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Artykuły w czasopismach na temat "K-66 (Group of artists)"
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Rafiq qızı Əliyeva, Vüsalə. "Artistic solution of Absheron’s theme in Jalal Agayev’s work". SCIENTIFIC WORK 66, nr 05 (20.05.2021): 164–67. http://dx.doi.org/10.36719/2663-4619/66/164-167.
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There is a group of artists in contemporary Azerbaijani fine arts, whose creative works focus on the theme of Absheron. For half a century, this theme has defined the style of most of our artists with its specificity, rich ethnography, national harmony and lyrics. Jalal Aghayev is one of such artists, and the theme of Absheron covers a large part of his creative work. The inexhaustible love for the land of Absheron has been rooted in the artist's heart since childhood. This love led the artist to create a series of beautiful works on this subject. Key words: landscape, Absheron, painting, tradition, plot, composition, decorative
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Weisman, A., T. Yona, U. Gottlieb, R. Ingel i Y. Masharawi. "Tattoo artists and dental workers have similar musculoskeletal pain patterns". Occupational Medicine 72, nr 1 (25.10.2021): 43–50. http://dx.doi.org/10.1093/occmed/kqab149.
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Abstract Background Tattoo artists are an understudied population with regards to musculoskeletal (MSK) pain. Aims To explore the characteristics of MSK pain among Israeli tattoo artists and determine whether they are similar to those of dental workers. Methods An online survey including demographics and the Hebrew version of the Extended Nordic Musculoskeletal Questionnaire was disseminated via Israeli social media groups. We directly compared tattoo artists, dental workers and office workers as a reference group. Results Altogether, 114 tattoo artists, 161 dental workers and 296 office workers responded. The most prevalent pain sites were lower back (56%), neck (47%) and hand (36%) among office workers; neck (67%), lower back (62%) and upper back (42%) among the dental workers; and lower back (72%), neck (66%) and hand (55%) among tattoo artists. Contrast analysis suggested office workers were less likely to report pain in the previous 12 months compared with dental workers and tattoo artists (adjusted odds ratios [95% confidence intervals]: ORs [95% CIs] for upper limb pain: 1.13 [1.01–1.28], neck pain: 1.3 [1.15–1.47], upper back pain: 1.27 [1.12–1.43] and low back pain: 1.15 [1.02–1.3]). No significant differences were observed between dental workers and tattoo artists (upper limb pain: 1.18 [0.9–1.54], neck pain: 1.06 [0.81–1.4], upper back pain: 1.22 [0.94–1.58] and low back pain: 1.24 [0.95–1.64]). Conclusions Tattoo artists and dental workers have similar MSK pain characteristics and are different from those of office workers. These characteristics are seemingly a direct result of the physical demands associated with their line of work.
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Boman, Björn. "Money or Melancholia? Dropout and Retention Rates in the K-pop Industry". Culture and Empathy: International Journal of Sociology, Psychology, and Cultural Studies 4, nr 2 (25.06.2021): 156–80. http://dx.doi.org/10.32860/26356619/2021/4.2.0006.
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The K-pop music industry is signified by a hyper-competitive training system. The aim was to examine dropout and retention rates among a representative sample of K-pop artists and groups. The dropout rates of 49 K-pop groups and 298 group members (N = 298; F = 130; M = 168), who have been active any time between 2003–2019, were 5.70%. As gender, age and other generic control factors could not explain more than a fraction of retention rates, the author interprets this as partial evidence for melancholia among some dropouts.
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Strickland, Christopher M. "The Way of the Artist Educator paradigm: Fusing artistic studio practice and teaching pedagogy". International Journal of Education Through Art 16, nr 2 (1.06.2020): 227–44. http://dx.doi.org/10.1386/eta_00028_1.
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The purpose of this autoethnographic study is to examine the experiences of visual arts educators who identify themselves as Artist Educators. In particular, this article investigates how these Artist Educators perceive the fusion of their artistic studio practice with their teaching pedagogy, and how the perception defines their identity and impacts their creative and classroom practices. This study involved a focus group of six individuals, including the researcher. All the participants were practising artists, currently employed or recently retired K-12 visual arts educators certified in the states of Maine or New Hampshire, and members of the Kittery Art Association. This study used a combination of interviews and an arts-based method for data collection. All the data were analyzed and resulted in seven findings that culminated in the Way of the Artist Educator ‐ an alternative paradigm for a quality and holistic twenty-first-century visual arts education. This article presents the paradigm, discusses the study’s implications and offers suggestions for future research.
