Artykuły w czasopismach: „Space and time in art”

1

Cartlidge, Edwin. "The art of space-time". Science 359, nr 6371 (4.01.2018): 41. http://dx.doi.org/10.1126/science.aar6576.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

2

De Melo, Marcelo José. "Occupying Time Occupying Space". Excursions Journal 6, nr 1 (24.01.2020): 1–13. http://dx.doi.org/10.20919/exs.6.2015.195.

Pełny tekst źródła

Streszczenie:

In this article, I focus on the main concerns and influences in my art practice, considering how occupying time has led me to be concerned with time occupying space in sculptural practices. The main ideas discussed here are repetition of material activity and rhizomatic methodology in art.

Style APA, Harvard, Vancouver, ISO itp.

3

Von Werlhof, Jay. "Geoglyphs in time and space". Estudios Fronterizos, nr 35-36 (1.01.1995): 73–81. http://dx.doi.org/10.21670/ref.1995.35-36.a04.

Pełny tekst źródła

Streszczenie:

Using the relationship between art and religion u a take-off point. This article examines two types of earthen art: rock alignments and geoalypht. Differences and similarities in form and content are discussed. As regarding earthen art in various locations, and speculations are made as regarding their religious significance.

Style APA, Harvard, Vancouver, ISO itp.

4

Lai, Linda Chiu-han. "Algorithmic Art: Shuffling Space and Time". Transfers 9, nr 2 (1.06.2019): 112–18. http://dx.doi.org/10.3167/trans.2019.090208.

Pełny tekst źródła

Streszczenie:

Why are art-science dialogues important, and how should they take place? How do our everyday culture and institutional constructs define and delimit such possibilities? Why do contemporary art lovers still presume they are immune to and from scientific knowledge? How should a visitor of a media art event make sense of the machine work? Algorithmic Art: Shuffling Space & Time (AA) directed these questions to technical experts, artists, art lovers, and the public through a series of themed discussions and a six-hundred-square-meter indoor playground of machines and computational installations. AA also sought to key in on the question of survival. What mark has the struggling existence of the twenty-year-old School of Creative Media at the City University of Hong Kong left to Hong Kong’s (media) art history? The school remains the only pedagogic research center in Hong Kong where conceptual issues of new media art creation and how to “live” in an age of big data are interrogated through scholarship and practice.

Style APA, Harvard, Vancouver, ISO itp.

5

Small, Jocelyn Penny. "Time in Space: Narrative in Classical Art". Art Bulletin 81, nr 4 (grudzień 1999): 562. http://dx.doi.org/10.2307/3051334.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

6

Drewal, Margaret Thompson, i Henry John Drewal. "Composing time and space in Yoruba art". Word & Image 3, nr 3 (lipiec 1987): 225–51. http://dx.doi.org/10.1080/02666286.1987.10435383.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

7

ZHAO, YUANSHENG. "Expressions of time and space in lighting art". TECHART: Journal of Arts and Imaging Science 5, nr 4 (30.11.2018): 6–8. http://dx.doi.org/10.15323/techart.2018.11.5.4.06.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

8

Bertolami, Orfeu. "Zen and the Art of Space-Time Manufacturing". EPJ Web of Conferences 58 (2013): 02001. http://dx.doi.org/10.1051/epjconf/20135802001.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

9

Levin, Aaron. "Travel Through Space, Time at Museum of Art". Psychiatric News 42, nr 4 (16.02.2007): 7. http://dx.doi.org/10.1176/pn.42.4.0007.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

10

Brieber, David, Marcos Nadal, Helmut Leder i Raphael Rosenberg. "Art in Time and Space: Context Modulates the Relation between Art Experience and Viewing Time". PLoS ONE 9, nr 6 (3.06.2014): e99019. http://dx.doi.org/10.1371/journal.pone.0099019.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

11

Kennedy, Janet, Ernst Neizvestny i Albert Leons. "Space, Time, and Synthesis in Art: Essays on Art, Literature, and Philosophy". Russian Review 51, nr 3 (lipiec 1992): 433. http://dx.doi.org/10.2307/131128.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

12

Wagemans, Johan, Stefanie De Winter i Christopher Linden. "Colour, Pattern, Space and Time in Art Perception: Two Case Studies". Gestalt Theory 44, nr 1-2 (1.08.2022): 7–26. http://dx.doi.org/10.2478/gth-2022-0013.

Pełny tekst źródła

Streszczenie:

Summary Colour and space are pervasive topics in both perception and art. This article investigates the role of colour and pattern in relation to space and time in the art works by two artists: Frank Stella, a well-known Post-War American abstract painter, and Pieter Vermeersch, an emerging Belgian abstract painter, representing a contemporary trend to break the barriers between artistic disciplines. While Stella adheres to the Modernist logic of non-illusionistic, non-spatial, non-referential art as object, perceived instantaneously, Vermeersch explores ways to enhance the viewers’ spatial and temporal experiences through complex art installations with multiple objects and architectural elements interacting with each other and with the spaces in which they are embedded. We discuss these major themes in some representative art works, and in the way they are perceived and appreciated by contemporary viewers, investigated in four empirical studies: two laboratory experiments using well-controlled stimuli derived from at works, and two museum studies employing a variety of methods, including mobile eye-tracking and questionnaires.

