Gotowe bibliografie tematyczne / Fashion and visual art

Gotowa bibliografia na temat „Fashion and visual art”

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

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Artykuły w czasopismach na temat "Fashion and visual art"

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Miller, Sanda. "Fashion as Art; is Fashion Art?" Fashion Theory 11, nr 1 (marzec 2007): 25–40. http://dx.doi.org/10.2752/136270407779934551.

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Beltrán-Rubio, Laura. "Reading Fashion in Art". Dress 47, nr 1 (2.01.2021): 103–5. http://dx.doi.org/10.1080/03612112.2021.1872973.

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Durst, Elizabeth. "Russian Art Nouveau Fashion". Experiment 7, nr 1 (2001): 209–32. http://dx.doi.org/10.1163/2211730x-00701009.

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Genç, Çağlar, Oğuz Turan Buruk, Oğuzhan Özcan, Sejda Inal Yilmaz i Kemal Can. "Forming Visual Expressions With Augmented Fashion". Visual Communication 16, nr 4 (26.09.2017): 427–40. http://dx.doi.org/10.1177/1470357217714652.

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Wearable devices have a crucial impact on our bodies since they directly affect our appearance. However, wearable design practitioners focus more on the practical functionalities of the technology, leaving more investigation needed on what kind of visual expressions the technology might enable on wearable devices. With a critical approach on this functional perspective, the authors conducted a design workshop with fashion design and engineering students in which they first created art expressions and then wearable devices by using technological components. This practitioner’s essay reflects on the resulting hands-on design experiences in new visual expressions that would not have been possible with just traditional materials.
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Goodrum, Alison L. "Exhibition Review: Flaunt: Art/Fashion/Culture". Fashion Theory 9, nr 1 (marzec 2005): 89–94. http://dx.doi.org/10.2752/136270405778051482.

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Radford, Robert. "Dangerous Liaisons: Art, Fashion and Individualism". Fashion Theory 2, nr 2 (maj 1998): 151–63. http://dx.doi.org/10.2752/136270498779571103.

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Duncan, Alexandra. "Digitization after a fashion: The art of compromise". Art Libraries Journal 42, nr 1 (15.12.2016): 55–60. http://dx.doi.org/10.1017/alj.2016.47.

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A case study concerning the in-house digitization of a small collection of Central Saint Martins graduate fashion shows. The background of the collection is outlined (VHS and DVD recordings spanning from 1979 to present), as well as the workflow put in place to deal with the technical aspects of recording, cataloguing, processing and archiving an audio-visual collection with minimal budget and staffing.
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Szkoda, Ena. "Exhibition Review: Art/Fashion. Guggenheim Museum SoHo". Fashion Theory 1, nr 3 (sierpień 1997): 321–27. http://dx.doi.org/10.2752/136270497779640107.

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Loreck, Hanne. "De/constructing Fashion/Fashions of Deconstruction: Cindy Sherman's Fashion Photographs". Fashion Theory 6, nr 3 (sierpień 2002): 255–75. http://dx.doi.org/10.2752/136270402790577604.

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Kim, Dong Ok, i Jung Hwa Choi. "Analysis of Fashion Design Reflected Visual Properties of the Generative Art". Journal of the Korean Society of Clothing and Textiles 41, nr 05 (31.10.2017): 825–39. http://dx.doi.org/10.5850/jksct.2017.41.5.825.

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Rozprawy doktorskie na temat "Fashion and visual art"

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Lee, Youjung. "A study on the application of contemporary visual art into flagship stores of luxury fashion brands". Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/8568.