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Susanto, Veren, i Suzy Azeharie. "Studi Komunikasi Budaya Fandom ARMY dan EXO-L (Studi Tentang Perbandingan Pemaknaan Simbol K-Pop)". Koneksi 6, nr 2 (2.11.2022): 272–77. http://dx.doi.org/10.24912/kn.v6i2.15609.
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Korean Pop or K-Pop is part of the hallyu wave. K-Pop music consists of many artists. Fans of each artist gathered and formed a group called fandom. Each fandom has a culture that distinguishes one fandom from another. Symbol is a form of message that contains meaning. Through the interaction between group members, symbols can be formed. Fandoms have their own culture and symbols are included in their culture. BTS and EXO are in the top 30 most popular K-Pop boy bands since June 2021. BTS fans named ARMY and EXO fans named EXO-L. Both fandoms have symbols that become cultural and have different forms and meanings. This research was conducted because there is no research that discusses the comparison of symbols between the two K-Pop fandoms and the process of these symbols entering the fandom so that they become culture. The theory used in this research is the theory of cultural communication and symbolic interaction. The study used a descriptive qualitative research approach with fenomenology research methods. The research data were obtained from in-depth interviews, participant observation, documentation, and literature study of four sources. The results show that symbols enter through the process of cultural communication and the same form and meaning of symbols from the ARMY and EXO-L fandoms can be created through communication between artists and fandoms or between fandom member. Korean Pop atau K-Pop adalah bagian dari hallyu wave. Musik K-Pop terdiri dari banyak artis. Penggemar tiap artis berkumpul dan membuat sebuah kelompok yang bernama fandom. Tiap fandom mempunyai budaya yang membedakan satu fandom dengan yang lainnya. Simbol merupakan salah satu bentuk pesan yang mengandung makna. Melalui interaksi antar anggota kelompok, simbol dapat terbentuk. Fandom mempunyai budaya sendiri dan simbol termasuk kedalam budaya mereka. BTS dan EXO masuk ke dalam 30 peringkat boy band K-Pop terpopuler sejak Juni 2021. BTS bernama ARMY dan penggemar EXO bernama EXO-L. Kedua fandom memiliki simbol yang menjadi budaya serta memiliki bentuk dan makna yang berbeda. Penelitian ini dilakukan karena belum ada penelitian yang membahas mengenai perbandingan simbol antara dua fandom K-Pop serta proses simbol tersebut masuk kedalam fandom sehingga menjadi budaya. Teori yang digunakan dalam penelitian ini adalah teori komunikasi budaya dan interaksi simbolik. Penelitian menggunakan pendekatan penelitian kualitatif deskriptif dengan metode penelitian fenomenologi. Data hasil penelitian diperoleh dari hasil wawancara mendalam, observasi berperan serta, dokumentasi, dan studi kepustakaan. Hasil penelitian menunjukkan bahwa simbol masuk melalui proses komunikasi budaya serta bentuk dan makna yang sama terhadap simbol dari fandom ARMY dan EXO-L dapat dibuat melalui komunikasi diantara artis dan fandom atau antar anggota fandom.
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Zitzewitz, Karin. "Turning to the Goddess: Anachronism, Secularity, and the Late Style of Tyeb Mehta and K. G. Subramanyan". ARTMargins 3, nr 3 (październik 2014): 45–67. http://dx.doi.org/10.1162/artm_a_00092.
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At nearly the same late-1980s moment, two of the most important artists of India's twentieth century, Tyeb Mehta (1925–2009) and K. G. Subramanyan (b. 1924), turned to the goddess as a subject for painting. Although Mehta and Subramanyan represented different strands of Indian modernism, they had both hitherto largely limited themselves to secular subject matter. This essay accounts for the significance of their goddess turn by discussing it as an example of late style, as theorized by Edward Said. It finds in these paintings the intransigence, anachronism, and negative intervention championed by Said, but also a critique of the secularism that he argued was the root of late style. Mehta and Subramanyan's intervention came at a crucial moment in Indian art history, as modernism began to be undermined by a rising group of narrative painters supported by the critic Geeta Kapur. The older artists’ embrace of the religious image sits uneasily in Kapur's influential narration of post-colonial Indian art history.
