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Добірка наукової літератури з теми "Arts"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 12 жовтня 2024

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Статті в журналах з теми "Arts"

1

Mema, Briseida, Andrew Helmers, Kyung-Seo (Kay) Min, and Laura E. Navne. "Arts and ARDS." Chest 160, no. 4 (October 2021): 1568–71. http://dx.doi.org/10.1016/j.chest.2021.05.028.

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2

Mema, Briseida, Andrew Helmers, Kyung-Seo (Kay) Min, and Laura E. Navne. "Arts and ARDS." Chest 160, no. 4 (October 2021): 1568–71. http://dx.doi.org/10.1016/j.chest.2021.05.028.

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3

Lekha, Om. "Ards: John Mathews at Ards Arts Centre." Circa, no. 103 (2003): 70. http://dx.doi.org/10.2307/25563930.

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4

White, GEORGE C., and Louise L. Duncan. "The Arts for Art's Sake." Journal of Arts Management, Law, and Society 27, no. 2 (January 1997): 119–22. http://dx.doi.org/10.1080/10632929709601557.

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5

Matzke, Christine. "Comrades in Arts and Arms." Matatu 25, no. 1 (December 7, 2002): 21–54. http://dx.doi.org/10.1163/18757421-90000418.

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6

Terashima, Masaharu, Harumi Osago, Nobumasa Hara, Yoshinori Tanigawa, Makoto Shimoyama, and Mikako Tsuchiya. "Purification, characterization and molecular cloning of glycosylphosphatidylinositol-anchored arginine-specific ADP-ribosyltransferases from chicken." Biochemical Journal 389, no. 3 (July 26, 2005): 853–61. http://dx.doi.org/10.1042/bj20042019.

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Mono-ADP-ribosylation is a post-translational modification that regulates the functions of target proteins or peptides by attaching an ADP-ribose moiety. Here we report the purification, molecular cloning, characterization and tissue-specific distribution of novel arginine-specific Arts (ADP-ribosyltransferases) from chicken. Arts were detected in various chicken tissues as GPI (glycosylphosphatidylinositol)-anchored forms, and purified from the lung membrane fraction. By molecular cloning based on the partial amino acid sequence using 5′- and 3′-RACE (rapid amplification of cDNA ends), two full-length cDNAs of chicken GPI-anchored Arts, cgArt1 (chicken GPI-anchored Art1) and cgArt2, were obtained. The cDNA of cgArt1 encoded a novel polypeptide of 298 amino acids which shows a high degree of identity with cgArt2 (82.9%), Art6.1 (50.2%) and rabbit Art1 (42.1%). In contrast, the nucleotide sequence of cgArt2 was identical with that of Art7 cloned previously from chicken erythroblasts. cgArt1 and cgArt2 proteins expressed in DT40 cells were shown to be GPI-anchored Arts with a molecular mass of 45 kDa, and these Arts showed different enzymatic properties from the soluble chicken Art, Art6.1. RNase protection assays and real-time quantitative PCR revealed distinct expression patterns of the two Arts; cgArt1 was expressed predominantly in the lung, spleen and bone marrow, followed by the heart, kidney and muscle, while cgArt2 was expressed only in the heart and skeletal muscle. Thus GPI-anchored Arts encoded by the genes cgArt1 and cgArt2 are expressed extensively in chicken tissues. It may be worthwhile determining the functional roles of ADP-ribosylation in each tissue.

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7

GRAHNERT, Andreas, Maik FRIEDRICH, Martin PFISTER, Friedrich HAAG, Friedrich KOCH-NOLTE, and Sunna HAUSCHILDT. "Mono-ADP-ribosyltransferases in human monocytes: regulation by lipopolysaccharide." Biochemical Journal 362, no. 3 (March 8, 2002): 717–23. http://dx.doi.org/10.1042/bj3620717.

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ADP-ribosyltransferase activity was shown to be present on the surface of human monocytes. Incubating the cells in the presence of BSA leads to an increase in enzyme activity. The acceptor amino acid mainly responsible for the ADP-ribose bond was identified as a cysteine residue. An increase in ADP-ribosyltransferase activity was observed when cells were treated for 16h with bacterial lipopolysaccharide (LPS). Possible candidates for catalysing the reaction are mono-ADP-ribosyltransferases (ARTs). When measuring expression of the mRNA of ART1, 3, 4 and 5, only ART3 mRNA was detected in unstimulated monocytes. Upon stimulation for 16h with LPS, lipoteichoic acid or peptidoglycan, ART4 mRNA was found to be expressed. No ART4 signal appeared after a 4h exposure of the cells to LPS. Cell-surface proteins were labelled when incubating monocytes with [32P]NAD+. Their molecular masses were 29, 33, 43, 45, 60 and 82kDa. In response to LPS an additional protein of 31kDa was found to be labelled. The bound label was resistant to treatment with NH2OH but sensitive to HgCl2, characteristic of a cysteine-linked ADP-ribosylation.

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8

Tatiana da Costa Martins, Rogéria de Ipanema /. "ARTES E POLÍTICA / Arts and Politics." arte e ensaios 26, no. 39 (August 15, 2020): 1–9. http://dx.doi.org/10.37235/ae.n39.1.

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9

Ohlrogge, Wiebke, Friedrich Haag, Jürgen Löhler, Michel Seman, Dan R. Littman, Nigel Killeen, and Friedrich Koch-Nolte. "Generation and Characterization of Ecto-ADP-Ribosyltransferase ART2.1/ART2.2-Deficient Mice." Molecular and Cellular Biology 22, no. 21 (November 1, 2002): 7535–42. http://dx.doi.org/10.1128/mcb.22.21.7535-7542.2002.

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ABSTRACT This is the first study reporting the inactivation of a member of the mouse gene family of toxin-related ecto-ADP-ribosyltransferases (ARTs). Transfer of the ADP-ribose moiety from NAD onto extracellular arginine residues on T-cell membrane proteins is mediated by glycosylphosphatidylinositol-linked cell surface ARTs. Exposure of T cells to ecto-NAD blocks T-cell activation and induces T-cell apoptosis. To determine a possible role of ecto-ART2.1 and ART2.2 in these processes, we generated ART2.1/ART2.2 double-knockout mice. ART2-deficient mice were healthy and fertile and showed normal development of lymphoid organs. ART2-deficient T cells showed a dramatically reduced capacity to ADP-ribosylate cell surface proteins, indicating that most if not all ART activity on the T-cell surface can be attributed to the ART2s. Moreover, ART2-deficient T cells were completely resistant to NAD-induced apoptosis and partially resistant to NAD-mediated suppression of proliferation. These results demonstrate that the ART2 ectoenzymes are an essential component in the regulation of T-cell functions by extracellular NAD, e.g., following release of NAD upon lysis of cells in tissue injury and inflammation.

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10

De Luise, Alexandra. "Le Arti and Intervention in the Arts." RACAR : Revue d'art canadienne 19, no. 1-2 (1992): 123. http://dx.doi.org/10.7202/1072857ar.

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Дисертації з теми "Arts"

1

Chambers, Cynthia R. "POP Arts: Inclusive Performance Arts Programming." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3868.

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Chambers, Cynthia R., and T. Takenaka. "POP Arts: An Inclusive Performance Arts Program." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3875.

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Chambers, Cynthia R., and K. Buttolph. "POP Arts: An Inclusive Performance Arts Experience." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3877.

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4

Giroud, Jeanette. "Secondary arts teachers' perceptions of integrated arts." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/1726.

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During the 1980s, research in the arts by Project Zero and Arts Propel revealed that in American schooling the areas of artistic intelligence and artistic education had been neglected. Gardner (1989) proposed a theory of multiple intelligences, suggesting that in addition to the linguistic and logical-mathematical forms, there are a number of distinct forms of intelligence that each individual may possess in varying degrees. The concept of multiple intelligences as opposed to "talent" in an art form offers the opportunity to view arts education in a new light. The original purpose of Arts Propel was to assess artistic potential in the same way that IQ or SAT instruments are designed to test scholastic potential. What began as an assessment endeavour, became a curricular undertaking and as a result, a number of educational institutions developed integrated arts approaches to arts learning, claiming that where the arts were integrated within the curriculum, higher achievement was recorded. The National Curriculum's statement on The Arts for Australian Schools (1993) included the five arts forms of dance, drama, media, music and visual arts as "Arts" components and justified this stance by clearly stating that the common statements and profiles accommodated a wide range of approaches. However, the strands of arts experience and learning - Creating, Making and Presenting, Arts Criticism and Aesthetics, and Past and Present Contexts - have the potential to provide a common framework for integration of the various forms. During the course of this research the strands have already been subject to change and are now known as Expressing, Responding and Reflecting. During the trialling phase of The Arts' Student Outcome Statements, divisions between the arts forms became apparent. Some of the issues included: attempts by arts teachers to maintain the status quo, strong boundaries between the arts, unequal representation of arts forms in schools and application of Student Outcome Statements Strands to all the arts forms. At the commencement of this research the divisions between the arts forms remained as strong as ever, yet a truly integrative approach has the potential to strengthen the place of arts in schools. This research documented ten secondary arts teachers' perceptions of integrated arts. The teachers all taught in government schools and each art form was represented by two teachers. The purpose of the research was to record arts teachers' perceptions of integrated arts at a time of rapid curriculum change. Qualitative methodology using the instrument of semi-structured scheduled interviews was the data gathering process. The interviews were audio-taped and once the data was compiled it was sent to the participants for their approval. This study found that arts teachers' perceptions of integrated arts were, on the whole, positive. Most teachers believed that an integrated arts approach would give students a deeper understanding of the arts and promote bonding between arts teachers. Teachers felt that the combination of the five arts forms into one learning area (The Arts), provided long overdue recognition of the arts as a significant learning area. Other perceived benefits included the building of strength and support, and the overcoming of isolation that characterised the arts in schools in the past. It is recommended, as a result of this study, that where possible, the physical location of the arts departments in schools should be considered during the planning stage so that arts areas are not isolated. It is also recommended that media and dance should adopt the changes, so that The Arts area of learning will not be fragmented. This can be achieved through document support which will show dance and media teachers how they can work effectively within an Arts framework. Integrated Arts programs, such as those offered by some of the schools in this study, will provide strong guidelines for future arts consolidation and enrichment in schools.

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5

Fagot, Sylvain. "Ethno-sociologie du cirque : arts de la piste, arts du corps, arts du risque." Nantes, 2003. http://www.theses.fr/2003NANT3030.

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Le cirque est un art qui a pour propriété d'être continuellement en transformation, en même temps qu'il reste la figure de l'éternel recommencement. L'émergence de nouvelle forme esthétique dans la piste, depuis les années soixante, traduit parfaitement cette flexibilité stylistique d'une production artistique très disciplinée. Une histoire sociale du cirque permet donc d'appréhender, à partir d'une problématique historique de l'évolution de cet art populaire ainsi qu'à travers une étude comparative des formes de sa représentation, les différentes dispositions et variations du spectacle selon les stratégies sociales et économiques engagées. Dans toutes ces configurations, le cirque exhorte les artistes à la réalisation de prouesses dans l'exacerbation du dépassement physique et du corps à corps avec le risque. Le cirque est construit autour de l'exhibition du danger, qu'il centralise et canalise sur la piste dans une cérémonie sacrificielle, où le hasard est dompté et refoulé aux limites de l'incertitude. Les arts du cirque sont le catalyseur d'une mise en piste de postures et de disciplines aussi riches en équilibre qu'en déséquilibre. Spectacle d'une " métaphysique du silence ", le cirque célèbre l'animalité première des fauves aussi bien que le vol suspendu des trapézistes, dans une architecture hautement symbolique : le cercle
The circus is an art in constant transformation. It is the symbol of new beginnings. The emergence of a new art form, les arts de la piste, since the 1960s, illustrates perfectly the stylistic flexibility of a highly disciplined form of artistic expression. This paper presents a sociological history of the circus, including the historical evolution of this popular art form and a comparative study of the different forms of representation, to provide an understanding of the different types and variations of circus performances according to the social and economic strategies involved. In all of its forms, the circus pushes the artist to perform exploits, challenging physical limits and flirting with danger. The circus is built around the exhibition of risk taking and danger, a sentiment that is concentrated and channeled into the circus ring in a sacrificial ceremony that dominates danger and pushes back the limits of uncertainty. Circus arts are the catalyst behind the staging of disciplines that are as rich in their sense of equilibrium as imbalance. A spectacle that hinges on the metaphysics of silence, the circus celebrates the primal animalism of wild beasts as well as the suspended flight of trapeze artists, all within the highly symbolic architecture of the circus ring : the circle

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6

Skinner, Patrick J. "ARTS UPDATE." International Foundation for Telemetering, 1986. http://hdl.handle.net/10150/615575.

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International Telemetering Conference Proceedings / October 13-16, 1986 / Riviera Hotel, Las Vegas, Nevada
Modernizing labor intensive Remote Tracking Stations (RTS), increasing individual station capacity, and providing interoperable links between three separate Air Force satellite networks are the objectives of the Automated RTS (ARTS) program now half way to completion.

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7

Buttolph, K., and Cynthia R. Chambers. "Power of Performance Arts: An Inclusive Performance Arts Program." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3871.

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8

Chambers, Cynthia R. "The Power of Performing Arts—inclusion in the Arts." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3873.

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Barbosa, Marli Gonçalves. "A construção do desenho a partir do espaço religioso." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283994.

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Orientador: Lygia Arcuri Eluf
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T18:23:00Z (GMT). No. of bitstreams: 1 Barbosa_MarliGoncalves_M.pdf: 118793232 bytes, checksum: 88f03908dc399391633fa0683694031d (MD5) Previous issue date: 2006
Resumo: Este Projeto de Mestrado, sob a orientação da Professora Doutora Lygia Arcuri Eluf, originou-se a partir de uma série de desenhos que vem sendo desenvolvidos desde 1998, dos quais selecionamos parte deles para a apresentação deste trabalho. O trabalho foi estruturado em grupos de imagens que tratam o desenho como uma forma de aproximação do outro e de mim mesma, do meu modo de estar no mundo. O que se pretende nesta dissertação é, por meio da linguagem visual e dos procedimentos técnicos do desenho, valorizar o fazer criativo: a intenção, o ato de criar, transformar e realizar algo.
Abstract: This Master's Project under the guidance of Professor Lygia Eluf Arcuri, originated from a series of drawings that have been developed since 1998. Some of them were selected for the presentation of this work. The work was divided into groups of images that deal with the drawing as a way to approach the other and myself, to my way of being in the world. The aim of this work is, through the visual language and technical processes of drawing, value the creative making: the intention, the act of creating, transforming and accomplishing something.
Mestrado
Artes Visuais
Mestre em Artes

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Buttolph, K., Cynthia R. Chambers, J. Gaines, and T. Wynn. "Power of Performing Arts (POP Arts): An Inclusive Performing Arts Program for Individuals with and without Disabilities." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3876.

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Книги з теми "Arts"

1

Hôtel Drouot. Arts primitifs, arts d'Asie. Paris: Cornette de Saint Cyr, 2003.

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2

(Auctioneers), CalmelsCohen. Arts primitifs, arts précolombiens. Paris: CalmelsCohen, 2005.

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3

Hôtel Drouot. Arts primitifs & arts d'Asie. Paris: Hôtel Drouot, 2003.

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4

Hôtel Drouot. Arts primitifs, arts d'Asie. Paris: Cornette de Saint Cyr, 2004.

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5

Hôtel Drouot. Arts primitifs, arts d'Asie. Paris: Cornette de Saint Cyr, 2002.

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6

Portugal) Xmedia Arts (2016 Évora. Cross media arts: Artes sociais e transdisciplinaridade = social arts and transdisciplinarity. Edited by Pinto António Gorgel editor, Pinto Paula Reaes editor, and Furtado Teresa Veiga editor. Casal de Cambra, Portugal: Caleidoscópio, 2018.

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7

Dodd, Kate. Performing arts and arts administration. Manchester: Careers Services Trust, 1994.

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Curriculum Committee for Arts Education., Ireland. Department of Education and Science., and National Council for Curriculum and Assessment., eds. Visual arts: Arts education : curriculum. Dublin: Stationery Office, 1999.

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9

Dodd, Kate. Performing arts and arts administration. Manchester: CSU Ltd, 1996.

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10

Pollock, Marion. Performing arts and arts administration. Manchester: CSU Ltd. for Association of Graduate Careers Advisory Services, 2001.

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Частини книг з теми "Arts"

1

Galloway, Charlotte. "Arts." In Routledge Handbook of Contemporary Myanmar, 136–45. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315743677-14.

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2

Cristofori, Marilyn. "Arts." In The Value of Hawaii, edited by Craig Howes and Jonathan K. K. Osorio, 149–56. Honolulu: University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824860417-021.

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3

Martin, Marcienne. "Arts." In Encyclopedia of Big Data, 48–51. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-32010-6_13.

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Martin, Marcienne. "Arts." In Encyclopedia of Big Data, 1–4. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-32001-4_13-1.

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Carayannis, Elias G., Gerald Bast, and David F. J. Campbell. "Arts, Research, Innovation, and Society: ARIS." In Encyclopedia of Creativity, Invention, Innovation and Entrepreneurship, 188–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-15347-6_200024.

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Carayannis, Elias G., Gerald Bast, and David F. J. Campbell. "Arts, Research, Innovation, and Society: ARIS." In Encyclopedia of Creativity, Invention, Innovation and Entrepreneurship, 1–5. New York, NY: Springer New York, 2017. http://dx.doi.org/10.1007/978-1-4614-6616-1_200024-1.

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Jones, Phil. "The arts in the arts therapies." In The Arts Therapies, 120–57. 2nd edition. | Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315536989-15.

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Caust, Josephine. "Artforms, Arts Organizations and Arts Leadership." In Arts Leadership in Contemporary Contexts, 61–88. Names: Caust, Jo, author.Title: Arts leadership in contemporary contexts / Josephine Caust.Description: New York : Routledge, 2017. | Series: Routledge advances in art and visual studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315559599-4.

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Baumol, William J. "Performing Arts." In The World of Economics, 544–48. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21315-3_72.

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Nelson, Vicki, and Robert Masocol. "Martial Arts." In Sports-related Fractures, Dislocations and Trauma, 895–99. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36790-9_62.

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Тези доповідей конференцій з теми "Arts"

1

"Arts." In The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-32.

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Wang, Mingzhong, Amy Unruh, and Kotagiri Ramamohanarao. "ARTS." In the 6th international joint conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1329125.1329222.

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Plewe, Daniela Alina. "Transactional arts." In Proceeding of the 16th ACM international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1459359.1459537.

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Herath, Damith, Jennifer McFarlane, Elizabeth Ann Jochum, Janie Busby Grant, and Patrick Tresset. "Arts + Health." In HRI '20: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3371382.3380733.

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Shamma, David A., Sara Owsley, Kristian J. Hammond, Shannon Bradshaw, and Jay Budzik. "Network arts." In the 13th international World Wide Web conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1013367.1013375.

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Edmonds, Ernest, Steve Benford, Zafer Bilda, Jill Fantauzzacoffin, Roger Malina, and Hughes Vinet. "Digital arts." In CHI '13 Extended Abstracts on Human Factors in Computing Systems. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2468797.

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Demarbaix (Paris 8), Margot. "Présentation et ouverture de la journée « Arts poétiques et arts d’aimer »." In Arts poétiques et arts d’aimer. Fabula, 2008. http://dx.doi.org/10.58282/colloques.1061.

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Chacón, José Luis. "El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.810.

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Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts. Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810

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Mercuri, Rebecca, and Ranjit Bhatnagar. "Virtual arts therapies." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259291.

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"Arts and Astronautics." In 55th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2004. http://dx.doi.org/10.2514/6.iac-04-w.p.01.

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Звіти організацій з теми "Arts"

1

Zakaras, Laura, and Julia F. Lowell. Increasing Arts Demand Through Better Arts Learning. RAND Corporation, September 2008. http://dx.doi.org/10.59656/a-ad6204.002.

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A Wallace research summary discusses two studies looking at arts education, one focusing on boosting interest in the arts by improving arts learning, and another on efforts by some cities to step up arts education.

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2

Walker, Chris. Arts and Non-arts Partnerships: Opportunities, Challenges, and Strategies. Urban Institute, August 2004. http://dx.doi.org/10.59656/a-g9745.001.

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3

Petrie, Christopher, and Katija Aladin. Spotlight: Visual Arts. HundrED, December 2020. http://dx.doi.org/10.58261/azgu5536.

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HundrED and Supercell believe that fostering Visual Art skills can be just as important as numeracy and literacy. Furthermore, we also believe that Visual Arts can be integrated into all learning in schools and developed in a diversity of ways. To this end, the purpose of this project is to shine a spotlight, and make globally visible, leading education innovations from around the world doing exceptional work on developing the skill of Visual Arts for all students, teachers, and leaders in schools today.

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4

Davies, Christina, and Melanie Pescud. Arts and health promotion. The Sax Institute, March 2020. http://dx.doi.org/10.57022/rdac1868.

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A National Arts and Health Framework was endorsed by all Australian states and territories in 2014; acknowledging the role of the arts in contributing to health and wellbeing. This review, commissioned by VicHealth, aimed to identify: effective approaches for improving arts participation (especially in priority groups); programs or activities using the arts which have been effective in increasing awareness, knowledge, attitudes and behaviours in five priority areas; and which of these approaches, programs or activities may be implemented by local councils. The findings will be used to inform future strategic planning and investment for the VicHealth Arts Strategy 2019-2023.

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5

Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.

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Shope, Virginia C. Communicative Arts. A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 2001. http://dx.doi.org/10.21236/ada395159.

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ARMY WAR COLL LIBRARY CARLISLE BARRACKSPA. Communicative Arts. A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 2002. http://dx.doi.org/10.21236/ada406030.

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Shope, Virginia C. Communicative Arts. A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 1994. http://dx.doi.org/10.21236/ada281709.

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Shope, Virginia C. Communicative Arts: A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 2003. http://dx.doi.org/10.21236/ada415667.

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Shope, Virginia C. Communicative Arts: A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, June 1995. http://dx.doi.org/10.21236/ada296504.

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