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Luxury fashion brands face a new challenge as to how to sustain brand growth while maintaining the exclusivity of brands due to the democratisation of the luxury phenomenon which is mainly driven by the emergence of ‘new luxury’ and changes of consumption style ‘trading up’. Luxury consumers are becoming disillusioned with the vulgarisation of luxury goods and prefer exclusive luxurious experiences. In order to keep pace with the changes in luxury consumer needs and promote an image with creative and luxurious connotations, luxury brands increasingly associate with contemporary visual art through diverse kinds of channels. Among the channels, great attention has been given to contemporary visual art exhibitions within a flagship store due to its benefits: geographical location, cutting investment cost and offering direct art experience to consumers. However, there is no theoretical research investigating the main points to be considered in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands. Moreover, there is a need for a systematic approach in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands as relying mainly on a designer’s intuition might pose a problem: delivering different messages from those intended. Through the research, four main propositions were identified which need to be considered when luxury fashion brands apply contemporary visual art exhibitions to their flagship stores: 1) brand communication with consumers, 2) the fit between brand identity and that of an artist, 3) consumers’ value/benefits in the way that enhance consumers’ aesthetic experience of art and 4) artists’ value/benefits. Models including a conceptual model and a design tool kit were developed and tested with experts in this field. The proposed models are decision supporting tools which provide a comprehensive overview regarding the main points to be considered as well as support finding a high fit artist to brand identity. They offer advantages as follows: 1) the conceptual framework improves understanding of the needs/values of the three main stake holders such as luxury fashion brands, consumers and artists for this practice and provides an insight into how to address them in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands 2) the tool kit assists in making a decision when selecting artists or artworks and offers benefits to all the stake holders: 1) luxury brand value by managing their touch points effectively that ultimately lead to enhancing brand communication, 2) consumer value by preventing confusion caused by disharmonious messages from all the touch points within flagship stores, and 3) artist value by finding a matched brand for synergy between brands and artists.
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Silberstein, Rachel. "Embroidered figures : commerce and culture in the late Qing fashion system". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f170232-4836-47ee-a535-901834528b21.

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Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.
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Kim, Pielah. "A New Approach to Co-branding: Visual Artist and Fashion Retailer Ingredient Branding and Hedonic Brand Extension". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436882468.

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Du, Preez Martelize. "The construction of multiple identites in the display of women as objects of desire and submission". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1731.

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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.
As manufacturing jewellery artist, I have found that it is now most often women rather than men who commission or purchase jewellery. These women often earn substantial salaries and therefore they are in a position to indulge freely in what traditionally was considered the frivolous pursuit of beauty. Consequently, women are challenging expectations that they be submissive and desirable display objects, thereby signifying their dependence on male economical power. The aim of this research is to encourage transformation and the development of an individual and independent feminine identity by exposing the pressures placed on women to construct their identities as prescribed by patriarchal institutions, dress codes, fashion, science and therefore also gender stereotyping and gender inequalities. The three chapters of my thesis are titled Restriction, Change and Liberation?, which is followed by a discussion of my practical work in the addendum. The thesis and practical work were developed in support of one another.
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Söderström, Carina. "Garderobstaktik som visuell retorik : En kvalitativ studie av tre Youtube-influencers argumentation för en hållbar personlig still". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444268.

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Under det senaste årtiondet har sociala medier använts av mode-influencers till att sprida sina budskap om personlig stil. Med de senaste årens klimatintresse har början till ett skifte skett från att uppmuntra till konsumtion till att i stället skapa medvetenhet om textilindustrins negativa påverkan på miljön. Syftet med denna masteruppsats är att göra en visuell kulturstudie av tre av dessa influencers argumentation genom de filmer de publicerar på Youtube. Den undersöker hur de använder visuell retorik i filmerna för att göra ett trovärdigt intryck och på så vis locka till sig en allt större följarskara och få betalda samarbeten, utan att uppmuntra till onödig konsumtion. I studien ingår sammanlagt nio filmer som publicerades under 2019 och 2020. Filmerna analyseras med hjälp av visuell retorik som kvalitativ metod och tolkas med visuell retorik och produktion av social och kulturell identitet som teoretiska utgångspunkter. En analys av tittarnas kommentarer på filmerna används för att validera resultatet av tolkningen. De tre studerade Youtube-kanalerna ökade sitt antal prenumeranter med i genomsnitt 64 % under den tid som studien pågick och alla tre influencers får betalda samarbeten som de helt eller delvis kan försörja sig på. De undersöker noga de företag de inleder samarbete med och undviker varumärken som inte är accepterade av deras tittare som etiska och miljömässigt hållbara. Alla de tre influencers som ingår i studien använder samma typ av visuell huvudargumentation för att övertyga sina tittare om vikten av en hållbar garderob. De visar exempel på hur de själva kombinerar sina egna kläder på nya sätt för att skapa en personlig stil utan att behöva köpa nytt. Studien visar dock att filmernas innehåll är mindre viktigt än hur trovärdig influencern uppfattas av sina tittare. En tolkning av tittarnas kommentarer ger att de i första hand är intresserade av hur influencern producerar sin identitet med hjälp av kläder och utseende, för att själva inspireras till att hitta sin personliga stil. Genom att efterlikna deras stil kommunicerar de grupptillhörighet med den influencer de följer och får på så sätt del av samma sociala status.
During the last decade, fashion influencers have used social media channels to spread the word about personal style. Due to the global focus on the climate change the content has begun to shift from a consumption culture to creating awareness about the negative influence of the textile industry on the environment. The purpose of this study is to examine three of these influencers’ argumentation in the videos they publish on YouTube. It investigates how the influencers use visual rhetoric to make a trustworthy impression to increase the number of followers and get paid sponsorships, without supporting unnecessary consumption. The study investigates a total of nine videos published on YouTube during 2019 and 2020. The visual content is processed using a qualitative method and analysed with a focus on the theoretical perspectives of visual rhetoric and production of social identity. The written follower comments, of the videos, are used to validate the result of the analysis. The three YouTube channels increased the number of followers with an average of 64 % during the study and the influencers are all in paid collaborations that represent all, or a part of, their total income. They thoroughly research the company before adding a new sponsorship and avoid brands that are not accepted by their followers to be ethical and sustainable. All the three influencers participating in the study use the same principal visual rhetoric arguments to convince the followers of the advantage of a sustainable style. They show a vast variety of outfit combinations using the limited amount of clothes in their wardrobes to create a personal style without the need of adding new clothes. The result of the study indicates, however, that the content of the videos is of less importance than how trustworthy the influencer is perceived by the followers. An analysis of the viewer comments suggest that their primary interest is to get inspiration from how the influencer produces identity through dress and appearance. By emulating their personal style, the followers hope to gain membership of the influencer’s community and achieve similar social status.
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Söderström, Carina. "Garderobstaktik som visuell retorik : En kvalitativ studie av tre Youtube-influencers argumentation för en hållbar personlig stil". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444268.