Style APA, Harvard, Vancouver, ISO itp.

13

Crittenden, Cole. "The Dramatics of Time". KronoScope 5, nr 2 (2005): 193–212. http://dx.doi.org/10.1163/156852405774858753.

Pełny tekst źródła

Streszczenie:

AbstractArt has as many definitions as it has practitioners, but one function of art is to help us understand the human experience, regardless of how our definitions of that experience differ. And since time is experience, art is particularly well-suited to treat it. Along with space, time, as a basic category of human experience, is, therefore, a basic category of artistic inquiry. Space is the primary focus of the visual arts, whereas music is an art form in time. Literature, however, always deals with both, and nowhere is this more apparent than in drama, where the time and space of the literary text are realized in the real time and real space of the performed text. Yet despite the widespread interest in time in much twentieth-century literary theory, the unique potential for the investigation of experiential time in drama has gone largely ignored. The purpose of this article is to address that curious absence, first by looking at the ways existing theories approach literary time (and largely fail to approach dramatic time), and then by discussing the generic and performative characteristics of drama (especially Russian drama, since that is the tradition with which I am most familiar) that make it in many ways the ideal art form in which to investigate time.

Style APA, Harvard, Vancouver, ISO itp.

14

Wang, Jing. "To Make Sounds inside a “Big Can”: Proposing a Proper Space for Works of Sound Art". Leonardo 49, nr 1 (luty 2016): 38–47. http://dx.doi.org/10.1162/leon_a_00895.

Pełny tekst źródła

Streszczenie:

Creators of sound art consider sound as both a tangible reality and a conceptual term; sound art works rely on and use listening as their predominant mode of perception. The author contextualizes sound art in China and problematizes existing venues where sound art is performed and exhibited. She then suggests that a proper space is necessary to certain works of sound art, and she proposes the “big can” as an ideal venue, based upon previous experience with existing art spaces as well as the unique nature of sound art. Sound generates space; now it is time to make space for sound.

Style APA, Harvard, Vancouver, ISO itp.

15

Small, Jocelyn Penny. "Time in Space: Narrative in Classical Art". Art Bulletin 81, nr 4 (1.12.1999): 562–75. http://dx.doi.org/10.1080/00043079.1999.10786904.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

16

Lai, Mei-Kei. "The Art of Digital Scent - People, Space and Time". Journal of Science and Technology of the Arts 10, nr 1 (1.11.2018): 2. http://dx.doi.org/10.7559/citarj.v10i1.501.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

17

Arce-Nazario, Javier A. "Geovisualizing space and time in a science-art exhibit". Abstracts of the ICA 1 (15.07.2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-14-2019.

Pełny tekst źródła

Streszczenie:

Abstract. The question of how to communicate with lay audiences about dynamic spatial processes is important in many disciplines. A diversity of paradigms for representing space and time have been developed in cartography, GIS science, and geovisualization, but these paradigms are unlikely to converge to a standard representation of spatiotemporal data (Goodchild 2013). Thus, finding the best visualization techniques to support the general public’s understanding of spatiotemporal analysis requires some exploration. In the following, I discuss how this exploration produced the novel approaches to representing time and landscape dynamics in geo/visual/isla, which was a science-art exhibit about social and ecological changes in the landscape of Puerto Rico over the past century.geo/visual/isla (Museo Casa Blanca, San Juan, 2017) was developed from static, large-format prints of aerial imagery of the Caribbean island nation of Puerto Rico, which were created by a collective of undergraduate students and a geographer at the University of Puerto Rico at Cayey. The data associated with times in the 1930s were derived from aerial photographs provided by the Puerto Rican Department of Transportation, and more recent data were derived from the United States Geological Survey and United States Army Corps of Engineers. The exhibit ultimately presented an 80-year history of changes in the natural and constructed landscape, during a period in which shifting global and local economies, migration, climate events and colonial policies were drivers of dramatic landscape transitions. The purpose of the exhibit was to capture the beauty and the dynamics of the landscape’s history, while helping visitors to envision and discuss past landscape change and future land use in Puerto Rico.The problem of geovisualizing time and change is an old one that has been extensively reviewed – for example, by Yuan (2016) – but when the audience is a general public, there are additional challenges. Most notably, the limited period of interaction that a lay person will have with the geospatial data in question means that the scheme for representing space and time together must be either simple or familiar to be successful. Many creators of geographic exhibits for lay audiences do utilize well-established geovisualization paradigms such as the space-time cube (Bogucka and Jahnke 2017), the time-animated series of maps (Harner, Knapp, and Davis-Witherow 2017), and the annotated timeline (Caine 2017). However, these techniques must be adapted for the intended audience: the authors in each case highlight the specific techniques they use to help viewers by reducing the information burden and interpretation ambiguity of the representations they choose. Like these other public geographic exhibits, geo/visual/isla extensively used an early cartographic representation of time, which was chosen for its simplicity and familiarity. Several of the works in the exhibit were “time-slice snapshots,” as described by Langran and Chrisman (1998). We took advantage of the rich vocabulary of the human experience of time to help viewers more easily navigate the temporal dimension of the data being displayed. For example, we encouraged viewers to associate neighboring time-slices by using the visual metaphor of the triptych, and used color schemes emphasizing the time coordinate (Figure 1). Spatial orientation between images was reinforced by choosing images with prominent, essentially consistent landscape features such as a coastline. The triptych format also reduced the temporal resolution to a manageable level, reducing the information burden noted above. Perhaps the most important distinction between science-art exhibits and GIS representations or standalone geovisualizations is possibility to use the exhibit site as an additional dimension of experience. Harner, Knapp, and Davis-Witherow (2017) used this space for physical objects, and describe how their exhibit’s interactive maps replace interpretation of these objects by curators. In geo/visual/isla, we chose the inverse relationship: the space itself provided orientation that helped viewers interpret the maps. This was achieved by two techniques: first, the viewers’ path through the exhibit allowed them to learn the “vocabulary” of the space-time representation as they progressed. Timeslice snapshots gave way to more complex presentations where data with different space and time coordinates appeared in the same frame (Figure 2). By the end of the exhibit, viewers were easily able to read the spatial landscape enough to understand the story of change in these blended presentations. Second, the environment in different parts of the exhibit hall reinforced an understanding of timescales. Images in the exhibit depicting topological landscape features in the 1950s and 1960s were portrayed in red-blue anaglyph images and viewed with paper anaglyph glasses. In this corner of the exhibit, which was populated by other visitors in “retro” glasses and complemented by artworks referencing visual tropes of other dimensions and flashbacks, our intention was to make the actual ambiance provoke discussions of this particular period of Puerto Rico’s past (Figure 3).The techniques explored in geo/visual/isla made the dimensions of space and time equally easy to navigate for users, and our observation of visitors and their responses on surveys demonstrated that we successfully produced a conducive environment for substantive discussions of landscape change. The demonstrated effectiveness of the format is consistent with our visitor survey results from prior exhibitions (Arce-Nazario 2016). Our choices were specifically designed for a physical, artistic exhibit and a non-expert audience, but the training and cueing used to make geo/visual/isla work so well could also be adapted to other geovisualization presentations and tools.

Style APA, Harvard, Vancouver, ISO itp.

18

Recidoro, Zeny May Dy. "Mapping Space Time: The Art-Scape in Five Exhibitions". Perspectives in the Arts and Humanities Asia 5, nr 2 (30.09.2015): 158. http://dx.doi.org/10.13185/2165.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

19

Doyle, Denise. "Art, Virtual Worlds and the Emergent Imagination". Leonardo 48, nr 3 (czerwiec 2015): 244–50. http://dx.doi.org/10.1162/leon_a_00708.

Pełny tekst źródła

Streszczenie:

This paper presents a framework for the emergent imagination that arises out of the transitional spaces created in avatar-mediated online space. Through four categories of transitional space identified in artworks created in virtual worlds, the paper argues that, as the virtual remains connected to time, the imagination becomes connected to space. The author’s analysis of the imaginative effects of artworks presented in the two virtual (and physical) gallery exhibitions of the Kritical Works in SL project demonstrates a mode of artistic exploitation of the particular combination of user-generated and avatar-mediated space.

Style APA, Harvard, Vancouver, ISO itp.

20

Hughston, Milan R. "Documenting the art of our time: a new research facility for The Museum of Modern Art, New York". Art Libraries Journal 32, nr 4 (2007): 22–28. http://dx.doi.org/10.1017/s0307472200015054.

Pełny tekst źródła

Streszczenie:

The Museum of Modern Art’s ten-year building project provided new, purpose-built spaces for the library and museum archives, one of the world’s premier research resources documenting modern and contemporary art. This article summarizes the planning and implementation of the new space and reflects on its successes after six months of operations.

Style APA, Harvard, Vancouver, ISO itp.

21

Quigley, Paula. "Slow/motion: Time and space in Natan". Short Film Studies 3, nr 1 (9.08.2012): 49–52. http://dx.doi.org/10.1386/sfs.3.1.49_1.

Pełny tekst źródła

Streszczenie:

Art cinema is often celebrated for its commitment to duration. Genre film, on the other hand, tends to articulate time in terms of narrative momentum. Natan offers an opportunity to explore the tension between these contestatory temporal registers in film through its economy of narrative, character and style.

Style APA, Harvard, Vancouver, ISO itp.

22

WAINWRIGHT, LEON. "Americocentrism and Art of the Caribbean: Contours of a Time–Space Logic". Journal of American Studies 47, nr 2 (17.04.2013): 417–38. http://dx.doi.org/10.1017/s0021875813000145.

Pełny tekst źródła

Streszczenie:

Art of the transnational Caribbean has come to be positioned by an understanding of the African diaspora that is oriented to an American “centre,” a situation to be explored for what it reveals about the hegemonic status of the United States in the discipline of contemporary art history. The predominant uses of the diaspora concept both in art-historical narratives and in curatorial spaces are those that connect to United States-based realities, with little pertinence to a strictly transnational theorization. This has implications for how modern art and contemporary art are thought about in relation to the Caribbean and its diaspora, in a way that this article demonstrates with attention to a number of artists at multiple sites, in Trinidad, Guyana, Britain and America.

