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Статті в журналах з теми "Visual arts practice"
Breakell, Sue. "Archival practices and the practice of archives in the visual arts." Archives and Records 36, no. 1 (January 2, 2015): 1–5. http://dx.doi.org/10.1080/23257962.2015.1018151.
Повний текст джерелаSyed Abu Bakar, Syed Alwi, Azian Tahir, and Ishak Ramli. "The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal." Idealogy Journal 3, no. 2 (September 7, 2018): 69–74. http://dx.doi.org/10.24191/idealogy.v3i2.71.
Повний текст джерелаADAR CÖMERT, Sibel. "VISUAL ARTS TEACHER CANDIDATES' VIEWS ON TEACHING PRACTICE." International Journal Of Eurasia Social Sciences 10, no. 36 (January 1, 2019): 581–92. http://dx.doi.org/10.35826/ijoess.2546.
Повний текст джерелаGuler, Ebru. "Visual Culture As a Teaching Practice in Visual Arts Education in Turkey: Practitioner Inquiry." Australian Journal of Teacher Education 46, no. 7 (July 2021): 22–52. http://dx.doi.org/10.14221/ajte.2021v46n7.2.
Повний текст джерелаBirkin, Jane, Ed D’Souza, and Sunil Manghani. "A visual, journal practice: Journal of Visual Art Practice, twenty years on." Journal of Visual Art Practice 20, no. 4 (October 2, 2021): 299–315. http://dx.doi.org/10.1080/14702029.2021.1995928.
Повний текст джерелаVaughan, Kathleen. "Pieced Together: Collage as an Artist's Method for Interdisciplinary Research." International Journal of Qualitative Methods 4, no. 1 (March 2005): 27–52. http://dx.doi.org/10.1177/160940690500400103.
Повний текст джерелаAnna Yu., Demshina. "Network culture and two vectors of development of visual arts." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 31–37. http://dx.doi.org/10.30725/2619-0303-2022-1-31-37.
Повний текст джерелаWu, Jiayue. "Promoting Contemplative Culture through Media Arts." Multimodal Technologies and Interaction 3, no. 2 (May 21, 2019): 35. http://dx.doi.org/10.3390/mti3020035.
Повний текст джерелаCrowley, Suzanne. "Making Visible the Invisible." Art/Research International: A Transdisciplinary Journal 7, no. 1 (March 26, 2022): 156–85. http://dx.doi.org/10.18432/ari29618.
Повний текст джерелаHäikiö, Tarja Karlsson. "Potentials and Problem Areas in Assessment in Visual Arts Education in Sweden." Educare - vetenskapliga skrifter, no. 2 (March 2, 2021): 68–112. http://dx.doi.org/10.24834/educare.2021.2.4.
Повний текст джерелаДисертації з теми "Visual arts practice"
Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
Повний текст джерелаVroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
Повний текст джерелаDaniels, Marcel. "Ambivalent realities : postcolonial experiences in contemporary visual arts practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68049/1/Marcel_Daniels_Thesis.pdf.
Повний текст джерелаStevens, Karen J. "Transition: Exchange establishing a visual arts practice based on personal pedagogy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89698/4/Karen_Stevens_Thesis.pdf.
Повний текст джерелаLe, Kim. "Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.
Повний текст джерелаBell, S. "The promise of the short text : writing risk into visual arts practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/06d7767a-9941-4ab8-892e-e73767b48aa7/1.
Повний текст джерелаLe, Roux Neil. "A case of emergence : autonomy and self-organisation in conceptual art practice." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86383.
Повний текст джерелаENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages.
AFRIKAANSE OPSOMMING: Hierdie tesis behels 'n praktyk-geleide teoretiese bespreking oor generatiewe kunsproduksie binne 'n wyer ekologiese raamwerk. Dit is gebaseer op my werk in Eyemvelo Kosbos (2010 - ), 'n interdissiplinêre gesamentlike projek wat daarop gemik is om voedsel binne ekologies verantwoordelike perke te produseer. In my hoedanigheid as inwonende kurator van hierdie agri-ekologiese projek, het ek 'n reeks biologiese generatiewe kunswerke geformuleer wat bekend staan as Ecological Concept Objects (2011- ), wat dien as die primêre praktiese komponent van hierdie navorsing. Met die vestiging van filosofiese realisme as die kern teoretiese uitgangspunt, formuleer ek 'n begrip van my kunspraktyk as 'n ‘samewerking met die wêreld.’ Die teoretiese fondasies van my werk word uitgelig deur verwysing te maak na kern filosofiese bronne soos Graham Harman, Bruno Latour en Manuel DeLanda, onder andere. 'n Argument word geformuleer waarvolgens die term estetika in sy klassieke sin verstaan moet word - as 'n diskoers oor sintuiglike persepsie, in teenstelling tot ‘n bespreking oor visuele smaak of skoonheid. Sleutelkonsepte soos opkoms (emergence) en self-organisasie word geïdentifiseer as deurslaggewend vir ‘n sinvolle bespreking van generatiewe praktyke. By die bespreking van relevante voorbeelde van kontemporêre generatiewe kuns, saam met die teoretiese insigte van verskeie praktiserende kunstenaars, word 'n werkende begrip van generatiewe kuns ontwikkel waarvolgens die kunstenaar kreatiewe agentskap en besluitneming vrywillig afstaan aan onpersoonlike kragte. 'n Historiese konteks word verder verskaf wat 'n presedent aandui vir soortgelyke kunspraktyke. Die wêreld word dan daarvolgens geposisioneer as 'n groot netwerk van werklike outonome entiteite wat verhoudings met ander werklike outonome entiteite aanknoop. Hierdie opvatting daag verder 'n wedersyds-eksklusiewe dualisme van 'Natuur' en kultuur uit, deur voor te stel dat hierdie twee veronderstelde binêre teenstrydighede sό verstrengel is dat enige skeiding daarvan inderdaad voorkom as 'n blatante vorm van idealisme. 'n Geïntegreerde ekologiese praktyk word egter aangemoedig om deurgaans as 'n sentrale tema of primêre konseptuele riglyn vir beide hierdie tesis en die gepaardgaande praktiese werk te dien. Permaculture, 'n stelsels-georiënteerde ontwerpwetenskap gerig op volhoubaarheid, word geïdentifiseer en aanvaar as 'n werkende voorbeeld van 'n ekologiese praktyk wat ‘sorg van mense’ met 'sorg van die planeet" vereenselwig, aangesien laasgenoemde daarvolgens die eersgenoemde insluit . Derhalwe, is die doel van hierdie navorsing om ondersoek in te stel tot 'n praktyk waar die kunstenaar, ten spyte daarvan dat sy beperk is tot lineêre aksie, in so 'n manier te werk gaan dat die nie-lineêre dinamika van ontluikende potensiaal geopenbaar kan word. So 'n metode staan in kontras met 'n eenrigting antroposentriese bemeestering van voorspelbare materie - waar daar min voorsiening vir ongerymdhede, ongelukke of ontluikende vorms gemaak word. Daar word egter bevind dat generatiewe kunspraktyk wel hierdie voorsienings maak, aangesien dit self-organisasie aan die medium toe staan, sodat entiteite tyd en ruimte verskaf kan word om hulself uit te druk in unieke samestellings.
Harmsen, Corlia. "Shape me into your idea of home : representations of longing in contemporary photography and video practice." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6578.
Повний текст джерелаIncludes bibliography.
ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.
AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ʼn belangstelling in ʼn menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ʼn primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ʼn “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie, identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie (heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie; liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met inbegrip van objektivering van die huisdier). Ek benader ʼn bespreking van bogenoemde verskynsel deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing. Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns, asook voorbeelde bespreek om kontekstuele verwysing na ʼn bespreking van die uitoefening van my eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en verlange na ʼn afwesige ander (huis, maat en huisdier) bespreek. Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag, Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike, veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak word.
Farr, Alisa. "The ear that you are able to hear me with : theorising art practice through auto/ethnography." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2347.