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Under det senaste årtiondet har sociala medier använts av mode-influencers till att sprida sina budskap om personlig stil. Med de senaste årens klimatintresse har början till ett skifte skett från att uppmuntra till konsumtion till att i stället skapa medvetenhet om textilindustrins negativa påverkan på miljön. Syftet med denna masteruppsats är att göra en visuell kulturstudie av tre av dessa influencers argumentation genom de filmer de publicerar på Youtube. Den undersöker hur de använder visuell retorik i filmerna för att göra ett trovärdigt intryck och på så vis locka till sig en allt större följarskara och få betalda samarbeten, utan att uppmuntra till onödig konsumtion. I studien ingår sammanlagt nio filmer som publicerades under 2019 och 2020. Filmerna analyseras med hjälp av visuell retorik som kvalitativ metod och tolkas med visuell retorik och produktion av social och kulturell identitet som teoretiska utgångspunkter. En analys av tittarnas kommentarer på filmerna används för att validera resultatet av tolkningen. De tre studerade Youtube-kanalerna ökade sitt antal prenumeranter med i genomsnitt 64 % under den tid som studien pågick och alla tre influencers får betalda samarbeten som de helt eller delvis kan försörja sig på. De undersöker noga de företag de inleder samarbete med och undviker varumärken som inte är accepterade av deras tittare som etiska och miljömässigt hållbara. Alla de tre influencers som ingår i studien använder samma typ av visuell huvudargumentation för att övertyga sina tittare om vikten av en hållbar garderob. De visar exempel på hur de själva kombinerar sina egna kläder på nya sätt för att skapa en personlig stil utan att behöva köpa nytt. Studien visar dock att filmernas innehåll är mindre viktigt än hur trovärdig influencern uppfattas av sina tittare. En tolkning av tittarnas kommentarer ger att de i första hand är intresserade av hur influencern producerar sin identitet med hjälp av kläder och utseende, för att själva inspireras till att hitta sin personliga stil. Genom att efterlikna deras stil kommunicerar de grupptillhörighet med den influencer de följer och får på så sätt del av samma sociala status.
During the last decade, fashion influencers have used social media channels to spread the word about personal style. Due to the global focus on the climate change the content has begun to shift from a consumption culture to creating awareness about the negative influence of the textile industry on the environment. The purpose of this study is to examine three of these influencers’ argumentation in the videos they publish on YouTube. It investigates how the influencers use visual rhetoric to make a trustworthy impression to increase the number of followers and get paid sponsorships, without supporting unnecessary consumption. The study investigates a total of nine videos published on YouTube during 2019 and 2020. The visual content is processed using a qualitative method and analysed with a focus on the theoretical perspectives of visual rhetoric and production of social identity. The written follower comments, of the videos, are used to validate the result of the analysis. The three YouTube channels increased the number of followers with an average of 64 % during the study and the influencers are all in paid collaborations that represent all, or a part of, their total income. They thoroughly research the company before adding a new sponsorship and avoid brands that are not accepted by their followers to be ethical and sustainable. All the three influencers participating in the study use the same principal visual rhetoric arguments to convince the followers of the advantage of a sustainable style. They show a vast variety of outfit combinations using the limited amount of clothes in their wardrobes to create a personal style without the need of adding new clothes. The result of the study indicates, however, that the content of the videos is of less importance than how trustworthy the influencer is perceived by the followers. An analysis of the viewer comments suggest that their primary interest is to get inspiration from how the influencer produces identity through dress and appearance. By emulating their personal style, the followers hope to gain membership of the influencer’s community and achieve similar social status.
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Larsson, Josefin. "Exquisite corpse : Exploring the methods of surrealism to challenge the hierarchies of body, dress and accessories". Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13011.

