Готові списки джерел за темами / Art

Добірка наукової літератури з теми "Art"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 22 червня 2024

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Art":

1

Basnet, Alina, Margaret K. Formica, Poornima Ramadas, and Sam Benjamin. "Overall survival outcomes with the use of adjuvant chemotherapy, radiation therapy and hormone therapy in high-risk, very-high-risk and node-positive prostate cancer post radical prostatectomy: A NCDB analysis." Journal of Clinical Oncology 37, no. 7_suppl (March 1, 2019): 118. http://dx.doi.org/10.1200/jco.2019.37.7_suppl.118.

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118 Background: Phase III trials have not consistently demonstrated overall survival (OS) advantage of adjuvant radiation therapy (ART) in prostate cancer (PC) with high risk/very high risk features after radical prostatectomy (RP). Adjuvant hormone therapy (AHT) in PC after RP improved OS in patients with positive lymph nodes (pLNs). We report an observational study on the impact of AHT to ART in NCCN defined high-risk/very high risk (Group 1), and adjuvant chemotherapy (ACT) to AHT in pLNs (group 2) post RP on OS. Methods: We conducted a retrospective study of PC patients (group 1 and group 2) who underwent RP and/or pelvic lymph node dissection. OS was calculated using Kaplan Meier analysis. Group 1 compared ART+AHT vs ART and Group 2 AHT+ ACT vs AHT within 16 weeks of RP. Multivariate analysis was performed with Cox proportional hazard regression model to adjust for different variables. Results: Out of 1,390,357 PC patients reported in NCDB (2004-2015) 182,653 and 11,972 met our inclusion criteria for Group 1 and Group 2 respectively. 3.37% of Group 1 received ART and/or AHT. 19.81% of Group 2 received AHT and/or ACT. Patients who received ART + AHT were more likely to be older, Non-Hispanic white, more likely to have pT4, and have higher prostate specific antigen (PSA) and Gleason scores (GS). Patients who received AHT+ACT were more likely to be younger, with private insurance, and lower Charlson-Deyo Score (CDCC) score. Five and seven year OS with adjusted hazard ratio (aHR) among Group 1 and Group 2 are depicted in table. Conclusions: No statistically significant difference in OS was seen among respective treatment groups. Limitations that exist with this registry based study include lack of randomization, differences in surgical and radiation techniques, duration and choices of ACT and AHT.[Table: see text]
2

Dankwa-Mullan, Irene, M. Christopher Roebuck, Joseph Tkacz, Oluwadamilola Motunrayo Fayanju, Yi Ren, Gretchen Purcell Jackson, and Yull Edwin Arriaga. "Disparities in receipt of and time to adjuvant therapy after lumpectomy." Journal of Clinical Oncology 38, no. 15_suppl (May 20, 2020): 534. http://dx.doi.org/10.1200/jco.2020.38.15_suppl.534.

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534 Background: Adjuvant treatment after breast conserving surgery (BCS) has been shown to improve outcomes, but the degree of uptake varies considerably. We sought to examine factors associated with post-BCS receipt of and time to treatment (TTT) for adjuvant radiation therapy (ART), cytotoxic chemotherapy (ACT) and endocrine therapy (AET) among women with breast cancer. Methods: IBM MarketScan claims data were used to select women diagnosed with non-metastatic invasive breast cancer from 01/01/2012 to 03/31/2018, who received primary BCS without any neoadjuvant therapy, and who had continuous insurance eligibility 60 days post-BCS. Logistic and quantile regressions were used to identify factors associated with receipt of adjuvant therapy (ART, ACT, AET) and median TTT in days for ART (rTTT), ACT (cTTT), and AET (eTTT), respectively, after adjustment for covariates including age, year, region, insurance plan type, comorbidities, and a vector of ZIP3-level measures (e.g., community race/ethnicity-density, education level) from the 2019 Area Health Resource Files. Results: 36,270 patients were identified: 11,996 (33%) received ART only, 4,837 (13%) received ACT only, 3,458 (10 %) received AET only, 5,752 (16%) received both ART and AET, and 9,909 (27%) received no adjuvant therapy within 6 months of BCS. (318) 1% of patients received combinations of either ART, AET or ACT. Relative to having no adjuvant therapy, patients > 80 years were significantly less likely to receive ART only (relative risk ratio [RRR] 0.65), ACT only (RRR 0.05), or combination ART/AET (RRR 0.66) but more likely to receive AET alone (RRR 3.61) (all p < .001). Patients from communities with high proportions of Black (RRR 0.14), Asian (RRR 0.13), or Hispanic (RRR 0.45) residents were significantly less likely to receive combination ART and AET (all p < .001). Having HIV/AIDS (+11 days; p = .01) and residing in highly concentrated Black (+8.5 days; p = .01) and Asian (+12.2 days; p = .04) communities were associated with longer rTTT. Longer cTTT was associated with having comorbidities of cerebrovascular disease (+6.0 days; p < .001), moderate to severe liver disease (+12.3 days; p < .001) and residing in high-density Asian communities (+18.0 days; p < .001). Shorter eTTT (-11.4 days; p = .06) and cTTT (-14.8 days; p < .001) was observed in patients with comorbidities of dementia. Conclusions: Results from this cohort of privately insured patients demonstrate disparities in receipt of post-BCS adjuvant radiation and systemic therapy along multiple demographic dimensions and expose opportunities to promote timely receipt of care.
3

Chang, Yongsock. "The Broadening of Art Perspectives in an Art Course of Non-Art Major Students through a Korean Art Teacher’s Asian Art Viewpoint." Asian Qualitative Inquiry Association 2, no. 1 (July 31, 2023): 51–68. http://dx.doi.org/10.56428/aqij.2023.2.1.51.

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This research explores how Multicultural and Asian art affects college students in a U.S. university. The students did not major in art, and they chose art as elective subjects. The art course consisted of art theory and practice based on DBAE(Discipline-Based Art Education). In the art class, some non-white students always enrolled in the course. The researcher found that DBAE was satisfactory but sometimes inappropriate because DBAE is rooted in Western high art. The researcher changed the art studio class with a multicultural perspective, especially Asian art because he wanted to introduce a new art style to the class and give them a chance to appreciate non-western art. Qualitative action research and arts-based research methods were used to conduct this project. The result revealed that the students of color showed more confidence and actively participated in the class. The works of students of color were changed and improved. Second, women became more aware of social issues and expressed their feelings and emotions in their works. It seemed that the women students would become social activists and voice their opinions by making their art. Third, some students, especially Hispanic and Asian students showed their identity through their artworks. Forth, some Korean students did not make much progress. By including multicul-tural art in art classes, more students could broaden their perspectives on art and understand diversity through their artworks.
4

Stanley, Janet L. "AFRICAN ART AND AAT." Art Documentation: Journal of the Art Libraries Society of North America 4, no. 3 (October 1985): 103–5. http://dx.doi.org/10.1086/adx.4.3.27947450.

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5

Buisine, Valérie. "Art roman et art moderne : « affinités sentimentales »." Anastasis. Research in Medieval Culture and Art 8, no. 1 (May 29, 2021): 165–94. http://dx.doi.org/10.35218/armca.2021.1.08.

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6

Wieand, Kenneth, Jeff Donaldson, and Socorro Quintero. "Are Real Assets Priced Internationally? Evidence from the Art Market." Multinational Finance Journal 2, no. 3 (September 1, 1998): 167–87. http://dx.doi.org/10.17578/2-3-1.

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7

Muraz, Özlem. "BODY AS AN ART OBJECT IN CONTEMPORARY ART." E-journal of New World Sciences Academy 14, no. 2 (April 29, 2019): 136–44. http://dx.doi.org/10.12739/nwsa.2019.14.2.d0232.

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8

Heyd, Thomas. "UNDERSTANDING PERFORMANCE ART: ART BEYOND ART." British Journal of Aesthetics 31, no. 1 (1991): 68–73. http://dx.doi.org/10.1093/bjaesthetics/31.1.68.

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9

Carrier, David. "New York Art, Pittsburgh Art, Art." Journal of Aesthetic Education 37, no. 3 (2003): 99–104. http://dx.doi.org/10.1353/jae.2003.0020.

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10

Murphy, Gabrielle. "Mad art, Bad art, Sad art?" Lancet 351, no. 9100 (February 1998): 455. http://dx.doi.org/10.1016/s0140-6736(98)25006-9.

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Також вас можуть зацікавити розширені добірки на тему "Art" для конкретних типів джерел:
Статті в журналах Дисертації Книги

Дисертації з теми "Art":

1

Goldwhite, Phil. "Frames ate the art, frames are the art, the camera is the art, the text is the art, the thing is the art, art is the art /." Online version of thesis, 1995. http://hdl.handle.net/1850/12203.

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2

Sanfelici, Aline de Mello. "We are mock'd with art." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/96106.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2011
Made available in DSpace on 2012-10-26T08:51:40Z (GMT). No. of bitstreams: 1 289277.pdf: 2113437 bytes, checksum: 532fd1b6221228666a000dd1340b9616 (MD5)
This dissertation discusses the use of theatricalizing devices in four stage productions of William Shakespeare's The Winter's Tale. The selected performances were staged by the Royal Shakespeare Company (England, 1992), Théâtre de la Complicité (England, 1992), Folger Theatre (United States, 2009), and Companhia Atores de Laura (Brazil, 2004-2005). The discussion is structured following the notion of "performance text", proposed by Marco de Marinis (1993), which testifies to the importance of analyzing a performance in terms of its stage elements and also its contextual circumstances. Hence, the notion of "theatricalizing devices" is proposed in the present study as a tool to look at those devices employed on stage that can, simultaneously, comment on the theatrical medium and its conventions and help a production address themes and concerns related to the world outside the theater building. Additionally, the referred devices have to do with further fictionalizing the already fictional stage reality, without losing sight of the fact that those making and attending any given performance are inserted in an outside context.
A presente tese discute o uso de recursos teatricalizantes em quatro produções teatrais de O Conto do Inverno, de William Shakespeare. As performances selecionadas foram produzidas pela Royal Shakespeare Company (Inglaterra, 1992), Théâtre de la Complicité (Inglaterra, 1992), Folger Theatre (Estados Unidos, 2009), e Companhia Atores de Laura (Brasil, 2004-2005). A discussão está estruturada seguindo a noção de "texto espetacular" proposta por Marco de Marinis (1993), a qual testemunha a favor da importância de se analisar uma performance em termos de seus elementos de palco e também de suas circunstâncias contextuais. Dessa forma, a noção de "recursos teatricalizantes" é proposta na presente tese como ferramenta para olhar aqueles recursos empregados no palco que podem, simultaneamente, comentar o meio teatral e suas convenções e ajudar uma produção a tratar temas e preocupações relacionados ao mundo existente para além do auditório do teatro. Além disso, os referidos recursos associam-se com ficcionalizar mais profundamente a realidade já fictícia do palco teatral, sem perder de vista o fato que os indivíduos que realizam e assistem a qualquer performance estão inseridos em um contexto exterior.
3

Fidalgo, Christopher J. "Art, Gaut and Games: the Case for Why Some Video Games Are Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.

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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.
4

Suhie, Robin Bentley. "Art therapy : counseling through art /." Click for abstract, 1997. http://library.ctstateu.edu/ccsu%5Ftheses/1506.html.

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Thesis (M.S.)--Central Connecticut State University, 1997.
Thesis advisor: Judith Rosenberg. " ... in partial fulfillment of the requirements for the degree of Masters of Science in Rehabilitation Counseling." Includes bibliographical references (leaves 62-69).
5

Weis, Kristin K. "Art as Negation: A Defense of Conceptual Art as Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461602608.

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6

Van, Winkle Adam E. "Art after "Art after art" : Joyce, global thinking, and the postmodern /." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1796120901&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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7

Verschooren, Karen A. (Karen Annemie). ".art : situating Internet art in the traditional institution for contemporary art." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39149.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.
Includes bibliographical references (p. 187-202).
This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly. Through an elaborate discussion of the key players, institutions and discourses on aesthetics, economics and exhibition methodologies, this sociological analysis of the past and current situation hopes to offer a solid ground for extrapolation and predictions for Internet art's future as an art world in its relation to the traditional art institutions.
by Karen A. Verschooren.
S.M.
8

Van, Winkle Adam Everette. "Art after "Art after Art": Joyce, Global Thinking and the Postmodern." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/455.

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This project seeks to unpack and moderate the postmodern debate surrounding James Joyce's 1922 novel, Ulysses, by examining how the text responds to global-local dichotomies, be they geographical or conceptual, and considering its stylistics in light of these themes. In doing so, it casts the likes of Laurence Sterne, Walt Whitman, Joseph Conrad, Gertrude Stein, John Cage, Robert Rauschenberg, Bob Dylan and Kurt Vonnegut, among others, alongside Joyce, connecting similar themes and stylistic responses. Ultimately, it suggests that the avant-garde response on the part of Joyce and these others is not necessarily a manifesto bolstering the style, but a reminder to the interpreter to not take the ability of traditional narrative to subsume the surprisingly complex local moment of experience as given. Instead of being "anti-art," as these avant-garde stylistics are often accused of, these aesthetics place new value on the old aesthetic and the act of interpretation, asking the interpreter to perennially re-evaluate the old and given amid the continuously new and complex local moment of experience resulting from the convergence of contrast brought on by the dynamically mapped globe in the process of globalization.
9

Lim, Kyungeun. "An Inquiry of How Art Education Policies are Reflected in Art Teacher Preparation| Examining the Standards for Visual Arts and Art Teacher Certification." Thesis, Indiana University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10635268.

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Policy changes influence various aspects of art education such as K-12 art education curricula, state licensure systems, and contexts of art teacher preparation. Despite strong relationships between art education policy and practical fields, few studies have attempted to understand art education from the perspective of policy analysis. This study explores the connections between art education policy and the field of art education through a focus on art teacher preparation in Indiana. Additional attention was paid to perceptions of the appropriateness of alternative licensure routes in relation to policies of academic and quality standards and the extent to which visual art teachers’ sense of identity as teachers and artists is affected by appropriation of these standards.

The theoretical framework of this study is the need to understand policy appropriation of standards (including visual art and art teacher preparation standards) as an on-going process, that is continually influenced and changed by internal (human level) and external (institutional level) factors. The appropriation process is effectively expressed through practices, narratives, and texts of practitioners.

To understand the status and factors of the art education policy appropriation in art teacher preparation, I collected data as printed or digital documents, and as interviews with faculty members and pre-service art teachers in two traditional visual art teacher preparation programs in Indiana. I analyzed external (institutional level) and internal (human level) factors to adopt and work with state and national standards. While national standards for visual art education (were adopted by many states and presented as voluntary policy, in Indiana the national standards were built into the Indiana’s Academic Standards for Visual Art Standards for K-12 students. Visual art teachers were required to complete a traditional teacher preparation program and pass examinations to become licensed to teach art.

Findings reveal that faculty of higher art teacher education programs in Indiana paid attention to the national and state standards in K-12 visual art and the standards for teacher education when preparing students to become licensed K-12 art educators. External motivations were accreditations system for teacher preparation requested by Indiana Department of Education related to NCATE. Schools and districts could be external motivations that pre-service art teachers adopt the standards in order to succeed in a job market. Internal factors were respects of roles and leaders of art education associations, desires to train/be qualified teachers and attain balanced knowledge between art studio and art education. Alternative routes to licensure were viewed as economically advantageous but not supportive of high-quality education. Policy had little impact on issues of identity. I concluded with recommendations for improvement in art teacher preparation that were needs of supportive policies for pre-service teachers’ teaching and teaching licensure including traditional and alternative licensures.

10

Halsall, Francis. "Art, art history and systems-theory." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/5392/.

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Книги з теми "Art":

1

(Firm), Drouot-Richelieu. Art précolombien, art primitif, art moderne, art contemporain. Paris: Catherine Charbonneaux, 2003.

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2

Branch, Alberta Curriculum. Art senior high: Art 10, art 11, art 20, art 21, art 30, art 31 : teacher resource 1986. [Edmonton]: Alberta Education, 1986.

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3

Maizels, John. Outsider art sourcebook: Art brut, folk art, outsider art. Herts, U.K: Raw Vision, 2009.

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4

(Firm), Gilles Néret-Minet. Art amerindien, art océanien, antiques, art précolombien, art africain. Paris: Gilles Néret-Minet, 2002.

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5

Siegmann, Renaud. Mall art: Art postal, art poste. Paris: Alternatives, 2002, 2002.

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6

(Firm), Catherine Charbonneaux. Art moderne, art contemporain, art tribal. Paris: Catherine Charbonneaux (Firm), 2002.

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7

Heister, Hanns-Werner, Hanjo Polk, and Bernhard Rusam, eds. Word Art + Gesture Art = Tone Art. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20109-7.

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8

Šicková-Fabrici, Jaroslava. Art & Art Therapy. Bratislava: Petrus, 2016.

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9

Branch, Alberta Curriculum. Art studies, art 11, art 21, art 31: Curriculum guide. [Edmonton]: Alberta Education, Curriculum Branch, 1987.

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10

Gianni, Pozzi, and Posteria (Gallery : Milan, Italy), eds. Epocale: Pop art, graffiti art, cracking art. Milano: Mazzotta, 1998.

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Частини книг з теми "Art":

1

Michaud, Nicolas. "Are Tattoos Art?" In Tattoos - Philosophy for Everyone, 29–37. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118252789.ch3.

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2

Schlick, Yaël. "Art about Art." In Metafiction, 16–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003180951-2.

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3

Cannatella, Howard. "Are We Teaching High Art or Low Art?" In Why We Need Arts Education, 75–99. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-094-9_7.

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4

Lou, Heather C. "Art Resists. Art Heals. Art is Resilience." In Engaging Images for Research, Pedagogy, and Practice, 197–212. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003444480-17.

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5

Renov, Michael. "Art, Documentary as Art." In The Documentary Film Book, 345–52. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_39.

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6

Sheridan, Carmel. "Art." In Failure-Free Activities for the Alzheimer’s Patient, 67–68. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-12441-1_8.

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7

Boy, Guy André. "Art." In Human–Computer Interaction Series, 187–205. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30270-6_10.

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8

Abrams, David B., J. Rick Turner, Linda C. Baumann, Alyssa Karel, Susan E. Collins, Katie Witkiewitz, Terry Fulmer, et al. "ART." In Encyclopedia of Behavioral Medicine, 127. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4419-1005-9_100112.

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Martinez, Jaime E. "Art." In The Search for Method in STEAM Education, 93–109. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55822-6_6.

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10

Hasson, Brian F., Charlie Ma, Lu Wang, David E. Wazer, Jay E. Reiff, Jay E. Reiff, Brandon J. Fisher, et al. "ART." In Encyclopedia of Radiation Oncology, 22. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-540-85516-3_1026.

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Тези доповідей конференцій з теми "Art":

1

"Critical art/interactive art/virtual art." In the 20th annual conference, Chair Timothy Druckrey. New York, New York, USA: ACM Press, 1993. http://dx.doi.org/10.1145/166117.166176.

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2

Lam, Albert H. T., Kevin C. H. Chow, Edward H. H. Yau, and Michael R. Lyu. "ART." In the 2006 ACM international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1128923.1128987.

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3

Yi, Sangho, Jung Y. Kim, Hong Min, Bongjae Kim, and Chang Oan Sung. "ART." In the 2010 ACM Symposium. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1774088.1774136.

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4

Tan, Tele, Min Chew Lim, Mihai Lazarescu, and Ling Li. "Interactive Digital Art through Chameleon Art." In Annual International Conferences on Computer Games, Multimedia and Allied Technology. Global Science & Technology Forum (GSTF), 2008. http://dx.doi.org/10.5176/978-981-08-8227-3_cgat08-49.

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5

Sung, Jooeun. "MAPO ART MADANG, MAPO ART TANK." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.01.

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6

Ceric, Vlatko. "Algorithmic art: Technology, mathematics and art." In 2008 30th International Conference on Information Technology Interfaces (ITI). IEEE, 2008. http://dx.doi.org/10.1109/iti.2008.4588386.

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7

Yang, Bingjie. "Female Art in Chinese Contemporary Art." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.179.

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8

Duchêne, Yves, Sébastien Seret, Vincent de Ville de Goyet, Jérome Ligot, Edouard Verstraelen, and Arnaud Philippart. "The Arc Majeur, when art challenges technology." In IABSE Congress, Ghent 2021: Structural Engineering for Future Societal Needs. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/ghent.2021.1658.

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Анотація:
<p>The “Arc Majeur” is a curved metal boxes with a square section of 2,25 m culminating about 60 m high. The square section of the arc is likely to produce vortex-induced vibrations in the direction perpendicular to that of the wind. The main arc is therefore equipped with a "Tuned Mass Damper" (TMD).</p><p>In the case of the “Arc Majeur”, the proper functioning of the damper is essential because the amplitudes of vibrations reached under vortex-induced vibrations would cause the arc to break. A monitoring system continuously records the vibrations of both the damper and the structure and transmits alerts in the event of a malfunction.</p><p>A live post processing has been developed to verify that the damper functions as intended, and that the overall vibration amplitude remains small. The results of the first year of monitoring are presented in this paper.</p>
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Ono, Ayako. "Space Art and Media Art for Everyone." In 57th International Astronautical Congress. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2006. http://dx.doi.org/10.2514/6.iac-06-e5.3.04.

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10

Wright, R. "The image in art and `computer art'." In SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73887.

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Звіти організацій з теми "Art":

1

Davis, Glenn. Dividing the Operational Art Pie: What are the Slices. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada234394.

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2

Hwang, Chanmi. Engineering Art Nouveau. Ames: Iowa State University, Digital Repository, September 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1124.

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3

Beard, Carol. Simply String Art. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1251.

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4

Trout, Barbara. Beyond Wearable Art. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-477.

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5

Sampson, Paula B. Art Deco Delight. Ames: Iowa State University, Digital Repository, February 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-598.

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6

Goetzmann, William, Luc Renneboog, and Christophe Spaenjers. Art and Money. Cambridge, MA: National Bureau of Economic Research, November 2009. http://dx.doi.org/10.3386/w15502.

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7

Shank, Milo L. Art or Science: Operational Logistics as Applied to Op Art. Fort Belvoir, VA: Defense Technical Information Center, February 2006. http://dx.doi.org/10.21236/ada463990.

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8

Forster, Patrick. "Art Feeling Grows" in Oregon : The Portland Art Association, 1892-1932. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.220.

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9

Himes, John M. Art of War Essay. Fort Belvoir, VA: Defense Technical Information Center, October 1989. http://dx.doi.org/10.21236/ada438287.

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10

Gawehns, Fritz A. Operational Art - Quo Vadis. Fort Belvoir, VA: Defense Technical Information Center, May 2000. http://dx.doi.org/10.21236/ada396063.

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