Style APA, Harvard, Vancouver, ISO itp.

23

Аккаш, Олена. "The Categories of Time and Space in the Ukrainian Contemporary art and Art Research". Artistic Culture. Topical Issues, nr 13 (12.12.2017): 345–57. http://dx.doi.org/10.31500/1992-5514.13.2017.134660.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

24

Carbon, Claus-Christian. "Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions". i-Perception 8, nr 1 (styczeń 2017): 204166951769418. http://dx.doi.org/10.1177/2041669517694184.

Pełny tekst źródła

Streszczenie:

Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors ( N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s ( Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship ( r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m ( M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research ( M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.

Style APA, Harvard, Vancouver, ISO itp.

25

Zilberstein, Shira. "Space Making as Artistic Practice: The Relationship between Grassroots Art Organizations and the Political Economy of Urban Development". City & Community 18, nr 4 (grudzień 2019): 1142–61. http://dx.doi.org/10.1111/cico.12458.

Pełny tekst źródła

Streszczenie:

Standard narratives on the relationship between art and urban development detail art networks as connected to sources of dominant economic, social, and cultural capital and complicit in gentrification trends. This research challenges the conventional model by investigating the relationship between grassroots art spaces, tied to marginal and local groups, and the political economy of development in the Chicago neighborhood of Pilsen. Using mixed methods, I investigate Do–It–Yourself and Latinx artists to understand the construction and goals of grassroots art organizations. Through their engagements with cultural representations, space and time, grassroots artists represent and amplify the interests of marginal actors. By allying with residents, community organizations and other art spaces, grassroots artists form a social movement to redefine the goals and usages of urban space. My findings indicate that heterogeneous art networks exist and grassroots art networks can influence urban space in opposition to top–down development.

Style APA, Harvard, Vancouver, ISO itp.

26

Schiller, Devon, i Cedric Kiefer. "Augumenting The Physiognomic Gaze Across Space and Time: A Conversation with onformative". Membrana Journal of Photography, Vol. 3, no. 1 (2018): 54–65. http://dx.doi.org/10.47659/m4.054.art.

Pełny tekst źródła

Streszczenie:

Augmented photography can be used in the digital arts to over-code upon real-world environments with computer-generated data, in order to translate stimuli across sensory modalities, and thereby extent or increase our faculties for perceiving spatial and temporal relations. Because of this media-specific affordance, the augmentation of the photographic medium may have especial application for the “physiognomic gaze,” a way of doing “form interpretation” or “nature knowing” based on the physical behaviors and psychological phenomena of the human face, head and body. The innovativeness of such technological prosthetics becomes manifest how new ways are generated to both perceive and to know those experiences that were previously unseeable or otherwise unsensable. Here, I converse with Cedric Kiefer (co-founder and creative lead) of the onformative studio for digital art and design in Germany about their works Meandering River (2017), Pathfinder (2014) and Google Faces (2013). And we explore how onformative uses the augmented photograph in their digital artworks to extend the physiognomic gaze, bringing data not visible to the naked eye into the senseable sphere, to offer the audience different perspectives about space and time. Keywords: augmented photography, computer-generated data, digital art and science, onformative, physiognomic gaze

Style APA, Harvard, Vancouver, ISO itp.

27

LaBelle, Brandon. "Sharing Architecture: Space, Time and the Aesthetics of Pressure". Journal of Visual Culture 10, nr 2 (sierpień 2011): 177–88. http://dx.doi.org/10.1177/1470412911402889.

Pełny tekst źródła

Streszczenie:

Exploring acoustic space, this article aims to supplement the practice of acoustic design by exposing other perspectives on sound’s relationship to space. Following Paul Carter’s notion of sonic ambiguity, the author contends that the idealized sonic image of acoustics eliminates the potentiality inherent to sound and listening as forces of relational intensity and differentiation. To draw out this tension, the article examines alternative forms of acoustics as appearing within the practice of sound art. Through eccentric and speculative design, sound art comes to demonstrate a vital addition to notions of acoustics; by creating heightened listening experiences that exceed the traditional concepts of fidelity, it cultivates forms of noise by integrating extreme volume and frequency, building fantastical architectures for their diffusion, and incorporating a dynamic understanding of psychoacoustics and perception. Through such elements, sound and space are brought together and deliver other forms of acoustical experience while hinting at potentialities for their application in environments outside the art situation. Works by such artists as Tao G. Vrhovec Sambolec and John Wynne provide a vibrant terrain for registering how sound comes to perform as spatial material.

Style APA, Harvard, Vancouver, ISO itp.