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Just as the surrealistic movement challenged our perception of reality, the present work applies surrealistic methods to challenge our preconceived hierarchies between body, dress, and accessory. Adding to past surrealistic work in fashion design, the present work does not only strive to create surrealistic expressions, but to enhance the creative process through surrealistic methods. Three surrealistic methods were tested: Entopic Graphomani, Frottage, and Exquisite Corpse. The methods ability to challenge hierarchies between body, dress, and accessory was assessed through their ability to result in an element of surprise. For the present work, Exquisite Corpse had the greatest potential. By using participant observation and an adapted version of Exquisite Corpse seven looks were developed. The present work concludes that the surrealistic methods can by used not only to develop surrealistic expressions, but also to enhance the creative process within fashion design.
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Greenidge, Giselle C. M. "The Role of Male Fashion in Protests against the Majority Culture: An Exploratory Study". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538656/.

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Throughout history, the Black Diaspora has used fashion as a form of protest. The element of fashion is often overlooked when considering the history and struggle for Black equality, because it is less tangible or definable in terms of its influence and effect, but it is still important because Black males resist the dominant culture via dress by dressing in military uniforms, creating their own style, and using different colors in their dress. Studying the Black struggle in American history during specific periods is one way to better understand opposition to the majority culture through fashion. We should also consider the mood of a social system when examining the dress of a particular group during conflicts. Hence, the purpose of this study is to investigate the role of fashion as a protest tool against the majority culture, and the social mood that affects the fashion choices of Black males. The study focuses on Black fashion from 1910 to 2015. Text data were collected and analyzed from articles published in The Crisis magazine, and men's fashion was specially examined. Additionally, images were studied via visual ethnography and images were coded based on color choice, fit, and accessories. For conducting sentiment analysis, lexicons were used, and the text was examined for negative sentiment. The overall negative sentiment of the document was obtained. Graphical analyses are included to present the findings. The findings, conclusions, limitations, and future research are discussed.
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Diliwi, Avesta, i Josefin Bäcker. "Are You Creating Socially Responsible Visual Communication? : An Exploratory Study of Fashion Companies’ External Social Responsibility on Instagram: A Marketer’s Perspective". Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-21905.

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Background: Following the development of digitalization and the emergence of social media a lot of attention has been drawn upon how these platforms are influencing the fashion industry and fashion marketing. As society is becoming more ethics and health conscious, fashion companies’ visual representations in social media are drawing more attention - who is represented and how are these representations portrayed. Previous research has shown that white and thin models are a recurrent over-representation in media, consumers through these see the ‘ideal’ or stereotypical body types or norms, and not an actual or full representation of society. The issue is, however, not that white or thin people are represented in media. The problem is how companies portray these representations and how the portrayals lead to the exclusion and misrepresentation of other groups in society. Purpose: The purpose of this study is to investigate the CSR practice of fashion companies regarding the body image representations in social media marketing communications, with specific focus on the marketer’s perspective. Methodology: For this study an exploratory cross-sectional case-study research design approach was applied. Four corporate cases of fashion companies were analyzed using data triangulation methods on the basis of content analysis and semi-structured interviews. First, case analysis of social media contents and interviews were conducted, followed by cross- sectional analysis to find out if fashion companies’ practiced social responsibility is aligned with the verbally expressed social responsibility. Findings: The findings of this study demonstrate that fashion companies consider external social responsibility as an important issue, however, a gap between the companies practiced social responsibility and verbally expressed social responsibility remains. The study shows that two of the companies’ practiced social responsibility on their Instagram channel is in alignment with their verbally expressed social responsibility, when it comes to representing diversity in terms of body size, ethnicity and skin color. However, when it comes to the representational conventions it was noted that all the companies are lacking in external responsibility due to the continuous signs of idealization and body-ism on all the companies’ Instagram channels. Conclusion: This study contributes to the research field regarding companies’ external social responsibility on Instagram. The findings provide companies and researchers with awareness of which representational conventions/key social aspects are currently lacking in corporate marketing activities and should become the focus for further improvement. Based on obtained results, a modified framework for image analysis and criteria for image/content creation are suggested. The framework and criteria can assist future researchers, help content creators and other practitioners to understand the complexity of external social responsibility and how to implement it in practice.
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Corrêa, Clecius Campos. "Agentes da modernização: os artistas plásticos e suas atuações na arte, na moda e na imprensa brasileiras dos anos 1950 e 1960". Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/4061.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-04-17T11:42:09Z No. of bitstreams: 1 cleciuscamposcorrea.pdf: 4897242 bytes, checksum: ea16e084b3939092bb26fced236ddcb1 (MD5)
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Esta dissertação analisa o papel dos artistas plásticos no processo de modernização ocorrido no Brasil após a Segunda Guerra Mundial, especificamente nos anos 1950 e 1960, apresentando-os como agentes desse movimento, particularmente nos domínios da arte, da moda e da imprensa. As principais referências são as reformas gráficas realizadas no Jornal do Brasil e no Correio da Manhã, pelos artistas Amilcar de Castro e Alexandre Wollner, respectivamente, e a obra da artista plástica Olly Reinheimer — desenvolvida entre a arte e a moda. Por meio desses exemplos, investiga-se como as novas correntes estéticas no período — notadamente o Concretismo e o Neoconcretismo — procuraram promover a integração arte e vida, por meio da estetização do cotidiano e dos novos estilos de vida.
This dissertation analyzes the role of plastic artists in the modernization process that occurred in Brazil after World War II, specifically in the 1950s and 1960s, presenting them as agents of this movement, particularly in the fields of art, fashion and the press. The main references are the graphic reforms carried out in the Jornal do Brasil and Correio da Manhã, by the artists Amilcar de Castro e Alexandre Wollner, respectively, and the artwork of the plastic artist Olly Reinheimer — developed between art and fashion. Through these examples, we investigate how the new aesthetic currents in the period — notably Concretism and Neoconcretism — sought to promote the integration of art and life, through the aestheticization of daily life and new lifestyles.
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Książki na temat "Fashion and visual art"

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1956-, Huang Martha Elizabeth, red. China chic: A visual memoir of Chinese style and culture. New York: ReganBooks, 2000.

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Finkelstein, Joanne. The art of self invention: Image and identity in popular visual culture. London: I.B. Tauris, 2007.

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Germano, Celant, i Guggenheim Museum Soho, red. Art/fashion. New York: Distributed Art Publishers, 1997.

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Art & fashion. London: Thames & Hudson, 2000.

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Lussier, Suzanne. Art deco fashion. Boston: Bulfinch Press, 2003.

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Art deco fashion. Boston: Bulfinch Press, 2003.

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Art and fashion. London: Batsford, 2005.

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Gersten, Rita. Fashion art for the fashion industry. New York: Fairchild Publications, 1989.

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1952-, Doonan Simon, red. Fashion. San Francisco: Chronicle Books, 2004.

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Weber, Edith. Art nouveau & art deco fashion postcards. Atglen, PA: Schiffer Pub., 2009.

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Części książek na temat "Fashion and visual art"

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Weinstein, Jeff. "Is Clothing Art?" W Fashion Statements, 69–72. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115408_10.

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Liu, Si, Lisa M. Brown, Qiang Chen, Junshi Huang, Luoqi Liu i Shuicheng Yan. "Visual Attributes for Fashion Analytics". W Visual Attributes, 215–43. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50077-5_9.

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Allen, Rob, i Nina Krebs. "Visual Art". W Dramatic Psychological Storytelling, 82–92. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230800557_9.

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Hickman, Richard, i Rebecca. "Visual Art". W The SAGE Handbook of Curriculum, Pedagogy and Assessment: Two Volume Set, 343–57. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2016. http://dx.doi.org/10.4135/9781473921405.n22.

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Taylor, Jeffrey. "Art history, art criticism, and the art press". W Visual Arts Management, 103–10. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-12.

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Taylor, Jeffrey. "Art fairs". W Visual Arts Management, 71–78. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666-8.

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"Art Direction". W The Visual Dictionary of Fashion Design, 24. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2007. http://dx.doi.org/10.5040/9781474218573.0012.

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Mayer, Hylton R., i Marc L. Weitzman. "Automated Perimetry in Glaucoma". W Visual Fields. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195389685.003.0009.

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Clinical experience and multiple prospective studies, such as the Collaborative Normal Tension Glaucoma Study and the Los Angeles Latino Eye Study, have demonstrated that the diagnosis of glaucoma is more complex than identifying elevated intraocular pressure. As a result, increased emphasis has been placed on measurements of the structural and functional abnormalities caused by glaucoma. The refinement and adoption of imaging technologies assist the clinician in the detection of glaucomatous damage and, increasingly, in identifying the progression of structural damage. Because visual field defects in glaucoma patients occur in patterns that correspond to the anatomy of the nerve fiber layer of the retina and its projections to the optic nerve, visual functional tests become a link between structural damage and functional vision loss. The identification of glaucomatous damage and management of glaucoma require appropriate, sequential measurements and interpretation of the visual field. Glaucomatous visual field defects usually are of the nerve fiber bundle type, corresponding to the anatomic arrangement of the retinal nerve fiber layer. It is helpful to consider the division of the nasal and temporal retina as the fovea, not the optic nerve head, because this is the location that determines the center of the visual field. The ganglion cell axon bundles that emanate from the nasal side of the retina generally approach the optic nerve head in a radial fashion. The majority of these fibers enter the nasal half of the optic disc, but fibers that represent the nasal half of the macula form the papillomacular bundle to enter the temporal-most aspect of the optic nerve. In contrast, the temporal retinal fibers, with respect to fixation, arc around the macula to enter the superotemporal and inferotemporal portions of the optic disc. The origin of these arcuate temporal retinal fibers strictly respects the horizontal retinal raphe, temporal to the fovea. As a consequence of this superior-inferior segregation of the temporal retinal fibers, lesions that affect the superotemporal and inferotemporal poles of the optic disc, such as glaucoma, tend to cause arcuateshaped visual field defects extending from the blind spot toward the nasal horizontal meridian.
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Lucey, Patrick, Gerasimos Potamianos i Sridha Sridharan. "Visual Speech Recognition Across Multiple Views". W Visual Speech Recognition, 294–325. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-186-5.ch010.

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It is well known that visual speech information extracted from video of the speaker’s mouth region can improve performance of automatic speech recognizers, especially their robustness to acoustic degradation. However, the vast majority of research in this area has focused on the use of frontal videos of the speaker’s face, a clearly restrictive assumption that limits the applicability of audio-visual automatic speech recognition (AVASR) technology in realistic human-computer interaction. In this chapter, the authors advance beyond the single-camera, frontal-view AVASR paradigm, investigating various important aspects of the visual speech recognition problem across multiple camera views of the speaker, expanding on their recent work. The authors base their study on an audio-visual database that contains synchronous frontal and profile views of multiple speakers, uttering connected digit strings. They first develop an appearance-based visual front-end that extracts features for frontal and profile videos in a similar fashion. Subsequently, the authors focus on three key areas concerning speech recognition based on the extracted features: (a) Comparing frontal and profile visual speech recognition performance to quantify any degradation across views; (b) Fusing the available synchronous camera views for improved recognition in scenarios where multiple views can be used; and (c) Recognizing visual speech using a single pose-invariant statistical model, regardless of camera view. In particular, for the latter, a feature normalization approach between poses is investigated. Experiments on the available database are reported in all above areas. This chapter constitutes the first comprehensive study on the subject of visual speech recognition across multiple views.
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"Overview and Benefits of Visual Assessments". W Cross-Cultural Analysis of Image-Based Assessments, 1–17. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2691-9.ch001.

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This chapter presents a motivation for why it is essential that assessments move toward incorporating images, whether in conjunction with text, or instead of text. A discussion of the motivation stemming from a technologically savvy and media saturated generation with limited attention span general creates a need to update the thinking around assessments. This discussion is followed by an overview of what visual assessments are, and how they have been used historically. The benefits of visual assessments are detailed along with the limitations of visual assessments. A discussion of the power of images over text are presented along with familiar examples of how we use images to communicate information in a clear, concise and quick fashion are presented. The chapter concludes with examples of some visual assessments in use, although greater detail is reserved for Chapter 2.
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Streszczenia konferencji na temat "Fashion and visual art"

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Ningsih, Yosepin, i Jeani Widjaja. "Analysis of Fashion Product using Traditional Woven Textile and The Correlation with The Trend in Indonesia". W Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294882.