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Lee, Wonseok, i Grace Kao. "“I Need U”". Journal of Popular Music Studies 35, nr 1 (1.03.2023): 46–66. http://dx.doi.org/10.1525/jpms.2023.35.1.46.
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We analyze four online concerts by K-pop group BTS (Bangtan Sonyeondan) during the COVID-19 pandemic (2020 to the present) from the view of participant observation. The pandemic served as a catalyst for the evolution of these concerts. BTS set new records for revenue generated by a single online concert in June 2020, only to beat their own record in October 2020, and again in June 2021. While BTS delivered high-quality online concerts to its fans, known as ARMY, these concerts highlighted the challenges to both audience members and performers despite the use of “virtual reality” technologies. We argue that BTS’s online concerts represent a new type of concert production and consumption that expands the accessibility of performances to fans all over the world, and also enabled new forms of interactions between artists and audience members. However, these concerts inadvertently highlighted the importance of in-person interaction between fans and performers as K-pop relies heavily not only on cheering and banners that support artists, but also on light sticks, fan chants, and other activities.
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries". Journal of Flm Arts and Film Studies 7, nr 2 (15.06.2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Rudenko, Iryna. "CREATIVITY OF WRITERS-«ZIEVONCHYKS» IN EVALUATION OF LITERARY CRITIC MIHAL GRABOVSKYJ". Polish Studies of Kyiv, nr 36 (2020): 284–89. http://dx.doi.org/10.17721/psk.2020.36.284-289.
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This article dials with the analysis of work of writers that belonged to the group of “Zievonia” through the prism of critic literary views of the Polish critic М. Grabovskyj. Determined, that the most obvious poetic capabilities М. Grabovskyj recognized in J. Borkovskyj and D. Magnushevskyj, but the special writer talent for the adopted artists of criticisms did not educed. М. Grabovskyj distinguished two incomparable translators of ancient and folk works – L. Semenskyj and А. Belyovskyj, their translations, thought the artist, considerably enriched Polish literature. М. Grabovskyj estimated very high ancient labours of K. Vojchitskyj, his collection of proverbs, parables, songs, legends critic considered as a large treasure of Polish literature, that had to influence on evolution of polish literary positively and mightily. But this figure was estimated ambiguously: as a collector of folklore K. Vojchitskyj was enough highly perceived by М. Grabovskyj, however did not saw him as a writer. Also L. Semenskyj was marked by M. Grabovskyj as a “not so good” writer, but as a translator of the greatest level. Thus, to «Zievonchyks» were heard not only dithyrambs but also objective estimations of work. Among all representatives of group «Zievonchyks» separate attention of М. Grabovskyj was dedicated to S. Goshchynskyj as one of its brightest representatives, that partly, to our opinion, was determined by the long-term friendship of both masters. M. Grabovskyj noticed that S. Goshchynskyj had unsurpassed ability to pass the mood of work by descriptions of landscape and he did not have competitors of this ability even among the representatives of Polish literary of that time. Poetic school «Zievonchyks» was distinguished by admiration of slavs, and adopting of paints of the folk Slavic poetry. М. Grabovskyj sympathized with slavs tendencies in works of many representatives of this group, and Grabovskyj estimated positively.
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Oleksiuk, Marlena. "Koreańska fala, czyli wpływ i rozprzestrzenianie się kultury koreańskiej w krajach europejskich i amerykańskich". Gdańskie Studia Azji Wschodniej 19 (2021): 209–18. http://dx.doi.org/10.4467/23538724gs.20.059.13499.
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The Korean wave, the influence and spread of Korean culture in European and American countries The Korean wave, especially over the past few years, has had a significant impact on the world. More and more people have begun to be interested in the culture of South Korea to a greater or lesser extent. Some people are interested only in K-pop or Korean series, but there are many people who expand their interest in Korean culture, start learning the language, history, and customs. Of all aspects of South Korean culture, K-pop is certainly the most popular. Much more artists organize concert tours for the benefit of European countries and America, in 2019, in Poland there were 15 such concerts. More and more often, Korean food festivals, stationary stores selling Korean cosmetics and food products are organized, in some countries, there even appear themed dance schools focusing on learning specific K-pop dance arrangements. The Korean wave also affects the perception of beauty by people – in 2018, on the annual list of the most handsome men, there appeared much more Koreans than in previous years, even members of the BTS group occupy the first places on the list.
Książki na temat "K-66 (Group of artists)"
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Bitkolova, L. I︠A︡. "Bubnovyĭ valet": Putʹ na Zapad? : putʹ k sebe : k 90-letii︠u︡ Obshchestva khudozhnikov "Bubnovyĭ valet" : katalog vystavki, I︠A︡roslavlʹ 2001-Moskva 2002. Moskva: Kompʹi︠u︡terPress, 2002.
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V, West Richard, Santa Barbara Museum of Art., Nelson-Atkins Museum of Art i Krannert Art Museum, red. Standing in the tempest: Painters of the Hungarian avant-garde, 1908-1930. Santa Barbara, Calif: Santa Barbara Museum of Art, 1991.
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Muehl, Otto. Otto Muehl: Leben / kunst / werk : aktion utopie malerie 1960-2004. Köln: Walther König, 2004.
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Kostenevich, A. G. The Nabis. New York: Parkstone International, 2009.
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Borovskiĭ, A. D. Koe-kakie otnoshenii︠a︡ iskusstva k deĭstvitelʹnosti: Konʺi︠u︡nktura, mifologii︠a︡, strastʹ. Moskva: T︠S︡entrpoligraf, 2017.
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Rabottini, Alessandro, Nicholas Cullinan, Nikola Dietrich i Tim Rollins. Tim Rollins and K. O. S.: An Index. JRP Ringier Kunstverlag AG, 2012.
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Garrels. Amerika Tim Rollins and K O S. Dia Art Foundation, 1989.
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Maciunas, George, i Bernd Evers. Maciunas' Learning Machines. The Gilbert and Lila Silverman Fluxus Collection/Vice Versa Verlag, 2005.
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Anderson, Crystal S. Soul in Seoul. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.001.0001.
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Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously emulating R&B’s instrumentation and vocals and enhancing R&B by employing Korean musical strategies to such an extent that K-pop becomes part of a global R&B tradition. Korean pop groups use dynamic images and quality musical production to engage in cultural work that culminates the kind of global form of crossover pioneered by Black American music producers. Korean R&B artists, with a focus on vocals, take the R&B tradition beyond the Black-white binary, and Korean hip-hop practitioners use sampling and live instrumentation to promote R&B’s innovative music aesthetics. K-pop artists also cite elements of African American performance in Korean music videos that disrupt limiting representations. K-pop’s citational practices reveal diverse musical aesthetics driven by the interplay of African American popular music and Korean music strategies. As a transcultural fandom, global fans function as part of K-pop’s music press and deem these citational practices authentic. Citational practices also challenge homogenizing modes of globalization by revealing the multiple cultural forces that inform K-pop.
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Pomer, Janice. Elementary Dance Education. Human Kinetics, 2023. http://dx.doi.org/10.5040/9781718227408.
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Children love to observe, explore, learn, and create. Elementary Dance Education helps them do all four. And it does so in a unique way, shaping its movement activities around nature themes. In fact, all of the learning experiences are based on different aspects of nature, as the text intertwines children’s innate curiosity and observation skills with the processes of scientific inquiry and artistic creation. Elementary Dance Education helps teachers develop the instructional skills they need to incorporate dance into their curricula, providing over 70 movement activities and exercises for students in grades K-6. The activities, which stimulate children’s minds and bodies through the process of collaborative dance creation, include variations for younger and older students. Ideas are offered for partner or small-group explorations, making the activities more inclusive and appropriate for each age group. Another unique feature of this book is the original music accompanying it. Teachers have access to 90 minutes of dynamic sounds, rhythmic percussion, captivating electro-acoustic compositions, and gentle atmospheric selections, delivered through HKPropel, to accompany the learning experiences. The compositions support students’ movement explorations, conveying a range of images and emotions and inspiring a variety of responses. In addition, Elementary Dance Education offers the following: Discussion questions for each exercise, prompting in-class discussion and student exploration; the questions come with sample answers or ideas to encourage student responses and spur a fruitful discussion75 photos and several diagrams to illustrate positions and poses and stimulate ideas for the movement exercisesJournal prompts, tailored for older and younger children, to give students the opportunity to respond and reflect on the learning experiencesVideo links (provided in HKPropel) to help illustrate concepts and exercises, offer examples, or encourage students to watch for something specific in an activity The book’s first chapter introduces the basic elements of dance; the remaining seven chapters offer movement exercises in various areas of nature: plants, animals, water, earth, sky, people, and other wonders. This book is a rich and easy-to-implement resource not only for elementary dance educators and physical educators but for classroom teachers as well. The exercises in this book use a template for movement discovery in which students will observe, explore, create, and share. This template “can be applied to all areas of the curriculum,” says author Janice Pomer. “It’s an invaluable tool for student engagement, satisfying children’s capacity to watch, wonder, move, interact, discover, and share.” Elementary Dance Education will promote children’s creativity and curiosity, engage and challenge their minds and bodies, and help them learn to appreciate and support each other as they work together exploring, creating, and sharing their ideas and insights about the natural world through dance. Note: A code for accessing HKPropel is included with all new print books.
Części książek na temat "K-66 (Group of artists)"
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Li, Zihan. "Research on the K-pop Value Chain: A Case Study of K-pop Artist Group BTS". W Advances in Social Science, Education and Humanities Research, 1150–58. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-062-6_147.
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"The Subversive Affirmation as a New Device of Art Activism Deployed in Post-Political Reality". W Advances in Media, Entertainment, and the Arts, 111–19. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3835-7.ch006.
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The transition of activist art from the utopian projects of the society as a work of art into its present activistic phase based on artists' serious political engagement implies significant aftermath in extra-artistic reality. Whereas the projects such as social sculpture (Joseph Beuys notion), temporary autonomous zones (Hakim Bey's concept), and total work of art (expression used by K. F. E. Trahndorff and R. Wagner) were accompanied by explicit confidence of artists in the liberating power of artistic creativity, today's activists enter pure political “direct action,” which often fits well to daily engagements of political parties. This chapter addresses the Slovenian case of Janez Janša activists' group deeply involved in daily politics, precisely in the struggle against the politician Janez Janša. In doing so, these activists deploy subversive affirmation as a new subtle political device that enables them an alibi due to their background in elitist institution of art.
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Ermilova, Kira E. "“Artificial Body” in the Modern Pop-Culture of South Korea: the Phenomenon of K-pop Idol". W Artificial Body in the World Intellectual and Artistic Culture, 513–31. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-513-531.
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Recent years, the “Korean wave” has been actively continuing and the influence of modern South Korean culture on world culture is becoming more and more obvious — consumers are interested in dramas, Korean cuisine, Korean cosmetics and, of course, the K-pop music. Now the basis of K-pop is not only creativity itself (music, choreography, video clips, etc.), but also the figure of an idol — a talented, beautiful and in all respects positive member of a K-pop group with an impeccable reputation. In this article, we explore the main features of creating an “ideal” idol, constructing his “artificial body”, further selling this “body” to the public, and consider some aspects of the functioning of performers in this status of an “ideal image” for worship.
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Robinson, Geoffrey B. "Truth and Justice?" W The Killing Season, 264–91. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691196497.003.0010.
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This chapter explores the related problems of establishing a fair and truthful record of 1965–66 and securing justice for the victims of those events. It begins by recounting briefly the efforts that have been made since 1998 by Indonesian officials as well as historians, activists, survivors, artists, and journalists to excavate the past. It makes clear that in the first few years after Suharto's resignation, there was a significant new openness in both official and public attitudes toward the events of 1965–66, fueled in part by a general spirit of reform, and also by the availability of many new avenues for sharing information and political opinion. The chapter then contrasts these hopeful signs with the evidence of a serious backlash against the new openness, starting as early as 2000. It argues that the backlash has entailed a dogmatic refusal by state officials to countenance any meaningful initiatives in the arena of policy change, truth gathering, or justice, which in turn has enlivened and empowered resistance to reform by a variety of conservative religious and political groups.
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Lee, Wonseok. "Tradition, Transition, and Trends: Contextualizing BTS's Gugak-Inspired Performance of “IDOL”". W Bangtan Remixed, 33–43. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059615-003.
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Wonseok Lee’s “Tradition, Transition, and Trends: Contextualizing BTS’s Gugak-Inspired Performance of ‘IDOL’” looks at the state’s role in K-Pop’s integration of traditional Korean music and dance. In 2009, the government established an agency affiliated with the Ministry of Culture, Sports, and Tourism, called KOCCA (the Korea Creative Content Agency), which has initiated several projects to support local musicians, including idol groups, independent musicians, solo artists, and even traditional Korean music gugak-oriented fusion bands. Lee claims that the government contributes to not only expanding the musical boundaries of K-Pop but also diluting a musical boundary between gugak and popular music by supporting various kinds of musicians. Using BTS’s performance of “IDOL” at the 2018 Melon Music Awards, Lee demonstrates how incorporating elements of Korean traditional music and dance cultures are a significant part of the band’s global success story and reflects broader trends of cultural promotion within the K-Pop industry.
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Anderson, Crystal S. "“A Song Calling for You”". W Soul in Seoul, 43–88. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.003.0002.
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Korean pop groups cite the R&B tradition by emulating R&B musical and vocal elements in catchy pop songs and enhance the tradition through Korean music strategies that infuse multiple genres with R&B elements. Korean pop groups emulate the R&B tradition by citing elements of funk, club, and urban R&B. Moreover, Korean and African American producers infuse K-pop with different varieties of R&B. These artists also enhance the R&B tradition by mixing pop genres with R&B within individual songs and over the course of their careers. In music videos, they cite the choreography and styles of African American performance in ways that provide alternatives to Asian stereotypes. This intertextuality is driven by promotions that focus on image and music quality; strategies that mirror those employed by Black American music producers. The combination of dynamic image and quality music production fuels K-pop’s cultural work and global crossover, thereby making it part of a global R&B tradition.
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Pettitt, Paul B. "Cultural Context and Form of Some of the Creswell Images: An Interpretative Model". W Palaeolithic Cave Art at Creswell Crags in European Context. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199299171.003.0013.
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Since Dorothy Garrod (1926) coined the term ‘Creswellian’ to describe the British Late Upper Palaeolithic archaeology and in doing so emphasized its differences from the contemporary Late Magdalenian, the degree of connectedness of British Late Glacial hunter-gatherers with those of the continental mainland has been debated. Garrod pointed to the robust local tradition of single and double obliquely truncated backed pieces—Creswell and Cheddar Points respectively—and emphasized their dissimilarity, warranting in her opinion a separate taxonomic classification for the ‘provincial’ archaeology of Britain. Jacobi (1991) was the first to realize the problems with such a ‘splitting’ perspective, noting how the main type fossils of the Creswellian could be found among continental assemblages. While to a certain degree the problem can be seen as deriving from the specific culture-historical paradigm that Garrod was working within (Charles 1999), the degree of connection or distance between hunter-gatherer groups operating in Late Glacial Britain and those on the continent has remained a contentious issue. It is certainly difficult to find contemporary assemblages on the continent that contain all of the type fossils of British Late Glacial assemblages (Barton et al. 2003), and the few that exist are still undated (Jacobi 2004: 66). Consequently, the date and process by which the British assemblages became distinct remain to be established. The relative paucity in the UK of art mobilier and the total lack until April 2003 of parietal art of any form seemed to reinforce the distinction between Late Glacial Interstadial sites in Britain and on the continent. Engravings on bone, antler, and stone plaquettes and blocks are ubiquitous on continental sites, and the paucity of such materials on British sites could be seen in the context of Garrod’s regional emphasis to suggest a cultural difference. The discovery of the art, however, and its clear formal parallels with continental examples throw the issue of connectedness into sharp focus. Unlike sagaies, lithic armatures, and other tools, cave art is not a portable artefact. Whereas therefore design similarities between portable artefacts may result from exchange between far-flung and perhaps culturally distinct groups, formal similarities between rock art must suggest formal similarities of design and execution in the minds of artists; it is the concept that is portable.
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Kildea, Paul. "Dennis Brain 1921-1957 (1958)". W Britten on Music, 158–60. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0051.
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Abstract Since the war, the horn playing of Dennis Brain has been one of the most familiar, certainly one of the happiest, features of British musical life. No season went by without his superlative performances as soloist in horn concertos. He was frequently to be seen at the first desk of one or other of the London orchestras, and no one will ever forget his inimitable tone and phrasing in the solo passages, from the small fragments in the works of the earlier masters (often devastatingly high-but so securely played), to the full dress melodies of more recent times (including Siegfried’s horn call). Then there were his many appearances in chamber music either with a piano (Schumann’s Adagio and Allegro, op. 70) or a string group (Mozart’s Quintet, K. 407). His own excellent ensemble,1 too, has delighted us with musician and beautifully rehearsed performances of music from Mozart to the present day, some of which was inspired by and written for Dennis. The tragic car accident of 1st September leaves a musical gap which can never be filled.2 It has robbed us of an artist with the unique combination of a superb technical command of his instrument, great musicianship, a lively and intelligent interest in music of all sorts, and a fine performing temperament, coupled with a charming personality. It has also robbed us of a man of rare generosity, simplicity and charm.
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Taber, Douglass F. "C–H Functionalization: The Maimone Synthesis of Podophyllotoxin". W Organic Synthesis. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190646165.003.0021.
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Matthias Beller of the Universität Rostock developed (Angew. Chem. Int. Ed. 2014, 53, 6477) a Rh catalyst for the acceptorless dehydrogenation of an alkane 1 to the alkene 2. Bhisma K. Patel of the Indian Institute of Technology Guwahati effected (Org. Lett. 2014, 16, 3086) oxidation of cyclohexane 3 and 4 to form the allylic benzoate 5. Justin Du Bois of Stanford University devised (Chem. Sci. 2014, 5, 656) an organocatalyst that mediated the hydroxylation of 6 to 7. Vladimir Gevorgyan of the University of Illinois, Chicago hydrosilylated (Nature Chem. 2014, 6, 122) 8 to give an intermediate that, after Ir-catalyzed intramolecular C–H functionalization followed by oxidation, was converted to the diacetate 9. Sukbok Chang of KAIST used (J. Am. Chem. Soc. 2014, 136, 4141) the methoxime of 10 to direct selective amination of the adjacent methyl group, leading to 11. John F. Hartwig of the University of California, Berkeley effected (J. Am. Chem. Soc. 2014, 136, 2555) diastereoselective Cu-catalyzed amination of 12 with 13 to make 14. David W. C. MacMillan of Princeton University accomplished (J. Am. Chem. Soc. 2014, 136, 6858) β-alkylation of the aldehyde 15 with acrylonitrile 16 to give 17. Yunyang Wei of the Nanjing University of Science and Technology alkenylated (Chem. Sci. 2014, 5, 2379) cyclohexane 3 with the styrene 18, leading to 19. Bin Wu of the Kunming Institute of Botany described (Org. Lett. 2014, 16, 480) the Pd-mediated cyclization of 20 to 21. Similar results using Cu catalysis were reported (Angew. Chem. Int. Ed. 2014, 53, 3496, 3706) by Yoichiro Kuninobu and Motomu Kanai of the University of Tokyo and by Haibo Ge of IUPUI. Jin-Quan Yu of Scripps La Jolla constructed (J. Am. Chem. Soc. 2014, 136, 5267) the lactam 24 by γ-alkenylation of the amide 22 with 23, followed by cyclization. Philippe Dauban of CNRS Gif-sur-Yvette prepared (Eur. J. Org. Chem. 2014, 66) the useful crystalline chiron 27 by asymmetric amination of the enol triflate 26 with 25. Matthew J. Gaunt of the University of Cambridge showed (J. Am. Chem. Soc. 2014, 136, 8851) that the phenylative cyclization of 28 with 29 to 30 proceeded with near-perfect retention of absolute configuration.
Streszczenia konferencji na temat "K-66 (Group of artists)"
1
Franco, Jorge. "A Decolonized Mood of Creating a Three-dimensional Digital Space Based on Integrating Transdisciplinary Knowledge". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.
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This experimental artwork has attempted to produce a decolonized mood of researching and creating Three-dimensional (3D) Virtual Reality (VR) digital spaces based on using and integrating transdisciplinary knowledge. These research and creative 3DVR digital spaces processes have been connected with applying the concept of Digital Transformation (DX) within Educative Computational Practice (ECP) proceedings, addressing the idea of empowering people. The mentioned ECP proceedings have occurred through designing and carrying out 3DVR digital spaces by using 3D computer graphics programming techniques, bringing about individuals’ developing digital and visual communication skills with support of employing Web3D-based technologies, such as the Extensible 3D (X3D) language and the X3Dom framework, as Open Educational Resources (OER). Low cost and accessible Web3D technologies have allowed practicing, analyzing and extending our open-ended long-term investigation at K-12 education levels referent to sharing 3DVR and computer graphics programming knowledge, aiming to inspire individuals’ engagement in computing practices encompassing coding and visual literacy skills. These educational processes have also been sustained by art and its learning and expressing opportunities in the digital age. With support of Web3D technologies and lifelong learning and teaching experiences, we have taken part of a course called “Projeto Espetáculo em Realidade Aumentada”, at Fabrica de Cultura Diadema. Through this course, there has been designed and implemented a 3DVR artwork which has extended our research and digital knowledge acquisition processes through producing a decolonized content by interconnecting conceptual knowledge referent to the visual artwork of Rubem Valentim’s mix of Afro-Brazilian, Amerindian and European cultures and Jacob Lawrence’s Afro-American culture symbolic representation. Both artists have trajectories of lifelong learning and using geometry and colorful forms in their artwork composition. Their artwork has expressed knowledge related to Afro-Brazilian and Afro-American cultures, contributing to reduce a gap, at official education, in the teaching of black culture contributions to the worlds of arts, sciences and technology. Interacting with these artists’ trajectories and artworks has lead to research, apply and share knowledge related to ancient Africa, having as reference the Egyptian civilization use of mathematics, geometry (at some extent sacred geometry) shapes and colors knowledge for building and decorating pyramids and other monuments. Such transdisciplinary knowledge confluence has made part of researching and forming the bases of computer graphics libraries and techniques in databases, allowing through educative 3D computer programming practices, to integrate in this 3DVR artwork features referent to digital sculpture, installation and net art, be it within a standalone way and/or through a blog based interface online. This knowledge confluence has brought about using 3D computer graphics programming proceedings for building and visualizing symbolic representation of Afro-Brazilian, European and Amerindian Enchanted Beings’ sacred adornments and instruments. It includes, based on the artwork another Brazilian educator and artist, Abdias do Nascimento, learning to research and utilize knowledge from people of the West Africa related to a writing system, the Adinkra, which is a group of symbols that express and represent ideas in proverbs. In addition, this artwork participatory development has stimulated individuals enhancing cognitive and technical skills, including their complex and spatial thinking abilities.
2
Melissari, E., M. F. Scully, C. Parker, K. H. Nicolaides i V. V. Kakkar. "PROTEIN C/PROTEIN S IN THE FOETAL BLOOD. ABSENCE OF BOUND PROTEINS AND C4 BINDING PROTEIN". W XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644290.
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Protein C, free and bound protein S and C4 binding protein levels (C4bp), were measured by electroimmunoassay in 7 pregnant women aged 22-29 years at 16-18 weeks of gestation, immediately prior to termination of pregnancy for social reasons. Protein C and protein S levels were also measured in their foetuses from blood taken through the umbilical cord. In this group of pregnant women the mean levels for protein C were 104% of normal adult mean (range 80-128%), for C4bp 100% (52-150%), for free protein S 66% (43-89%). In the foetuses the mean value for protein C was 15.3% (10.5-21%) and for free protein S 36.85% (27-47%) of the normal adult mean. Bound protein S and C4bp levels were zero. Conclusions: (1) free protein S is significantly decreased (< 2SD below the normal adult mean) in women after the first trimester of gestation whereas no change is seen in protein C concentration; (2) C4bp levels are at zero in the foetus as also are the levels of bound protein S; (3) foetal blood protein S level is approximately 2.5 times higher than protein C. Since all other vitamin K-dependent factors have been observed to be in the range of 10-20% of normal at this stage of gestation, our findings may be further proof of a non hepatic (endothelial) source of plasma protein S.