28

Francis, Christina. "Playing with Gender in Arthur, King of Time and Space". Arthuriana 20, nr 4 (grudzień 2010): 31–47. http://dx.doi.org/10.1353/art.2010.a411719.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

29

Arnheim, Rudolf, i Leonard Shlain. "Art and Physics: Parallel Visions in Space, Time and Light". Leonardo 26, nr 3 (1993): 262. http://dx.doi.org/10.2307/1575831.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

30

Bajer, C., i C. Bonthoux. "State-of-the-Art In the Space-Time Element Method". Shock and Vibration Digest 23, nr 5 (1.05.1991): 3–9. http://dx.doi.org/10.1177/058310249102300503.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

31

Milián, Marvin R. "Time, space and art: The Olympic poster and the chronotope". Visual Inquiry 11, nr 1 (1.05.2022): 7–13. http://dx.doi.org/10.1386/vi_00066_1.

Pełny tekst źródła

Streszczenie:

The visual aesthetic of the Olympic Games fuses time and space into the commodification of sport and culture. Rarely does poster art function beyond commodity and advertising. Spanning over a hundred years, the Olympics has adopted the poster as an artefact of the games, documenting the event’s spirit in concert with the essence of the host city. The union of time and space functioning under one aesthetic device, the poster, brings forth Mikhail Bakhtin’s revolutionary theory of the chronotope that the Russian philosopher and critic exposed in language and literature. This article will look at the poster not as evidence of the commodification of sport but as a dialogic medium of time and space. By investigating the nuance of typography and visual aesthetics of Olympic poster art concerning the chronotope, the poster elevates beyond advertising tool performing as a form of artistic dialogue within the culture. This novel interpretation of the Olympic poster as a dialogic exponent of the chronotope will reimagine Olympic art as temporally communitive. Specific poster examples will compose a conversation that reflects a nexus of time and space. Revolving around the intertextual temporality of Bakhtin’s chronotope, the Olympic poster comes to life.

Style APA, Harvard, Vancouver, ISO itp.

32

Bridge, Emily, Cathee Porter i Shea Wilson. "Together in Spirit: Collaborative Art-Making Across Time and Space". Journal of Prisoners on Prisons 32, nr 1 (10.05.2023): 121–31. http://dx.doi.org/10.18192/jpp.v32i1.6747.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

33

Zuev, K. O. "Formation and development of art spaces in Kazan in 2010-2020". Heritage and Modern Times 7, nr 1 (16.06.2024): 85–98. http://dx.doi.org/10.52883/2619-0214-2024-7-1-85-98.

Pełny tekst źródła

Streszczenie:

The article gives a general overview of the phenomenon of art space, and also explores the implementation of art spaces in the capital of Tatarstan, Kazan, its specifics for this region, history and prospects, development. The connection of art spaces with squats and galleries of previous decades is shown. The types of art spaces as a whole are considered, their goals, tasks and functions, meaning and role in the modern city. Examples of such places are given in other cities (Leningrad/ St. Petersburg, Vilnius), and, finally, the development of creative spaces in Kazan is being investigated. Their background is indicated. The article shows their diversity in purpose, objectives, content, content of activity, forms. The number of art spaces in Kazan includes time cafes (anti-cafes) and parks that provide the opportunity for co-creation, synergy, active contribution for the creative people of the city, provide a place for master classes, workshops, concerts, meetings of literary and other clubs and language courses, lectures, disputes, craft fairs, etc.; the space includes bookstores, cafes, meeting and relaxation space, coworking spaces and meeting rooms. The article's conclusion notes the diversity and exponential growth of the number of art spaces in the city.

Style APA, Harvard, Vancouver, ISO itp.

34

Pogrmić, Zorica, i Bojan Đerčan. "The role of Street art in urban space recognition". Zbornik radova Departmana za geografiju, turizam i hotelijerstvo, nr 50-2 (2021): 122–31. http://dx.doi.org/10.5937/zbdght2102122p.

Pełny tekst źródła

Streszczenie:

Street (urban) art is an art form that consists of graffiti, murals, mosaics in urban space. As the process of globalization increasingly affects the form of the city, urban identities have become less noticeable. At the same time, different social forces are trying to create an urban space. In the formation of urban identity , the appearance of the city plays a key role in creating specific spaces inscribed in material artifacts. One of these practices of creating, defending and expanding the free space of social everyday life are works of street art. As a symbolic and moral challenge to the dominant role of the city government, works of street art can be an indicator of changing urban space, as they represent a conflict over the use of public space. Placing art in a public urban space can serve as a means of separating the physical and social characteristics of a place. Street art participates in creating the uniqueness of the location and thus the identity of the city.

Style APA, Harvard, Vancouver, ISO itp.

35

Maina, KettyJackline. "Transcending Space, Time and Culture through Intercultural Musical Dialogue". African Musicology Online 12, nr 2 (1.11.2023): 65–80. http://dx.doi.org/10.58721/amo.v12i2.342.

