Готові списки джерел за темами / Royal Academy of Arts

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Добірка наукової літератури з теми "Royal Academy of Arts"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 5 березня 2023

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Статті в журналах з теми "Royal Academy of Arts"

1

Lau, George F. "Aztecs. Royal Academy of Arts, London." American Anthropologist 105, no. 3 (September 2003): 623–27. http://dx.doi.org/10.1525/aa.2003.105.3.623.

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2

Baudez, Basile. "La Royal Academy of Arts au XVIIIe siècle, une académie royale ?" Livraisons d'histoire de l'architecture 10, no. 1 (2005): 123–36. http://dx.doi.org/10.3406/lha.2005.1020.

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3

Thomas, Nicholas, Adrian Locke, Noelle M. K. Y. Kahanu, and Simon Jean. "Reviewing Oceania." Museum Worlds 7, no. 1 (July 1, 2019): 262–91. http://dx.doi.org/10.3167/armw.2019.070116.

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Curating Oceania at the Royal Academy of Arts by Nicholas ThomasAn Internal Response to Oceania from the Royal Academy of Arts by Adrian Locke“Exhibiting Oceania”: Conversing with the Curators (or Truth-Telling in Real Time) by Noelle M. K. Y. KahanuOcéanie in Paris by Simon JeanOceania Catalogue by Lagi-Maama
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4

Pascual, Ramon. "Royal Academy of Sciences and Arts of Barcelona." Europhysics News 44, no. 3 (May 2013): 27–29. http://dx.doi.org/10.1051/epn/2013305.

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5

Quinn, Malcolm. "The disambiguation of the Royal Academy of Arts." History of European Ideas 37, no. 1 (March 2011): 53–62. http://dx.doi.org/10.1016/j.histeuroideas.2010.10.002.

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6

Pomeroy, Mark. "The Archives of the Royal Academy of Arts, London." Art Libraries Journal 30, no. 1 (2005): 5–9. http://dx.doi.org/10.1017/s030747220001378x.

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The Academy is one of Britain’s foremost cultural institutions. It is a unique survival of the age of enlightenment, continuing to fulfil the purposes for which it was founded. The Academy is run by artists for the benefit of artists, while providing an elegant venue for ‘the promotion of the arts of design’. The Library of the Royal Academy of Arts is well known, as it is the oldest fine art library in the United Kingdom. The Archives has always lain in comparative shadow, even though it is close to the heart of the institution. This article attempts to place the Archives in context, to describe how the institution has regarded it over time and how it is now being revealed to a wide public.
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7

Labica, Thierry. "La Royal Academy of Arts ou le compromis patricien." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 63, no. 1 (2006): 171–88. http://dx.doi.org/10.3406/xvii.2006.2327.

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8

Sands, Mick, Marion Tasker, Tamsin Dives, Gini Lawson, Andy Ridley, Gerry Prince, and Giorgos Tsiris. "ST.CHRISTOPHERS GROUP PARTNERSHIP WITH THE ROYAL ACADEMY OF ARTS." BMJ Supportive & Palliative Care 4, Suppl 1 (March 2014): A55.2—A55. http://dx.doi.org/10.1136/bmjspcare-2014-000654.157.

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9

Picton, John. "africa95 and the Royal Academy." African Arts 29, no. 3 (1996): 22. http://dx.doi.org/10.2307/3337340.

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10

Baudino, Isabelle. "La Royal Academy of Arts n'est pas née en 1768." Études anglaises 56, no. 4 (2003): 412. http://dx.doi.org/10.3917/etan.564.0412.

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Дисертації з теми "Royal Academy of Arts"

1

Veasey, Melanie. "'Reforming academicians' : sculptors of the Royal Academy of Arts, c. 1948-1959." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34791.

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Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.
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2

Hoock, Holger. "The king's artists : the Royal Academy of Arts as a 'national institution', c1768-1820." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365672.

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3

Shirota, Sère Yoshino. "Royal Academy of Arts de Londres, sa position, son rôle dans l'histoire de l'art, depuis sa création jusqu'à nos jours." Paris 4, 2003. http://www.theses.fr/2002PA040263.

