointing out that the role of Scottish myths in influencing Scottish culture merits careful and detailed attention. Chapter One looks at how Scottish artistic myths in twentieth century Scottish culture can be traced back as far as the eighteenth century. The nature and evolution of these myths are examined to show why they have had a direct impact in the creation of a distorted view of what exactly constitutes Scottish culture in the twentieth century. Chapter Two explores the changing social structure of Scottish society after the First World War and how this was reflected in a search for a sense of stability and nostalgia for a pre-war era. The activities of the Scottish Modern Arts Association are assessed within this ideological framework. The chapter also highlights the influence of the Post-Impressionist Exhibition in 1910 on Scottish patronage. Economic and political trends are examined in this context as bearing directly on trends of patronage. Chapter Three examines the contention that the public equation of contemporary art with communism and nationalistic tendencies coloured the acceptance of modern art in the interwar years. Changes of taste during the inter-war period can be seen in a number of representative sales held at Dowell's Auction Rooms, Edinburgh. This chapter also analyses the collection and philanthropic intentions of a Perthshire businessman, Robert Borough, as continuing a pre-war aesthetic in the 1920's. Similarly the activities of the Scottish Modern Arts Association in the 1920's and 1930's are analysed in this light. Patronage of the arts in England during this period is examined briefly in order to provide a comparison with what was going on in Scotland at this time. This chapter also analyses the influence of the Society of Scottish Artists Exhibitions of 1931 and 1934. Chapter Four explores the cultural impact of the artists connected with the Scottish Renaissance Movement in the 1920's and 1930's. The patronage of an emigre American businessman James Whyte is examined within an analysis of the public reception of his political activities.
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Norrie, K. M. "Cloth, cull and cocktail : anatomising the performer body of 'Alba'". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:c67e59e2-4556-4baf-8475-fa092952bf07.

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Where and how can the live experience 'being there' be positioned in Scottish live art culture? Such transformatively liminal corporeity is situated in three examples of performative objects intrinsically linked to readings of Scottish identity. By collating a 'blood culture imprint' of 1970s performance art with Scottish live artist Alastair McLennan's positioning of the artist body as art, the thesis presents a revised understanding of how and where the live can be placed within Highland Gaelic culture. The specificity of this frame is intrinsically linked to the 'blood culture imprint' of Culloden and as such presents a liminal outworking in the three examples chosen which collectively portray an object body in the form of a textual anatomy of 'Scotland' or 'Alba'. Using contemporary live art discourse, the ontological origins of performance art in Scotland are situated as potentially live within the transfixed frame of the thesis itself, thereby positioning the authorship and readership of its contents as a revivifying act per se, reflecting the theoretical argument. I will argue that despite a seeming lack of performance art tradition in Scotland, this 'blood culture imprint' of the 1970s can be used to define Culloden and post- Culloden culture as necessarily animated by instances of live art. The examples chosen are James Clerk Maxwell's first colour photograph of a tartan ribbon, scalping survivor Scotsman Robert McGee's cabinet card and James MacPherson's Ossian repositioned as a post-genocide numinous wish text. Each performative object betrays its ontological origins, displaying a textual anatomy which argues that collating a performer body of 'Alba' can demonstrate a fundamental and historical performance culture.
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Worthing, Katherine Genevieve. "The landscape of clearance : changing rural life in nineteenth-century Scottish painting". Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/5498/.

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This thesis explores the incidence and import of imagery surrounding the Highland Clearances in nineteenth-century Scottish painting. It recognises that the Clearances comprised a wide range of responses to the changing economic, agricultural, and social currents that shaped Highland landscape and life throughout the late-eighteenth and well into the nineteenth-century and consequently includes paintings that extend Clearance imagery beyond the most commonly reproduced works of the era. In the Introduction to the thesis, I present the subject of the Clearances and establish the common coincidence of landscape imagery, in both painting and travel writing, that extols the Highland landscape while simultaneously recognising the vast social, economic, and environmental changes effected by the resettlements, evictions, and emigrations of the Clearance era. Chapter II offers a concise outline of the major events of the Clearance era, from about1750 through the later decades of the nineteenth century, and complements the historical details with an investigation of the existing literature on both Clearance subjects and Scottish art history. Chapter III presents an initial foray into the theme of rural distress through the early-nineteenth-century paintings of Sir David Wilkie.  His works, like The Rent Day and Distraining for Rent, emerging against a backdrop of increasing countryside dispossession and, through their wide distribution as prints and within the theatre, served as emotive images depicting the plight of the rural poor, in both England and Scotland. In Chapter IV, I investigate the subject of rural labour in the paintings of the Clearance-era, arguing that a wider interpretation of the Clearance must include depictions of the changing types of employment that swept the Highlands throughout the nineteenth century. The theme of Highland emigration constitutes the main topic of Chapter V. Chapter VI explores landscape paintings and further reinforces the centrality of the Highland landscape in expressing the course and after-effects of the Clearances. The thesis closes with the conclusion that, due to the close linkage between the Clearances and the Highland landscape and to the simultaneous growth in the popularity of the area as a subject for artists, tourists, and writers, the visual imagery of the Clearance extends beyond the art of emigration and therefore also includes paintings of rural labour and landscape.  This marks an approach to nineteenth-century Scottish painting that validates the works’ significance amidst the wider scope of Victorian art and that establishes their import as depictions of the course of Clearance history within the Highland landscape.
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Sidiropoulou, Panagiota. "Moral and other educational significance of the arts in philosophy and recent Scottish educational policy". Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5836.

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The immense value of the arts has long been recognized by diverse cultures and such recognition has mostly guaranteed their inclusion in educational and school curricula the world over. The arts are considered valuable for numerous reasons, but their inclusion depends on particular interpretations of their merits that may sometimes have failed to realise their full or real potential. Although some ways of valuing the arts date back to antiquity, debates about the value of arts certainly deserve no less consideration in the modern context. Plato was sceptical about the moral value of the arts and regarded them as of dubious educational significance. He thought the arts were more a matter of rhetoric than reason. However, taking a more positive view of the moral power of the arts, Aristotle defended both the arts and rhetoric as potentially contributory to personal formation and the development of moral virtue. At all events, if the arts are to remain educationally defensible, it is arguable that educational theorists and policy makers need to demonstrate their capacity for: (i) objective aesthetic judgement; and (ii) the communication of knowledge and/or truth. Both of these are contentious, as artistic and aesthetic value judgements have often been said to be subjective or personal. In this context, the distinction between judging something as good (which requires reasons) or simply liking it (which does not) is crucial. Here, establishing the objective rational character of the arts seems to be a precondition of demonstrating their potential for knowledge or truth. Arguably, however, there are different respects in which arts may be said to contribute to the development of understanding and appreciation in human agents of themselves, of their relationships with others and of the world, e.g.: (i) aesthetic (sensory) appreciation; (ii) development of imagination; (iii) understanding of aspects of human psychology; (iv) education of the emotions; (v) and moral understanding. In this essay, various philosophical defences of the ‘intrinsic’ (personally formative) educational value of the arts will be drawn from the literature of philosophy and education. Following discussions of ancient arguments for and against the arts, the thesis will discuss at some length defences of the educational value of the arts offered by the American great books tradition, British literary and cultural critics and more recent educational philosophers and theorists. In the final ‘conceptual’ chapter of the thesis, two contemporary works of cinema are discussed to reinforce the key arguments of the thesis. However, having explored the nature and potential of the arts and arts education from a philosophical perspective, this study then seeks to enquire into recent Scottish educational policy developments with reference to the role of arts in arts education and in education more generally through: (i) the exploration of policy documents and official guidelines; and (ii) the voices of interviewees and other research participants involved in Scottish policy making. The thesis will conclude from this enquiry that the educational value and significance of the arts is not adequately appreciated in contemporary Scottish (and perhaps other) educational policy and practice. The study concludes by advocating a return to Aristotle’s conception of the arts as contributory to phronesis (the practical wisdom of virtue), rather than techne (the technical knowledge of skill). Narrow specialisation in forms of training are liable to leave people uninitiated into the wisdom and moral power of the arts –benefits that should ideally be available to all. From the perspective of this thesis, only a broad educational approach that encompasses thorough arts education will result in well-rounded, emotionally intelligent and truly educated human beings.
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Parsons, Julie Fox. "The First Battle for Scottish Independence: The Battle of Dunnichen, A.D. 685". [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0328102-132641/unrestricted/ParsonsJ.pdf.

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Watry, Paul B. "Sixteenth century printing types and ornaments of Scotland with an introductory survey of the Scottish book trade". Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356988.

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Graham, Deborah Jane. "The manifestation of national identities in late eighteenth-century Scottish art, c.1750-1800". Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/110988/.

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This dissertation seeks to explore how national identities were manifest in eighteenth-century Scottish art. Understanding national identity to be a cultural and political phenomena, it considers symbols of national identity and examines in aesthetic and economic terms how the fine arts were both implicated in, and capable of expressing, the significant changes in national identity apparent in Scotland following the ’Forty-Five. The first chapter concerns itself with the issue of art and identity in Scotland between cl750 and 1800, and surveys the relevant literature, before introducing other significant issues pertinent to this research: the Enlightenment and Improvement. Chapter two recognises that previous studies of Highland portraits have examined them from an ‘external’ perspective. It investigates the implications of this for the viewer, and proceeds to analyse them from an ‘internal’ perspective intended to reveal the sitters’ motivations, to conclude that they are aristocratic images of authority, and its loss. The construction of the myth of the Highlands is thus expounded visually. If these symbols offer little evidence for an identity in flux, it is questionable whether individuals’ portraits can express national identity. Yet such a claim, it will be argued in chapter three, can be made through the desire to collect and order portraits by nation, and its relation to the Enlightenment discourse of the role of the individual in forming civil society. In this context, in chapter four, the aesthetic qualities of Allan Ramsay’s 1753-4 portraits will be argued as having been of particular significance to their Scottish sitters, being formed by Ramsay’s participation in Enlightenment Edinburgh society. Evidence for this position will be adduced through his paintings and writings, though the influence of physical setting is also considered. Finally, in chapter five, a study of Edinburgh art markets in comparison with those of English provincial cities addresses the question of whether Scotland was a nation, or province of England. The synthesis of existing literature and an original survey of art-related newspaper advertising reveals the Edinburgh market to be distinctive, though increasingly reliant upon London. The co-existence of local and national culture is found to be an important dialectic in the market, just as the dialectic between Scottish and British culture was found to be so generally in this dissertation. In conclusion, chapter six argues that while Scottish art must be considered as part of the history of British art, the desire amongst Scots to be part of a British nation was a significant force in shaping Scottish visual culture.
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Doroszenko, Rebekah. "Improvement and the Scottish rural estate : Sir Archibald Grant at Monymusk, 1715-1778". Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6865/.

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The purpose of this study is ultimately to analyze the influence of cultural attitudes on the treatment of the Scottish estate in the first half of the 18th century (c.1715 – c.1776), making particular reference to the ideology of improvement, through the use of Sir Archibald Grant of Monymusk as a case study. Grant’s improvement of his estate is not understood as literally agricultural or economic development alone, but as a complex ideological commitment to the transformation of land, landscape and society. Whilst Grant of Monymusk has been discussed with reference to economic improvement, the relationship between his role as a publically acknowledged improver and his patronage of art and architecture, as well as his attempts at publication, has not been subject to similar interest. This thesis uses an innovative interdisciplinary approach which draws on archaeological as well as art historical methodologies. It discusses a wider range of estate commissions, in particular Grant’s patronage of the portrait artists John Smibert and William Robertson, the poet John Ogilvie, his commission of the architectural surveyors Alexander Jaffray and Robert Robinson, as well as his work to construct planned villages at Kirktown of Monymusk and Archiestown. The thesis attempts to place these commissions within the context of recent studies of improvement which emphasize its role as an ideology with cultural implications. The use of an individual case study allows for a more in depth discussion of specific reactions to historical and ideological change, providing a narrative of a specific site and thus creating an individual response towards broader cultural and scientific developments.
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Marshalsay, Karen Anne. "The Scottish National Players : in the nature of an experiment 1913-1934". Thesis, University of Glasgow, 1991. http://theses.gla.ac.uk/3488/.

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This thesis tries to provide a historical examination of the Scottish National Players, from the first proposals in 1913 until the disbandment of the Scottish National Theatre Society in 1934. The SNP aimed to produce plays of Scottish life and character; to encourage the public's taste for good drama of any kind; and to found a National Theatre. The golden years of the Players were the early and mid twenties, but by the end of the decade their ideals were crumbling away and they faced increasing dissatisfaction from the public and the press. They did not successfully fulfil any of their stated aims, but their attempts were far from being worthless. The influence of the Abbey Theatre, Dublin upon the SNP is detailed in the first chapter, along with the Player's own statements that they set out to create a similar venture in Glasgow. The Players' debt to the Glasgow Repertory Theatre is discussed. In chapters two to five a detailed history of the Players has been given. This concentrates on the policies, organisation, achievements, people involved, and actual productions, rather than being a literary critique of the plays themselves. Chapter six discusses the main achievement of the Scottish National Players, that they provided a training for the theatre profession which could not at that time be obtained anywhere else in Scotland. The SNP's contribution to the setting up of the BBC in Scotland is also discussed.
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Książki na temat "Arts, Scottish"

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Burrell, Kirsty. The Scottish Arts Club. [S.l.]: Homes & Interiors Scotland, 2004.

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Council, Scottish Arts. Scottish Arts Council annual report. Edinburgh: Scottish Arts Council, 2003.

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Group, Scottish Folk Arts, red. The Scottish folk arts directory. Edinburgh: Scottish Folk Arts Group., 1991.

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Council, Scottish Arts, i Perth Museum and Art Gallery., red. One from the Scottish Arts Council. (Perth: (Perth Museum& Art Gallery), 1992.

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Ruth, Wishart, Dale Michael i Scottish Arts Council, red. Scottish arts in the 21st century. Edinburgh: Scottish Arts Council, 1998.

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Council, Scottish Arts. Scottish Arts Council annual report 2003/04. Edinburgh: Scottish Arts Council, 2004.

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Council, Scottish Arts. A quick guide to the Scottish Arts Council: Championing the arts in Scotland. Edinburgh: Scottish Arts Council, 2003.

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Britain, Great, red. Scottish Arts Council national lottery distribution fund account. London: HMSO., 1995.

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Council, Scottish Arts, red. How the Scottish Arts Council works: Supporting and developing the arts in Scotland. Edinburgh: Scottish Arts Council, 1996.

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Council, Scottish Arts. 25 years of the Scottish Arts Council 1967-92. Edinburgh: TheCouncil, 1992.

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Części książek na temat "Arts, Scottish"

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Kontou, Tatiana, Victoria Mills, Boris Jardine i Joshua Nall. "G. Wilson, ‘Address as President of the Royal Scottish Society of Arts at its Annual General Meeting, November 23, 1857’". W Victorian Material Culture, 537–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400341-90.

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Smith, Neil Thomas, i Peter Peters. "9. Roundtable 3". W Classical Music Futures, 177–90. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.09.

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Classical music is often seen as a practice that struggles to react to contemporary events. Yet, it does register societal changes, with perhaps the most important being climate change. There is a sense of urgency, as well as a need for concrete action on this topic within the field. This chapter discusses how the classical music sector might respond. In this roundtable, Peter Peters is joined by four panellists with a stake in the issue: Teemu Kirjonen, general manager of the Finnish Lahti Symphony Orchestra, an orchestra that decided to go carbon neutral; Detlev Grooß from Germany, a violist and also chairperson of the Orchester des Wandels (the orchestra of change), which is a group of musicians from various orchestras around Germany who want to address climate issues; Georgina MacDonell Finlayson who is sustainability manager at the Scottish Nevis Ensemble, Scotland’s ‘street orchestra’, who play in unusual locations and tour extensively around their home country; and finally, Jan Jaap Knol who is the director of the Boekman Foundation, which is the institute for arts culture and related policy in the Netherlands, known for their research in the cultural sector. Each gives their own perspective on how their organisations are beginning to address the most pressing issue of our time.
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Marchetti, Francesco, Callum Wilson, Cheyenne Powell, Edmondo Minisci i Annalisa Riccardi. "Convolutional Generative Adversarial Network, via Transfer Learning, for Traditional Scottish Music Generation". W Artificial Intelligence in Music, Sound, Art and Design, 187–202. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72914-1_13.

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Manfredi, Camille. "‘Our Land’: An Introduction". W Nature and Space in Contemporary Scottish Writing and Art, 1–17. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_1.

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Manfredi, Camille. "Conclusion". W Nature and Space in Contemporary Scottish Writing and Art, 201–11. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_10.

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Manfredi, Camille. "Keeping the Paths Beaten: Robert Macfarlane, Linda Cracknell and Stuart McAdam’s Hodological Scotland". W Nature and Space in Contemporary Scottish Writing and Art, 19–46. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_2.

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Manfredi, Camille. "Land Made by Walking: Andrew Greig, Thomas A. Clark, Hamish Fulton, or, the Art of Passing Through". W Nature and Space in Contemporary Scottish Writing and Art, 47–73. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_3.

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Manfredi, Camille. "Spacings: Gerry Loose and Kathleen Jamie’s Interspecies Relationalities". W Nature and Space in Contemporary Scottish Writing and Art, 75–97. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_4.

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Manfredi, Camille. "Into the Fold: Kathleen Jamie’s and John Burnside’s Oikopoetics". W Nature and Space in Contemporary Scottish Writing and Art, 99–120. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_5.

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Manfredi, Camille. "Things of Space: Andy Goldsworthy’s Sheepfolds and Alec Finlay’s Company of Mountains, or, Materialising as Re-siting". W Nature and Space in Contemporary Scottish Writing and Art, 121–48. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18760-6_6.

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Streszczenia konferencji na temat "Arts, Scottish"

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Balandina, Irina. "LOVE THEME AND MEANS OF ITS LINGUISTIC REPRESENTATION IN THE CREATIVE WORKS OF A SCOTTISH POETESS CAROL ANN DUFFY". W 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s14.092.

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Istileulova, Yelena. "STEAM Approach: SMS (Stories Based on Music about Scientists) on Artificial Intelligence Created by Jacob Bruce (1669–1735)". W Socratic lectures 10. University of Lubljana Press, 2024. http://dx.doi.org/10.55295/psl.2024.ii15.

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Abstract: The proposed theme of this paper is how "Arts" and "Science," with the inclusion of the topic of "Health", can be combined through a story based on research about innovation in the Past. The goal of this paper is threefold. First, to present a research-based story about Jacob Bruce (1669–1735), a scholar of Scottish descent born in Moscow, and his innovation – the prototype of Artificial Intelligence, humanoid robot. Second, to illustrate the new experimental interdisciplinary method of storytelling - SMS (Stories based on Music about Scientists), a novel approach that integrates Arts (Music, Poem, Digital images), Science (Historical Research about Innovations of the Past), and Culture (cultural heritage with metaphor of a philosophical soul development). Third, to explain how this method can be applied. SMS method created in 2012 uses the Avant-garde genre of Music with the integration of interdisciplinary knowledge, holistic approach, and implies a deeper level of integration of various disciplines. The theme of this SMS is a song-story about the beautiful humanoid girl-robot (but with a different technology of the 17th century), which serves as a prototype of the modern homunculus or AI created by Jacob Bruce. AI humanoid already resembled a natural human being by the end of the 17th century. The author explains and discusses how and why SMS can be used as an Innovative Teaching and Learning method, related to Science and Arts (similar to STEAM approach), with the power of Lifelong Learning (LLL), and pedagogical didactics across branches of sciences, thus stimulating innovations and discoveries. Keywords: Arts and Science; Innovations; STEAM/SMS (Stories based on Music about Scientists) method; Jacob Bruce (1669–1735); Innovative Teaching and Learning; Health
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Kovačić, Pšenica. "A Reflection on Effect of Human on Evolution of Cats". W Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d20.

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In this text we focus on the problems in human interference with evolution of domestic cats. Based on documented records on pedigree cats, their exhibitions, and photographs, a brief comparison is made with the popular culture, status and situation of cats in the 21st century. Problems arising from physiological and psychological transformation of cats living with human are discussed. In particular, art is exposed as a possibility to influence the understanding of cats and their relation with human. Keywords: Persian cat; Exotic cat; Scottish lapwing cat; Munchkin cat; Sphynx cat; Cat breeds
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Raporty organizacyjne na temat "Arts, Scottish"

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Bates, C. Richards, Melanie Chocholek, Clive Fox, John Howe i Neil Jones. Scottish Inshore Fisheries Integrated Data System (SIFIDS): Work package (3) final report development of a novel, automated mechanism for the collection of scallop stock data. Redaktorzy Mark James i Hannah Ladd-Jones. Marine Alliance for Science and Technology for Scotland (MASTS), 2019. http://dx.doi.org/10.15664/10023.23449.

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[Extract from Executive Summary] This project, aimed at the development of a novel, automated mechanism for the collection of scallop stock data was a sub-part of the Scottish Inshore Fisheries Integrated Data Systems (SIFIDS) project. The project reviewed the state-of-the-art remote sensing (geophysical and camera-based) technologies available from industry and compared these to inexpensive, off-the -shelf equipment. Sea trials were conducted on scallop dredge sites and also hand-dived scallop sites. Data was analysed manually, and tests conducted with automated processing methods. It was concluded that geophysical acoustic technologies cannot presently detect individual scallop but the remote sensing technologies can be used for broad scale habitat mapping of scallop harvest areas. Further, the techniques allow for monitoring these areas in terms of scallop dredging impact. Camera (video and still) imagery is effective for scallop count and provide data that compares favourably with diver-based ground truth information for recording scallop density. Deployment of cameras is possible through inexpensive drop-down camera frames which it is recommended be deployed on a wide area basis for further trials. In addition, implementation of a ‘citizen science’ approach to wide area recording is suggested to increase the stock assessment across the widest possible variety of seafloor types around Scotland. Armed with such data a full, statistical analysis could be completed and data used with automated processing routines for future long-term monitoring of stock.
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Hunter, Fraser, i Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, wrzesień 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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