Pełny tekst źródła

Streszczenie:

In recent years, the creative industry in Kenya has seen a rise in consumption of art from other countries. This is due to the influence of global and modern trends on local media and the Kenyan audience. Consequently, various stakeholders in the artistic domain have taken personal initiatives to advocate for the production, performance and airing of local art to promote Kenyan content. They strive to appeal to the public’s taste, create demand for Kenyan art, and influence the media as well as government broadcasting policies. Musicians in Nairobi (Kenya’s capital city) for instance, elevate Kenyan music by collaborating with local and foreign bars, restaurants, government and non-governmental organisations which sponsor musical events and provide platforms for them to exhibit their music, and that of other artists. They also redefine the country’s urban sound by localising genres from other countries, incorporating indigenous styles from Kenyan ethnic groups, and reworking Kenyan oldies. By doing that, they interact with individuals from different generations, cultures, and geographical spaces, traversing musical and cultural boundaries, and acquiring new audiences. Using in-depth interviews, I explore how these musicians and other stakeholders in Nairobi’s music scene, manage to promote and create demand for Kenyan styles both locally and internationally. Additionally, observing performances, and interacting with some of the audience members aid in interrogating urban genres that transcend time and space, linking and appealing to various cultures while gaining new audiences.

Style APA, Harvard, Vancouver, ISO itp.

36

He, Ruian, Shili Zhou, Yuqi Sun, Ri Cheng, Weimin Tan i Bo Yan. "Low-Latency Space-Time Supersampling for Real-Time Rendering". Proceedings of the AAAI Conference on Artificial Intelligence 38, nr 3 (24.03.2024): 2103–11. http://dx.doi.org/10.1609/aaai.v38i3.27982.

Pełny tekst źródła

Streszczenie:

With the rise of real-time rendering and the evolution of display devices, there is a growing demand for post-processing methods that offer high-resolution content in a high frame rate. Existing techniques often suffer from quality and latency issues due to the disjointed treatment of frame supersampling and extrapolation. In this paper, we recognize the shared context and mechanisms between frame supersampling and extrapolation, and present a novel framework, Space-time Supersampling (STSS). By integrating them into a unified framework, STSS can improve the overall quality with lower latency. To implement an efficient architecture, we treat the aliasing and warping holes unified as reshading regions and put forth two key components to compensate the regions, namely Random Reshading Masking (RRM) and Efficient Reshading Module (ERM). Extensive experiments demonstrate that our approach achieves superior visual fidelity compared to state-of-the-art (SOTA) methods. Notably, the performance is achieved within only 4ms, saving up to 75\% of time against the conventional two-stage pipeline that necessitates 17ms.

Style APA, Harvard, Vancouver, ISO itp.

37

Ahmadi, Adel, i Siamak Talebi. "Fast Maximum-Likelihood Decoder for Quasi-Orthogonal Space-Time Block Code". Mathematical Problems in Engineering 2015 (2015): 1–6. http://dx.doi.org/10.1155/2015/654865.

Pełny tekst źródła

Streszczenie:

Motivated by the decompositions of sphere and QR-based methods, in this paper we present an extremely fast maximum-likelihood (ML) detection approach for quasi-orthogonal space-time block code (QOSTBC). The proposed algorithm with a relatively simple design exploits structure of quadrature amplitude modulation (QAM) constellations to achieve its goal and can be extended to any arbitrary constellation. Our decoder utilizes a new decomposition technique for ML metric which divides the metric into independent positive parts and a positive interference part. Search spaces of symbols are substantially reduced by employing the independent parts and statistics of noise. Symbols within the search spaces are successively evaluated until the metric is minimized. Simulation results confirm that the proposed decoder’s performance is superior to many of the recently published state-of-the-art solutions in terms of complexity level. More specifically, it was possible to verify that application of the new algorithms with 1024-QAM would decrease the computational complexity compared to state-of-the-art solution with 16-QAM.

Style APA, Harvard, Vancouver, ISO itp.

38

Mc Ternan, Finola. "Time and Space: Access and the Lifecycle of the Art Student". International Journal of Art & Design Education 39, nr 2 (6.11.2019): 280–89. http://dx.doi.org/10.1111/jade.12264.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

39

Solomon, Anne, J. Steinbring, A. Watchman, P. Faulstich i P. S. C. Tacon. "Time and Space: Dating and Spatial Considerations in Rock Art Research". South African Archaeological Bulletin 51, nr 163 (czerwiec 1996): 45. http://dx.doi.org/10.2307/3888937.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

40

Bajer, C. I., i C. G. Bonthoux. "State-of-the-Art in True Space-Time Finite Element Method". Shock and Vibration Digest 20, nr 4 (1.04.1988): 3–11. http://dx.doi.org/10.1177/058310248802000403.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

41

Xu, Huili. "Research on Interior Space Art Form". Academic Journal of Science and Technology 10, nr 2 (15.04.2024): 149–52. http://dx.doi.org/10.54097/qtb52815.

Pełny tekst źródła

Streszczenie:

Mies van der Rohe is one of the four most famous modern architects in the world in the middle of the 20th century, also a great educator, the third president of the Bauhaus school, the director of the Department of Architecture of the Illinois Institute of Technology, his design ideas for the development of the industrialized society pointed out the direction of the building, and the design concept he put forward, "less is more", has profoundly influenced and changed other designers' understanding and expression of design, such ideas advocate nature and transcend freedom. His design concept of "less is more" has also profoundly influenced and changed other designers' understanding and expression of design. This paper analyzes the works from the background of the times and a cultural point of view, applying the viewpoints of comparison, dialectic, connection, and development to discuss his philosophical concepts, creative methods, and the intrinsic connection of indoor spatial art forms and the influence on modern design, to promote designers' understanding of design aesthetics and to encourage designers' understanding of design aesthetics. This paper analyzes the works from the perspective of time background and culture, using comparative, dialectic, connection, and development to discuss their philosophical concepts, creative methods, and the inner connection of interior space art forms and their influence on modern design, to encourage design workers to have a deeper understanding of design aesthetics.