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Hou, Min, Le Wu, Enhong Chen, Zhi Li, Vincent W. Zheng i Qi Liu. "Explainable Fashion Recommendation: A Semantic Attribute Region Guided Approach". 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.2019/650.

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In fashion recommender systems, each product usually consists of multiple semantic attributes (e.g., sleeves, collar, etc). When making cloth decisions, people usually show preferences for different semantic attributes (e.g., the clothes with v-neck collar). Nevertheless, most previous fashion recommendation models comprehend the clothing images with a global content representation and lack detailed understanding of users' semantic preferences, which usually leads to inferior recommendation performance. To bridge this gap, we propose a novel Semantic Attribute Explainable Recommender System (SAERS). Specifically, we first introduce a fine-grained interpretable semantic space. We then develop a Semantic Extraction Network (SEN) and Fine-grained Preferences Attention (FPA) module to project users and items into this space, respectively. With SAERS, we are capable of not only providing cloth recommendations for users, but also explaining the reason why we recommend the cloth through intuitive visual attribute semantic highlights in a personalized manner. Extensive experiments conducted on real-world datasets clearly demonstrate the effectiveness of our approach compared with the state-of-the-art methods.
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Fan, Zhihao, Zhongyu Wei, Piji Li, Yanyan Lan i Xuanjing Huang. "A Question Type Driven Framework to Diversify Visual Question Generation". 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.2018/563.

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Visual question generation aims at asking questions about an image automatically. Existing research works on this topic usually generate a single question for each given image without considering the issue of diversity. In this paper, we propose a question type driven framework to produce multiple questions for a given image with different focuses. In our framework, each question is constructed following the guidance of a sampled question type in a sequence-to-sequence fashion. To diversify the generated questions, a novel conditional variational auto-encoder is introduced to generate multiple questions with a specific question type. Moreover, we design a strategy to conduct the question type distribution learning for each image to select the final questions. Experimental results on three benchmark datasets show that our framework outperforms the state-of-the-art approaches in terms of both relevance and diversity.
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Košak, Karin, Deja Muck, Marjeta Čuk i Tanja Nuša Kočevar. "3D printed jewellery design process based on sculpture inspiration". W 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p57.

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In the article we present the educational process in which design students were guided through their design process, creating 3D printed jewellery inspired by the Forma Viva sculptures of the outdoor gallery Kostanjevica na Krki. The assignment was part of the international project Cumulus Re/Forma Viva, whose main goal was to implement digitization using 3D technology in the field of education for the preservation of cultural heritage. The task given to the 1st year masters students of Fashion and Textile Design at the Department of Textiles, Graphic arts and Design at the University of Ljubljana was to select a wooden sculpture and transform the visual and conceptual idea into a 3D printed jewellery collection. The curriculum of the course includes teaching the theoretical basics of 3D printing, 3D print design – fashion accessories and new production, business and marketing models as "disruptive" changes that result from this. In the practical part, students will learn the advanced design process of fashion accessory objects, including 3D technologies such as 3D modelling and 3D printing. Students are guided through a process in which selected visual and conceptual content is translated into fine jewellery that can be created using various 3D printing technologies. In this way, students tested themselves in two new areas that allowed them to expand their design knowledge and experience in 3D modelling and jewellery design with the goal of better "arming" themselves with the latest technologies for today's competitive world.
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Taube, M. V., A. N. Goltsova i T. M. Borisova. "TRANSFORMATION OF NATIONAL MOTIVES IN MODERN SKIN ACCESSORIES". W TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1005.

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Modern approaches to the formation of a new assortment of leather products are considered. The methods of transformation of the initial visual material are shown on the example of the ornament used in the national costume. The integration processes in the fashion industry are based on the borrowings of that il other national costume, national attributes. For a stably sought-after assortment of leather goods, a mental design is preferable.
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Bekk, N. V., A. N. Goltsova, A. V. Rajapova i T. Sh Safiev. "TRANSFORMATION OF NATIONAL MOTIVES IN MODERN SKIN ACCESSORIES." W TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1025.

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Modern approaches to the formation of a new assortment of leather products are considered. The methods of transformation of the initial visual material are shown on the example of the ornament used in the national costume. The integration processes in the fashion industry are based on the borrowings of that il other national costume, national attributes. For a stably sought-after assortment of leather goods, a mental design is preferable.
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Suo, Wei, MengYang Sun, Peng Wang i Qi Wu. "Proposal-free One-stage Referring Expression via Grid-Word Cross-Attention". W Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/143.