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Ce travail décrit le Royal Academy de son régime, à ses locaux divers et variés, son école, ses expositions annuelles, ses problèmes et réussites. Fondée en 1768, la Royal Academy fut créée par la volonté de quelques artistes conscients du manque de patronage et de lieu de formation. Ayant le roi George III comme patron et protecteur, sans toutefois être le propriétaire, l'institution était privée et gérée uniquement par les artistes. Joshua Reynolds fut le premier président. L'exposition annuelle d'œuvres d'artistes vivants, l'équivalent du Salon était un événement important dans le monde artistique du pays représentant pour beaucoup d'artistes la chance de réussite. L'école de la Royale Academy, installée à Burlington House depuis 1868, continue d'être indépendante, prestigieuse, et très active
The work describes the royal Academy of Arts , its origin, its various homes, the school it founded in 1768, the Annual Exhibitions, its problems and achievements. Founded in 1768, the Royal Academy of Arts in London was created by some artists, determined and conscious of patronage and of the training place within the country. The king George III was patron and protector, though not proprietor, and Sir Joshua Reynolds was the first president. It has been located in Burlington House since 1868. The Annual Exhibition by works of living artists, the equivalent of Paris Salon was an important event for the artistic world of the nation. It meant, for many artists, the hope for the fame. The schools of the Academy trained many leading artists such as Turner, Lawrence, Constable and Wilkie. Today, the Royal Academy remains independent, prestigious, and a popular venue for prominent exhibitions
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4

Soden, Joanna. "Tradition, evolution, opportunism the role of the Royal Scottish Academy in art education, 1826-1910 /." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2006. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59750.

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5

Foot, Michelle Elizabeth. "Modern spiritualism and Scottish art between 1860 and 1940." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230582.

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This thesis is formed from original research into the cultural impact of Modern Spiritualism in Scotland during the late nineteenth and early twentieth century. Until the twenty first century academic scholarship has failed to recognise the historic importance of the Spiritualist movement's widespread popularity and the influence it had on art during this period. The findings of this research provide a new understanding and greater appreciation of art from this time. As academic investigation into Spiritualism's historic significance is largely absent, this study focuses on primary sources from an extensive range of Spiritualist literature, including Spiritualist magazines and newspapers. The number of cited artworks, which were discovered and analysed during this research, support the notion that investigation into Spiritualism's influence during this period is necessary. This thesis is divided into two parts: Part One focuses on artworks by Spiritualists intended for Spiritualist audiences. Chapter 1 outlines a history of the Spiritualist movement in Scotland for the first time in order to establish a context for discussion in the following chapters. Chapters 2, 3 and 4 highlight unknown artworks by Spiritualists, such as Jane Stewart Smith and David Duguid, and analyse how those artists responded to private and public Spiritualism in Scotland. Part Two reveals new interpretations of mainstream Scottish art but which art historians have not previously acknowledged as having Spiritualist associations. In Chapter 5, case studies of members of the Royal Scottish Academy demonstrate that Spiritualism did influence mainstream Scottish artists, such as Alfred Edward Borthwick and George Henry Paulin. Chapter 6 reconsiders the Celtic Revival in Scotland, specifically by re-evaluating current interpretations of John Duncan's work with reference to Duncan's Spiritualism. The final chapter examines war memorials in Scotland as a response to mass social bereavement and Spiritualism's increased popularity during and after the First World War.
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6

Morris, Cathryn. "Miracles or myth : the royal Raymond Rife story." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/236.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Film
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7

Darlington, Anne Carol. "The Royal Academy of Arts and its anatomical teachings : with an examination of art-anatomy practices during the eighteenth and early nineteenth centuries in Britain." Thesis, UCL Institute of Education (IOE), 1990. http://discovery.ucl.ac.uk/10006566/.

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The thesis investigates the artistic and anatomical practices taking place between circa 1768 and 1810, primarily in the context of the Royal Academy of Arts. In focusing on the educational components of anatomical knowledge, the dissertation examines the style, methodology and the various types of private and public teaching available to artists and medical students during this period. In Chapter One, I examine the social, professional and demographic factors uniting artists and medical men. The social and professional divide that at one time kept such professions apart, was now being filled by informal gatherings. Neither artists nor anatomists however, were solely reliant on venues like the Royal Academy of Arts and private anatomy theatres. Such meetings often began in and around London's social milieu: the coffee-house culture. In Chapter Two, I go on to look at the curriculum used in the Royal Academy Schools. An artist pursuing studies in the human figure would attend life classes, anatomy lectures, dissections, and teachings on physiognomy. The Academy Schools were not immune to the medical and scientific influences of the eighteenth and early nineteenth centuries; the theories and practices of medical men infiltrated artistic training. Consequently, a number of private anatomy schools in the metropolis were open to both medical and art students. Other private drawing and dissecting classes had their own anatomical museums attached, providing art students with the opportunity of painting from pathological specimens. In Chapters Three and Four, I proceed to explore the part played by William Hunter, an obstetrician, anatomist and the first professor of anatomy at the Royal Academy of Arts. Hunter and Joshua Reynolds were in agreement concerning anatomical instruction for artists. It was an education consisting of a thorough knowledge of the human body, and the ability to translate such anatomical information on to a canvas. Discussed here also is Hunter's large obstetrical atlas, and the life-size painted panels of Gautier D'Agoty. I then proceed in Chapter Five, to examine the Plaister Academy. I examine its students, the curriculum and its teachers. While at the Royal Academy, William Hunter had access to the Plaister Academy and, as I suggest, it is here that he made his three-dimensional plaster of paris models of female anatomies. As a whole, it is the aim of this dissertation to have thoroughly explored the links between artists and anatomists in England between 1768 and 1810, and to have documented the rise and nature of art education in this period.
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8

Lidman, Charlotte. "Konstes fria studie : En undersökning av förändringarna i avgångselevernas examensutställningar vid Kungliga Konsthögskolan 1962-2011." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-276865.

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The aim of the essay is to examine how the student exhibitions of the Royal University college of Fine Arts in Stockholm has changed between 1962-2011, and what these changes can depend on. The questions are: What are the changes in the choice of examination work for the students of the Royal University college of Fine Arts, and what can they depend on? Is the school adjusting their education to the surrounding art world, and in what way is that noticeable? By studying the catalogs from the exhibitions, newspaper reviews and other literature, a shorter conclusion is given concerning the art world, the study situation and the student’s choices of examination works the affected years. The works has gone from being a submission of the study fields during the year, to becoming free projects where stories about important subjects are told. Pressures on the school from students and teachers to be able to keep up with the surrounding view of art in the society that is constantly changing, together with reforms and investigation has led to these changes.
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9

James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
Doctor of Philosophy (PhD)
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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
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Книги з теми "Royal Academy of Arts"

1

Arts, Royal Academy of. Royal Academy of Arts. London: Royal Academy of Arts, 1988.

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2

Geraldine, Walsh, Boucher Katherine, and Martello Arts Review, eds. Royal Hibernian Academy of Arts. Dublin: Martello Arts Review, 1991.

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3

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. London: Royal Academy of Arts, 1998.

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4

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. London: The Academy, 1987.

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5

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. London: Royal Academy of Arts, 1995.

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6

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. London: Royal Academy of Arts, 1991.

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7

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. London: Royal Academy of Arts, 1989.

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8

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. [London: Royal Academy of Arts, 1986.

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9

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. London: Royal Academy of Arts, 1997.

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10

Arts, Royal Academy of. Royal Academy of Arts summer exhibition. London: Royal Academy of Arts, 1993.

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Частини книг з теми "Royal Academy of Arts"

1

Dörrbecker, D. W. "Innovative Reproduction: Painters and Engravers at the Royal Academy of Arts." In Historicizing Blake, 125–46. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23477-6_8.

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2

KAMIDE, MAYU. "The Royal Academy of Arts and Japan:." In Britain & Japan: Biographical Portraits, Vol. X, 718–30. Renaissance Books, 2016. http://dx.doi.org/10.2307/j.ctt1s17p06.68.

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3

"The Royal Academy:." In A Little History of Art, 169–76. Yale University Press, 2022. http://dx.doi.org/10.2307/j.ctv2g591d1.25.

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4

Ibata, Hélène. "Introduction." In The challenge of the sublime. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117397.003.0001.

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In the decades that followed the creation of the Royal Academy of Arts in 1768, the sister arts tradition appeared to be as alive as it had been at the beginning of the century. The literary aspirations of British visual artists were nurtured by academic precepts which claimed that by rivalling and adapting the best poetic work, painters would assert their art’s intellectual value and prove that it was a ‘liberal’ occupation, rather than a ‘mechanical’ trade. While the Royal Academy promoted ‘history painting’ and the emulation of epic poetry as the best demonstration of the mental skills employed in painting, a new generation of visual artists sought inspiration in the most exalting and tumultuous productions of the British literary genius, and found in Shakespeare, Milton or Macpherson’s ...
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"23 The Royal Academy: Home and Away." In A Little History of Art, 169–76. Yale University Press, 2022. http://dx.doi.org/10.12987/9780300265538-023.

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"Commission of Inquiry into the Royal Academy: 1863." In The Essence of Art, edited by Craig Harrison, 52–58. Routledge, 2019. http://dx.doi.org/10.4324/9780429439834-5.

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7

de Wied, D. "Preface by the President of the Royal Netherlands Academy of Arts and Sciences." In Physics in the Making, v—vi. Elsevier, 1989. http://dx.doi.org/10.1016/b978-0-444-88019-2.50004-0.

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de Wied, D. "Preface by the President of the Royal Netherlands Academy of Arts and Sciences." In Physics in the Making, v—vi. Elsevier, 1989. http://dx.doi.org/10.1016/b978-0-444-88121-2.50004-x.

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9

McCormack, Helen. "Pursuing the imitation of nature in and beyond the Royal Academy of Arts." In William Hunter and his Eighteenth-Century Cultural Worlds, 138–70. Routledge, 2017. http://dx.doi.org/10.4324/9781315547145-6.

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10

Quin, Jack. "An Art School Education." In W. B. Yeats and the Language of Sculpture, 17–52. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843159.003.0002.

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Abstract The first chapter constructs an unfamiliar portrait of Yeats—the famous autodidact—as a fledgling poet who was educated at art school in Dublin. The opening section documents Yeats’s art school years at the Dublin Metropolitan School of Art and later the Royal Hibernian Academy. It outlines how Yeats’s art school training in the mid-1880s put him in contact with John Hughes and Oliver Sheppard who would become the foremost Irish sculptors of the early twentieth century. By tracing his time at art school, the chapter recovers Yeats’s earliest exposure to the visual arts; sketching from casts of classical statues, and comparing antique and modern artworks. Subsequent sections compare Yeats’s earliest poems, The Island of Statues, ekphrastic verses, and verse fragments, with his later recollections of the Metropolitan School of Art and Royal Hibernian Academy in Reveries over Childhood and Youth, a 1906 committee deposition, and his draft Memoirs, arguing that a poetics of sculpture offered Yeats a creative escape from the dry, academic neoclassicism of his art schooling. The art writing of Yeats and George Russell (Æ)—another art school student—in the Daily Express promoted the sculpture of Sheppard and Hughes in the 1890s to early 1900s. The later sections propose a reciprocal relationship between Irish sculpture and poetry of the Revival, tracing Yeats and Russell’s reinterpretation of Matthew Arnold and his critique of the Celtic plastic arts, and closing with an examination of Sheppard’s unpublished essay on public sculpture in Ireland.
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Тези доповідей конференцій з теми "Royal Academy of Arts"

1

Grunina, Yulia. "THE EMPLOYMENT OF THE ROYAL SPANISH ACADEMY REFERENCE POINTS IN TEACHING RUSSIAN STUDENTS." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/2.1/s10.042.

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Welling, Helen G. "Aspects of Preservation of Architecture of the Early Modern Movement." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.72.

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The following paper contains some of the main points of discussion in a research project about the preservation of architecture of the Modem Movement in preparation at the Royal Academy of Fine Arts, School of Architecture, Copenhagen. It discusses the relativity of historical values within the early Modem Movement. Various aspects on the case of preservation of architecture of the Modem Movement are explained. Different examples of restoration, reconstruction and new interventions are analysed and ordered in a series of methods. The conclusion is that the architecture of this epoch needs a new attitude especially towards the question of authenticity.
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3

Pullen, K. R., A. W. Court, and C. B. Besant. "The Advanced Turbogenerator Project — A Total Technology Education Experience for Engineering Undergraduate Students." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-023.

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The preparation of engineering students for industrial careers after graduating is a vital part of the education process at university. It is the responsibility of the university to teach sound foundations of engineering science but this on its own is not sufficient preparation. The subject of design has been identified as a valuable means by which engineering science can be applied at advanced levels but at the same time teach students skills which are necessary for successful careers in industry. Three years ago, five senior engineers from UK industry were appointed as Visiting Professors in Engineering Design with the support of the Royal Academy of Engineering. In was decided after discussions with academics at the college to undertake a project entitled the Advanced Turbogenerator project (ATG). The project was to be conducted by a large team of undergraduates with the aim of producing a design and finally an actual small gas turbine of 50 kW output. Applications for the small gas turbine include the highly topical hybrid vehicle propulsion powertrain and compact low emissions generator sets. The paper describes the progress made in the project in two years which has involved over 30 final year engineering students in the Mechanical, Electrical, Aeronautical and Materials Science Departments. The students have found the project very challenging but have experienced an unusually high level of motivation and commitment to the work. They have been provided with state of the art software and have demonstrated that realistic designs can be produced with the guidance of experienced gas turbine engineers. The project has been reviewed by the Royal Academy of Engineering and the Institution of Mechanical Engineers and both have expressed the highest support for the programme. It is intended to continue the project next year with the intention of turning the design into prototype hardware.
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4

Dare, Eleanor, and Libby Heaney. "Royal College of Art." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.77.

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5

Yan, Junxia. "Research on Henan Academy Landscape Design Symbol. Take Songyang Academy as an Example." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.142.

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Pangayan, Victor. "Major Selection Tendency among Creative Arts Students, Academy of Arts and Creative Technology, UMS." In International Academic Symposium of Social Science. Basel Switzerland: MDPI, 2022. http://dx.doi.org/10.3390/proceedings2022082026.

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Cheng, Hai, and Yi Gong. "On Change of Architectural Culture of Xuetang Academy." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.37.

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Wei, Yinxia. "Operation Mechanism Research of Outstanding Engineer Industry Academy Cooperation." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.282.

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Jung, Dieter, and Andrew T. Pepper. "Creative holography: developments in the Academy of Media Arts Cologne, Germany." In LkForest 91, edited by Tung H. Jeong. SPIE, 1992. http://dx.doi.org/10.1117/12.57818.

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Mason, Catherine. "THE FORETIETH ANNIVERSARY OF EVENT ONE AT THE ROYAL COLLEGE OF ART." In Electronic Visualisation and the Arts (EVA 2009). BCS Learning & Development, 2009. http://dx.doi.org/10.14236/ewic/eva2009.15.

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Звіти організацій з теми "Royal Academy of Arts"

1

Kangro, Kirke, Oliver Laas, and Madis Luik. PhD Vitamin at the Estonian Academy of Arts. Jar-online.net, July 2020. http://dx.doi.org/10.22501/jarnet.0032.

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2

Khan, B. Zorina. Prestige and Profit: The Royal Society of Arts and Incentives for Innovation, 1750-1850. Cambridge, MA: National Bureau of Economic Research, January 2017. http://dx.doi.org/10.3386/w23042.

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3

Birnbaum, David J., Ralph Cleminson, Sebastian Kempgen, and Kiril Ribarov. White Paper on Character Set Standardization for Early Cyrillic Writing after Unicode 5.1. Otto-Friedrich-Universität, 2021. http://dx.doi.org/10.20378/irb-49898.

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The White Paper on Character Set Standardization for Early Cyrillic Writing after Unicode 5.1 emerged from discussions among the authors at the "Slovo" conference in Sofia in 2008. It is partially a response to documents published by the Serbian Academy of Arts and Sciences. It has been written for the benefit of medieval Slavic philologists.
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4

Medical Emergencies in Eating Disorders - what you need to know. ACAMH, November 2022. http://dx.doi.org/10.13056/acamh.21546.

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This webinar looked at 'Medical Emergencies in Eating Disorders (MEED)' the new guidance, produced by the Royal College of Psychiatrists and endorsed by the Academy of Medical Royal Colleges, with perspectives from clinicians, paediatricians, dieticians, parents/carers, and lived experience. It was organised by the London and South East ACAMH Branch.
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The COVID Decade: understanding the long-term societal impacts of COVID-19. The British Academy, 2021. http://dx.doi.org/10.5871/bac19stf/9780856726583.001.

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The British Academy was asked by the Government Office for Science to produce an independent review on the long-term societal impacts of COVID-19. This report outlines the evidence across a range of areas, building upon a series of expert reviews, engagement, synthesis and analysis across the research community in the Social Sciences, Humanities and the Arts (SHAPE). It is accompanied by a separate report, Shaping the COVID decade, which considers how policymakers might respond. History shows that pandemics and other crises can be catalysts to rebuild society in new ways, but that this requires vision and interconnectivity between policymakers at local, regional and national levels. With the advent of vaccines and the imminent ending of lockdowns, we might think that the impact of COVID-19 is coming to an end. This would be wrong. We are in a COVID decade: the social, economic and cultural effects of the pandemic will cast a long shadow into the future – perhaps longer than a decade – and the sooner we begin to understand, the better placed we will be to address them. There are of course many impacts which flowed from lockdowns, including not being able to see family and friends, travel or take part in leisure activities. These should ease quickly as lockdown comes to an end. But there are a set of deeper impacts on health and wellbeing, communities and cohesion, and skills, employment and the economy which will have profound effects upon the UK for many years to come. In sum, the pandemic has exacerbated existing inequalities and differences and created new ones, as well as exposing critical societal needs and strengths. These can emerge differently across places, and along different time courses, for individuals, communities, regions, nations and the UK as a whole. We organised the evidence into three areas of societal effect. As we gathered evidence in these three areas, we continually assessed it according to five cross-cutting themes – governance, inequalities, cohesion, trust and sustainability – which the reader will find reflected across the chapters. Throughout the process of collating and assessing the evidence, the dimensions of place (physical and social context, locality), scale (individual, community, regional, national) and time (past, present, future; short, medium and longer term) played a significant role in assessing the nature of the societal impacts and how they might play out, altering their long-term effects.
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