Style APA, Harvard, Vancouver, ISO itp.

42

Tipa, Violeta. "Michel Ocelot's films: a Journey through Time and Space". Intertext, nr 1/2 (57/58) (październik 2021): 123–31. http://dx.doi.org/10.54481/intertext.2021.1.14.

Pełny tekst źródła

Streszczenie:

In the last decades, the animation movie protrudes more and more in the modern culture by a deep philosophical and aesthetic approach with a wide spectrum of inquiries. The multitude of techniques and modalities to realize allows it to dive in the area of the most different cultures. Amongst the directors-animators who uphold the multiculturalism in their creation enlists the Frenchman, Michel Ocelot, a significant figure in the art of European animation. His movies power themselves from the art and the culture of different European civilizations, and, first of all, from Greek myths. Even since his first short film – Les Trois Inventeurs (1980) – he imposes as original creator. The world recognition is achieved by the feature films about Kirikou: Kirikou et la sorcière (1998) and Kirikou et les bêtes souvages (2005), which anchor in the African mythological universe. A world full of symbols and metaphors profiled also in the movie Azur et Asmar (2006), where two different cultures – European and African, unite. Mr. Ocelot creates his movies as initial formulas by which the viewer understands better the complex universe of the man and human relations, showing that the conflicts may be overcome through communication and comprehension, kindness and tolerance. Princes et Princesses (2000), Les contes de la nuit (2011) și Ivan Tsarevitch et la Princesse changeante (2016) inscribe in the context of the multiculturalism, as they are true trips back in time and space, highlighting the fairy tales of the people from the three continents Africa, Asia and Europe. The French director conceives the world of these fairy tales by a long forgotten technique – the cut-out animation, making us thinking about the theatre of shadows. Analysing the movies of Michel Ocelot, we may qualify them as modern recitals, personal interpretations of the traditional fairy tales and myths, where the art and the culture of different spaces and times rank at the top.

Style APA, Harvard, Vancouver, ISO itp.

43

Li, Ying. "A Study of Space Environmental Decoration in Ceremony Etiquette". Applied Mechanics and Materials 584-586 (lipiec 2014): 738–41. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.738.

Pełny tekst źródła

Streszczenie:

The same with other art branches, the design of environmental decoration in ceremony etiquette belongs to practical art. It is the space-time art of three-dimensional even multi-dimensional space, not the simple graphic art. It is the combination of multi-dimensional space and visual art. On the study of environmental decoration in modern ceremony etiquette, the paper provides the scientific guidance for the feasibility and operability in practical design from the viewpoint of ceremony etiquette environmental decoration and traditional folk culture, environmental accessory design, environmental color design, situational design and installation art design.

Style APA, Harvard, Vancouver, ISO itp.

44

Binoy, Paul. "The role of public art has changed in recent times: a study". Liño 30, nr 30 (16.07.2024): 161–65. http://dx.doi.org/10.17811/li.30.2024.161-165.

Pełny tekst źródła

Streszczenie:

Public art which falls under the institutional category of visual arts primarily focuses on audience engagement and public representation. Additionally, there are other types of art in public settings that are designed for audience participation. The term Public Art means to those works of art commissioned and sponsored, monuments, memorials, and civic statues and sculpture installed in physical public domain by the Government and agencies and organization, which are especially significant within the Art World. The term is sometimes also applied to include and art which is exhibited in a public space these public art are basically symbolic, imaginary and illustrative representation on the Historical, political and cultural and civic values of the state. While speaking of public sculptures we often speak in terms of its artistic identity i.e. we always look at it and recognize merely as a piece of art only. We cannot undermine its importance in day to day social, cultural and political life. The presence of these pieces of art in any society holds a cultural recognition of that particular society. These are like the index or contents of a book that are sufficient enough to explain the entire subject matter. These public sculptures have become a part and partial of our day to day life. Since the colonial times to the modern era, in India, public art has undergone numerous changes. The institutions of public art and the public realm, media, genres, and forms of public art have all changed over time. Since the last two decades, site-specificity, public engagement, and process-based activities have been the main focuses of art in public spaces. Two types of public space can be distinguished. The first is the actual public space as a location, site, piece or thing. The second is the discursive public space, which is an abstract/conceptual area created briefly as a result of private individuals coming together to talk about or share important and light-hearted subjects. According to Habermas, this discursive space is the public sphere, which includes gatherings and encounters of people in public places like coffee shops, streets, community centers, and parks.

Style APA, Harvard, Vancouver, ISO itp.