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Referring Expression Comprehension (REC) has become one of the most important tasks in visual reasoning, since it is an essential step for many vision-and-language tasks such as visual question answering. However, it has not been widely used in many downstream tasks because it suffers 1) two-stage methods exist heavy computation cost and inevitable error accumulation, and 2) one-stage methods have to depend on lots of hyper-parameters (such as anchors) to generate bounding box. In this paper, we present a proposal-free one-stage (PFOS) model that is able to regress the region-of-interest from the image, based on a textual query, in an end-to-end manner. Instead of using the dominant anchor proposal fashion, we directly take the dense-grid of image as input for a cross-attention transformer that learns grid-word correspondences. The final bounding box is predicted directly from the image without the time-consuming anchor selection process that previous methods suffer. Our model achieves the state-of-the-art performance on four referring expression datasets with higher efficiency, comparing to previous best one-stage and two-stage methods.
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Feng, Ranran, i Balakrishnan Prabhakaran. "Facilitating fashion camouflage art". W the 21st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2502081.2502121.

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Guo, Dan, Yang Wang, Peipei Song i Meng Wang. "Recurrent Relational Memory Network for Unsupervised Image Captioning". W Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/128.

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Unsupervised image captioning with no annotations is an emerging challenge in computer vision, where the existing arts usually adopt GAN (Generative Adversarial Networks) models. In this paper, we propose a novel memory-based network rather than GAN, named Recurrent Relational Memory Network (R2M). Unlike complicated and sensitive adversarial learning that non-ideally performs for long sentence generation, R2M implements a concepts-to-sentence memory translator through two-stage memory mechanisms: fusion and recurrent memories, correlating the relational reasoning between common visual concepts and the generated words for long periods. R2M encodes visual context through unsupervised training on images, while enabling the memory to learn from irrelevant textual corpus via supervised fashion. Our solution enjoys less learnable parameters and higher computational efficiency than GAN-based methods, which heavily bear parameter sensitivity. We experimentally validate the superiority of R2M than state-of-the-arts on all benchmark datasets.
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Al-Halah, Ziad, Rainer Stiefelhagen i Kristen Grauman. "Fashion Forward: Forecasting Visual Style in Fashion". W 2017 IEEE International Conference on Computer Vision (ICCV). IEEE, 2017. http://dx.doi.org/10.1109/iccv.2017.50.

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Raporty organizacyjne na temat "Fashion and visual art"

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Galenson, David. Language in Visual Art: The Twentieth Century. Cambridge, MA: National Bureau of Economic Research, marzec 2008. http://dx.doi.org/10.3386/w13845.

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Reeves-DeArmond, Genna. Visual rhetoric: Significance and application to fashion and dress scholarship. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-541.

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Lapolla, Kendra, Jaclyn Gordyan i Brian Lapolla. Critiquing Design Aesthetics in Collaborative Fashion Creation: Design Conversations with a Fashion Designer, an Architect, and Art Director. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-901.

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Gorea, Adriana, i Katya Roelse. Criteria Decision Matrix Applied to Pedagogy: A Pilot Study for Fashion Art Studio. Ames: Iowa State University, Digital Repository, listopad 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1134.

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Galenson, David. Portraits of the Artist: Personal Visual Art in the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, kwiecień 2008. http://dx.doi.org/10.3386/w13939.

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Jang, Ju Yeun, So-Yeon Yoon, Eunsoo Baek i Ho Jung Choo. The Effects of Visual Complexity in a Fashion Store Environment on Consumer Emotions and Approach Behavior. Ames: Iowa State University, Digital Repository, listopad 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1328.

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Leslie, Catherine Amoroso, i Diane G. Scillia. Northern Renaissance: Art and the Birth of Fashion, a collaborative progression from multidisciplinary through interdisciplinary to transdisciplinary. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-367.

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Huang, Ran, i Sejin Ha. The Role of Need for Cognition in Consumers' Mental Imagery: A Study of Visual Social Media of Fashion Brands. Ames: Iowa State University, Digital Repository, listopad 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1307.

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Jung, Dongjin, Hyosun An i Minjung Park. Analysis of Gucci Runway Images Using an Artificial Intelligence Based Visual Search Tool: A Comparison of Fashion Styles by Creative Directors. Ames (Iowa): Iowa State University. Library, styczeń 2019. http://dx.doi.org/10.31274/itaa.8264.

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Magie, Anna A., i Deborah D. Young. Building Bookstore Displays: A Collaboration Between University Fashion Students and Campus Bookstore to Develop Merchandising, Management, and Leadership Skills Through the Development of Visual Displays. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1839.

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