Повний текст джерелаThis thesis investigates social aspects of the production and distribution of artworks, approaching these from the context of the every-day life of the artist. Its main aim is to form a theoretical framework and personalised application of auto/ ethnography to enable the artist to study her own practice within a specific context. The thesis serves as a counterpart to the practical work that is expected of a Master of arts student at this particular university and in this department, the University of Stellenbosch, Department of Visual Arts. As such, it works in tandem with the practical component to posit an understanding of the artworks as they have been formed in a complex postmodern society. I, as the artist and writer, discuss my work by drawing from autobiographical experiences and theoretical frameworks as texts. Auto/ethnography, the chosen methodology, is informed by post-structuralism, Marxist and neo-Marxist theories and feminist discourses, among others. It calls for researchers to apply self-reflexivity in their practice and, hence, must include the situated position of the ‘I’ of the researcher, as this inevitably impacts on research findings. My writing on my art-making process becomes a form of ‘emergent’ research that studies the relationship between the self and the social. This takes place through the use of autobiographical texts and the above-mentioned theoretical frameworks, combined with relational and dialogical theories of art, and frameworks that study art production and distribution from sociological perspectives. I write myself as constituted within ideology and subject to societal structure, but also possessing agency. I write on my art as a product determined by my position in society; my intentions and aims for the artwork and considerations on how its distribution might affect me; and its function as a text that carries meanings that differ from those which I, at any given time, might ascribe to it. The framework in which I write on my art-making process also draws on complexity theory. Within this framework I approach the self as relational, society and the environment as a complex self-structuring process, and the meaning of text as created and re-created in a web of interactions, between the self (of the writer/artist and reader/viewer) and the society (as built up of different interrelating subsystems). Writing auto/ethnographically to produce an academic dissertation within this specific academic community can, I believe, serve as a means through which I can question my own objectivising claims, or claims that lie in theoretical and personal frameworks that I draw from. Implicit in this thesis is the question: how can an artist, working within the confines of an academic framework, ensure that an ethical component exists between the self and other in her working practice?
Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
Повний текст джерелаENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
Книги з теми "Visual arts practice"
Corner, Lee. Code of practice for the visual arts. London: National Artists Association, 1995.
Знайти повний текст джерелаSullivan, Graeme. Art practice as research: Inquiry in visual arts. 2nd ed. Thousand Oaks [Calif.]: Sage Publications, 2010.
Знайти повний текст джерелаSullivan, Graeme. Art practice as research: Inquiry in visual arts. 2nd ed. Thousand Oaks [Calif.]: Sage Publications, 2010.
Знайти повний текст джерелаSullivan, Graeme. Art practice as research: Inquiry in the visual arts. Thousand Oaks, Calif: Sage Publications, 2005.
Знайти повний текст джерелаSullivan, Graeme. Art practice as research: Inquiry in the visual arts. 2nd ed. Thousand Oaks [Calif.]: Sage Publications, 2010.
Знайти повний текст джерелаArt practice as research: Inquiry in the visual arts. Thousand Oaks, Calif: Sage Publications, 2005.
Знайти повний текст джерелаBaldwin, Jonathan. Visual communication: From theory to practice. Lausanne [Switzerland]: AVA, 2006.
Знайти повний текст джерелаNewsletter, Artists. The code of practice for the visual arts for artists. Newcastle upon Tyne: Artists Newsletter Publications, 2003.
Знайти повний текст джерелаCorner, Lee. The code of practice for the visual arts for artists. Newcastle upon Tyne: Artists Information Company, 2003.
Знайти повний текст джерелаFrascara, Jorge. Communication design: Principles, methods, and practice. New York: Allworth Press, 2004.
Знайти повний текст джерелаЧастини книг з теми "Visual arts practice"
Mottram, Judith. "Practice-based research in the visual arts." In The Routledge International Handbook of Practice-Based Research, 356–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429324154-26.
Повний текст джерелаMackh, Bruce. "The PhD in visual arts practice in the USA." In The Routledge International Handbook of Practice-Based Research, 156–78. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429324154-11.
Повний текст джерелаLasczik Cutcher, Alexandra. "Collaboration as Individual Learning Event: Collective Consciousness and Shared Practice in the Development of Pedagogical Content Knowledge in Visual Arts Pre-Service Teachers." In Studies in Arts-Based Educational Research, 151–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61560-8_9.
Повний текст джерелаHunsaker, Scott L. "Visual and Performing Arts." In Critical Issues and Practices in Gifted Education, 535–60. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003233961-40.
Повний текст джерелаCangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry, 141–50. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.
Повний текст джерелаHumphris, Imogen, Lummina G. Horlings, and Iain Biggs. "‘Getting Deep into Things’: Deep Mapping in a ‘Vacant’ Landscape." In Co-Creativity and Engaged Scholarship, 357–90. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_12.
Повний текст джерелаAnan, Nobuko. "Afterword: Girls’ Aesthetics as Feminist Practices." In Contemporary Japanese Women’s Theatre and Visual Arts, 177–80. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_6.
Повний текст джерелаLähdesmäki, Tuuli, Jūratė Baranova, Susanne C. Ylönen, Aino-Kaisa Koistinen, Katja Mäkinen, Vaiva Juškiene, and Irena Zaleskiene. "A Sociocultural Approach to Children’s Visual Creations." In Learning Cultural Literacy through Creative Practices in Schools, 17–30. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-89236-4_2.
Повний текст джерелаJagodzinski, Jan. "Historical Antecedents: The Rise of the Unconscious in Artistic Practice." In Visual Art and Education in an Era of Designer Capitalism, 59–70. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113602_4.
Повний текст джерелаVintimilla, Cristina D., and Sylvia Kind. "Choreographies of Practice." In Visual Arts with Young Children, 33–46. Routledge, 2021. http://dx.doi.org/10.4324/9781003020776-4.
Повний текст джерелаТези доповідей конференцій з теми "Visual arts practice"
Azevedo, Maria Isabel. "Holography in the visual arts practice: research and production." In Practical Holography XXXV: Displays, Materials, and Applications, edited by Hans I. Bjelkhagen and Seung-Hyun Lee. SPIE, 2021. http://dx.doi.org/10.1117/12.2582759.
Повний текст джерелаSheshko, Anna Sergeevna. "Features of approaches to teaching preschool children visual arts in modern conditions." In IX International Research-to-practice conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-113904.
Повний текст джерелаŠpidlová, Zdenka. "DIGITAL MEDIA IN VISUAL ARTS EDUCATION. FROM STRATEGY TO PRACTICE." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.1098.
Повний текст джерелаLiu, Lifu. "Reflection on Practice Teaching Reform of College Visual Communication Design." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.383.
Повний текст джерелаBrown, Scott Andrew, Michael Gratton, and Bronwen Williams. "A Visual Programming Tool for Creative Practice Pedagogy in Embodied Interaction and Media Arts." In OZCHI'19: 31ST AUSTRALIAN CONFERENCE ON HUMAN-COMPUTER-INTERACTION. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3369457.3369495.
Повний текст джерелаAl Qur’an, Hussam A. Darwish. "The Role of Talent and Skill in Visual Communication Design Education/Practice: Three Case Studies from Jordan." In International Conference on Arts and Humanities. The International Institute of Knowledge Management, 2020. http://dx.doi.org/10.17501/23572744.2019.6106.
Повний текст джерелаRafee, Y. M., A. H. Awang Arshad, H. Siri, and A. T. Javeril. "PRACTICE-BASED RESEARCH AS AN APPROACH IN BRIDGING THE VISUAL ARTS AND ETHNOGRAPHY IN SOCIAL SCIENCE STUDY." In International Conference on Arts and Humanities. TIIKM, 2017. http://dx.doi.org/10.17501/icoah.2016.3114.
Повний текст джерелаLagunova, Ekaterina Aleksandrovna. "Decorative Still Life in Painting as a Means of Forming the Creative Thinking of Children of Primary School Age in the Visual Arts Classes." In International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-75895.
Повний текст джерелаSarvanović, Ana, and Marija Pavlović. "Metodika nastave likovne kulture – izazovi i mogućnosti u vreme pandemije." In Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.163s.
Повний текст джерелаBalaminutti, Lara D., and Rachel Zuanon. "Sensorial Design applied to teaching-learning in Artistic Drawing." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.133.
Повний текст джерелаЗвіти організацій з теми "Visual arts practice"
Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
Повний текст джерелаYan, Yujie, and Jerome F. Hajjar. Automated Damage Assessment and Structural Modeling of Bridges with Visual Sensing Technology. Northeastern University, May 2021. http://dx.doi.org/10.17760/d20410114.
Повний текст джерелаYatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
Повний текст джерелаEnsuring Equity and Excellence for English Learners: An Annotated Bibliography for Research, Policy, and Practice. Center for Equity for English Learners, 2022. http://dx.doi.org/10.15365/ceel.publication.2022.0001.
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