45

De Bièvre, Dirk, Patricia Garcia-Duran, Leif Johan Eliasson i Oriol Costa. "Editorial: Politicization of EU Trade Policy Across Time and Space". Politics and Governance 8, nr 1 (31.03.2020): 239–42. http://dx.doi.org/10.17645/pag.v8i1.3055.

Pełny tekst źródła

Streszczenie:

This editorial provides an introduction to the thematic issue “Politicization of EU Trade Policy Across Time and Space.” The academic editors place the issue in the context of the current literature, introduce the contributions, and discuss how the articles, individually and jointly, add to the state of the art.

Style APA, Harvard, Vancouver, ISO itp.

46

Czegledy, Nina. "Eco art: Art is life and life is embedded in nature". Ubiquity: The Journal of Pervasive Media 7, nr 1 (1.12.2020): 17–23. http://dx.doi.org/10.1386/ubiq_00012_1.

Pełny tekst źródła

Streszczenie:

Nature may be considered as the world of living organisms and their environment; in a larger sense, the shape of nature can also be understood to include particular extents of space and time. The visual perspectives of nature form a particular course that begins with the earliest historical depictions and might be currently expressed by a variety of cross-disciplinary contributions. The diverse perspectives form eclectic threads that today are frequently manifested within the eco-activist art movement. Several of the contemporary ecological art projects are grounded in explicit experiences and connections to specific spaces relevant to where the work is created. The local or international ecological labs, experimental urban gardens, projects on the migration of plants and the creation of new species included here are all new models contributing to a speculative future culture.

Style APA, Harvard, Vancouver, ISO itp.

47

Barlow, Melinda. "Mapping Space, Sculpting Time". Afterimage 25, nr 2 (wrzesień 1997): 6–10. http://dx.doi.org/10.1525/aft.1997.25.2.6.

Pełny tekst źródła

Style APA, Harvard, Vancouver, ISO itp.

48

Jones, Stuart. "space-dis-place: How Sound and Interactivity Can Reconfigure Our Apprehension of Space". Leonardo Music Journal 16 (grudzień 2006): 20–27. http://dx.doi.org/10.1162/lmj.2006.16.20.

Pełny tekst źródła

Streszczenie:

The author examines the plasticity of the perceptual spaces generated by sound and interactivity and how their dynamic relationships to other perceptual spaces, both mediated and physical, affect our overall perception of the space we are in. He does this by analyzing some of his own work, in the wider context of architecture and time-based art and design, referencing work by other makers.

Style APA, Harvard, Vancouver, ISO itp.

49

Bezanson, Randall, i Andrew Finkelman. "Trespassory Art". University of Michigan Journal of Law Reform, nr 43.2 (2010): 245. http://dx.doi.org/10.36646/mjlr.43.2.trespassory.

Pełny tekst źródła

Streszczenie:

The history of art is replete with examples of artists who have broken from existing conventions and genres, redefining the meaning of art and its function in society. Our interest is in emerging forms of art that trespass-occupy space, place, and time as part of their aesthetic identity. These new forms of art, which we call trespassory art, are creatures of a movement that seeks to appropriate cultural norms and cultural signals, reinterpreting them to create new meaning. Marcel DuChamp produced such a result when, in the early twentieth century, he took a urinal, signed it, titled it Fountain, and called it art. Whether they employ twenty-first-century technologies, such as lasers, or painting, sculpture and mosaic, music, theatre, or merely the human body, these new artists share one thing in common. Integral to their art is the physical invasion of space, the trespass, often challenging our conventional ideas of location, time, ownership, and artistic expression. Their art requires not only borrowing the intellectual assets of others, but their physical assets. This is trespassory art-art that redefines and reinterprets space-art that gives new meaning to a park bench, to a billboard, to a wall, to space itself. Our purpose is to propose a modified regime in the law of trespass to make room for the many new forms of art with which we are concerned-art that is locationally dependent or site specific. We begin by briefly describing and characterizing these often-new artistic forms. This provides a jumping off point for addressing the basic question this Article seeks to address-should the law accommodate these new types of art, and if so, to what degree? We first turn to the law of trespass, with particular focus on real property, both public and private, but also with an eye to personal and intellectual property. We conclude that adjusting trespass remedies for artistic trespass through a set of common law privileges would better balance the competing interests of owners and artists than do current trespass rules. We then turn to a set of constitutional issues and conclude that our common law proposal is consistent with, and in some ways perhaps required by, the First Amendment. Finally, we summarize our proposal and then revisit the value of trespassory art as art in our creative culture.

Style APA, Harvard, Vancouver, ISO itp.

50

Hung, Keung, i Jean M. Ippolito. "Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics". Leonardo 53, nr 1 (luty 2020): 25–30. http://dx.doi.org/10.1162/leon_a_01573.

Pełny tekst źródła

Streszczenie:

The artist and scholar Keung Hung argues that traditional Chinese manners of approaching art can be abstracted through digital media, forging new interdisciplinary correlations. He posits that digital media can be used to shift the notions of time and space from traditional Chinese aesthetics into the contemporary art context.

Style APA, Harvard, Vancouver, ISO itp.

Artykuły w czasopismach na temat „Space and time in art”

Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych