the work of art in the age of its technological reproducibility second version
the French edition in 1936
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of revolutionary demands in the politics of art" in mass culture; that, in the age of mechanical reproduction, and the absence of traditional and ritualistic value, the production of art would be inherently based upon the praxis of politics. Three editions of "The Work of Art in the Age of Mechanical Reproduction" were published: (i) the original, German edition in 1935; (ii) the French edition in 1936; and (iii) the revised German edition in 1939, from which derive the contemporary English translations of the essay. The themes of "The Work of Art in the Age of Mechanical Reproduction" (1935) are
The Work of Art in the Age of Mechanical Reproduction
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in their conceptions of the relationship between critique and artworks which had become manifest through Benjamin's "The Work of Art in the Age of its Technical Reproducibility". At around the same time Adorno and Horkheimer began planning for a joint work on "dialectical logic", which would later become "Dialectic of Enlightenment". Alarmed by reports from Europe, where Adorno's parents suffered increasing discrimination and Benjamin was interned in Colombes, their joint study could entertain few delusions about its practical effects. "In view of what is now threatening to engulf Europe," Horkheimer wrote, "our present work is essentially destined to pass things
Theodor W. Adorno
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Center for Open Science The Center for Open Science is a non-profit technology organization based in Charlottesville, Virginia with a mission to "increase the openness, integrity, and reproducibility of scientific research." Brian Nosek and Jeffrey Spies founded the organization in January 2013, funded mainly by the Laura and John Arnold Foundation and others, after implementation and use of the Open Science Framework (OSF). The organization began with work in reproducibility of psychology research, with the large-scale "". A second reproducibility project for cancer biology research has also been started through a partnership with Science Exchange. In March 2017, the Center
Center for Open Science
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(theses and dissertations). Center for Open Science The Center for Open Science is a non-profit technology organization based in Charlottesville, Virginia with a mission to "increase the openness, integrity, and reproducibility of scientific research." Brian Nosek and Jeffrey Spies founded the organization in January 2013, funded mainly by the Laura and John Arnold Foundation and others, after implementation and use of the Open Science Framework (OSF). The organization began with work in reproducibility of psychology research, with the large-scale "". A second reproducibility project for cancer biology research has also been started through a partnership with Science Exchange. In March
Center for Open Science
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Machine Age, prior to World War Two, enthusiasm for technological advances was expressed by the Machine Aesthetic which heralded the Modern Movement. (Banham 1960) Affiliated art movements of this time which shared aspects of the Machine Aesthetic included: Purism in France, Futurism in Italy (both of which celebrated the glories of modern machines and the excitement of speed), Suprematism, Productivism in Russia, Constructivism, Precisionism in North America and kinetic sculpture. (Meecham and Sheldon 2000) By the 1960s, in the Second Machine Age, technology provided not only the inspiration for art production but above all its tools (Popper 1993), as reflected
Desmond Paul Henry
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tradition and worked within its bounds. In his later work he adopted a more "Apollonian" neoclassicism, to use Nietzsche's terminology, although in his use of serialism he still rejects 19th-century convention. In modern visual art, Picasso's work is also understood as rejecting Beaux Arts artistic expectations and expressing primal impulses, whether he worked in a cubist, neo-classical, or tribal-art-influenced vein. Primitivism gained a new impetus from anxieties about technological innovation but above all from the "Age of Discovery", which introduced the West to previously unknown peoples and opened the doors to colonialism. As the European Enlightenment. With the decline of
Primitivism
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used in English. Alternative terms for the work of a Peintre-graveur are "artist's print", "original print", "graphic art". "Art print" now tends to mean a reproduction of any work of art. Bartsch's great catalogue of old master prints, published in Vienna in 21 volumes in 1803-21,was called "Le Peintre Graveur". It has been reprinted five times, most recently in 1982. "The Illustrated Bartsch" (Abaris Books, New York) is an English language illustrated version (the original was unillustrated by technological necessity) which released the first volume in 1978, and is projected to include at least 164 volumes. Most of the picture
Peintre-graveur
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Joseph Weizenbaum's ELIZA program and embodied it in physical robot's form installed in East Village in New York. Participants interacted with the robot through online sessions. Wortzel has earned several grants and awards in the course of her work, including the National Science Foundation Award for the Robotic Renaissance Project. She has also had her work featured in many art publications, including Margret Lovejoy's "Digital Current: Art in the Electronic Age" and Frank Popper's " From Technological to Virtual Art", and has been published in major art journals, including "Leonardo" in 2007. Wortzel was an Eyebeam Resident. She has taught
Adrianne Wortzel
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Modern Art in New York. It has remained in the MOMA permanent in collection since its purchase. Magritte painted a second version of "The False Mirror" in 1935. The oil on canvas work, sized 19 x 27cm, is in a private collection. A gouache on paper version of "The False Mirror", executed by Magritte in 1952, sold at auction in 2010 for GBP 373,250. The painting is said to be one of the inspirations for the 1952 CBS television "eye" logo designed by William Golden. Vaporwave and New Age producer Eco Virtual used this painting as the album cover on
False Mirror (René Magritte)
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but only as a metaphor. A society's Golden Age marks that period in its history having a heightened output of art, science, literature, and philosophy. A golden age is often ascribed to the years immediately following some technological innovation. It is during this time that writers and artists ply their skills to this new medium. Therefore, there are Golden Ages of both radio and television. During this nascent phase the technology allows new ideas to be expressed, as new art forms flower quickly into new areas: At least one technology had its "Golden Age" in its latter years: Technology and
Golden age (metaphor)
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published a detailed strategic plan. Brian Nosek posted a letter outlining the history of the Center and future directions. The Open Science Framework (OSF) is an open source software project that facilitates open collaboration in science research. This framework was used to work on a project in the reproducibility of psychology research. The current reproducibility project is a crowdsourced empirical investigation of the reproducibility of a variety of studies from psychological literature. The reproducibility project samples from three major journals: "Journal of Personality and Social Psychology", "Psychological Science", and "". Scientists from all over the world volunteer to replicate a
Center for Open Science
20989368
"Time Out" Shanghai reviewed the exhibition saying, ""Everything & Nothing" is a meditative video installation about how fucked we are in this age of un-tempered technological advancement. 'Turnstiles' tracks the same story, but instead with a matrix of spinny turnstiles that you can navigate while doing your best to avoid serious injury to the groin area." The group has previously held solo exhibitions at Lunds Konsthall, Sweden (2014), Carpenters Workshop Gallery, Paris (2012), and Pace Gallery, New York (2016). Its work is held in the collections of MoMA, Sharjah Art Foundation, Yuz Museum, LACMA and London's V&A, where its "Swarm
Random International
3770695
recently. The Emperor Justinian I's formation of a new code of law, the "Corpus Juris Civilis", served as a basis of subsequent development of legal codes. Byzantium played an important role in the transmission of classical knowledge to the Islamic world and to Renaissance Italy. Its rich historiographical tradition preserved ancient knowledge upon which splendid art, architecture, literature and technological achievements were built. This is embodied in the Byzantine version of Christianity, which spread Orthodoxy and eventually led to the creation of the so-called "Byzantine commonwealth" (a term coined by 20th-century historians) throughout Eastern Europe. Early Byzantine missionary work spread
History of the Balkans
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provide access to them in order to enable reproducibility of published research findings. The ZBW publishes two journals of economic policy, Wirtschaftsdienst and Intereconomics. The ZBW also provides support for researchers dealing with the different aspects of the digitisation of the science system, such as publishing in Open Access or research data management. The ZBW participates in national and international projects to develop new services for its users. In order to meet the challenges resulting from the technological changes in information provision, the ZBW relies on a global network. It has signed cooperation agreements with national and international research institutions,
German National Library of Economics
8271502
Elton as "the Piranesi of the Railway Age." According to Russell (2001) Bourne's two series of railroad scene's were the only works, that equalled the work of Thomas Shotter Boys. Burman & Stratton (1997) explained: More in general Russell (2001) summarizes: In his "Art and the Industrial Revolution", Klingender (1968) had enthused added: "Bourne's Great Western pictures echo the sweep and swagger of Isambard Kingdom Brunel's great broad-gauge railway..." In his own days, however, Bourne's work had little market value, because "the art patrons of the day wished for anything rather than to be reminded of the social and technological
John Cooke Bourne
18992378
Reproducibility Project The Reproducibility Project: Psychology was a collaboration of 270 contributing authors to repeat 100 published experimental and correlational psychological studies. This project was led by the Center for Open Science and its co-founder, Brian Nosek, who started the project in November 2011. The results of this collaboration were published in August 2015. Reproducibility is the ability to produce a copy or duplicate, in this case it is the ability to replicate the results of the original studies. The project has illustrated the growing problem of failed reproducibility in social science. This project has started a movement that has
Reproducibility Project
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of its particulate competitors. When selecting an HPLC column supplier, column lifetime was second only to column-to-column reproducibility in importance to the purchaser. Chromolith columns, for example, have demonstrated reproducibility of 3,300 sample injections and 50,000 column volumes of mobile phase. Also important to the life cycle of the monolith is its increased mechanical robustness; polymeric monoliths are able to withstand pH ranges from 1 to 14, can endure elevated temperatures, and do not need to be handled delicately. “Monoliths are still teenagers,” affirms Frantisec Svec, a leader in the field of novel stationary phases for LC. Liquid chromatography as
Monolithic HPLC column
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changed the album's cover art back to its original "comic book" design. Columbia also swapped the full-length version of "Windpower" for the single version (with an edited intro and outro). The strategy worked, as "The Golden Age of Wireless" sold better and "She Blinded Me with Science" became a major hit, with constant radio and MTV airplay. In 1983, the UK record label, Venice in Peril, followed suit and reissued the album with a similar track listing to the second US version. They opted for the short single version of "Science" but retained the full-length versions of "Airwaves" and "Windpower"
The Golden Age of Wireless
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manufactured steel tubes similar in appearance to air conditioning shafts. Her work is similar to ready-mades in appearance, but Posenenske directed production of materials in her work process. Posenenske was an early proponent of inviting interactivity to her artwork through choreographed performances and audience participation. She invited artists and curators to freely rearrange and add to her work in several exhibitions. In 1968 Posenenske published a statement in the journal Art International referencing the reproducibility of her works, and her desire for the concept and ownership of the piece to be accessible: Poseneske stopped working as an artist in 1968,
Charlotte Posenenske
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re-working of an earlier version painted during Chagall’s second Russian period. This version was most likely completed while the 1920 original was being shown in Paris. This work presents subject matter that is nearly identical to its 1920 predecessor, "Music", which was one of seven paintings created on a commission from the Moscow State Jewish Theatre. The direct connection between "Green Violinist" and its earlier counterpart was made explicitly during the artist’s lifetime at his retrospective at Museum of Modern Art. In 1917, during his Second Russian Period, Chagall began accepting commissions to work on theater sets and costume design.
Green Violinist
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part of the experimental results within a scientific publication. It is the independent repetition of an experiment that serves to underpin its reproducibility. The term "reproducible research" refers to the idea that the ultimate product of academic research is the paper along with the laboratory notebooks and full computational environment used to produce the results in the paper such as the code, data, etc. that can be used to reproduce the results and create new work based on the research. Typical examples of reproducible research comprise compendia of data, code and text files, often organised around an R Markdown source
Reproducibility
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consults on the social and economic effects of the internet, and especially on places where our social and technological networks overlap. He is on the faculty of NYU's Interactive Telecommunications Program, and has consulted for Nokia, Procter and Gamble, News Corp., the BBC, the United States Navy and Lego. He is also a regular speaker at technology conferences. In his book "The Work of Art in the Age of Mechanical Reproduction" Walter Benjamin attempts to analyze the changed experience of art in modern society. He believes that a reproduction of art lacks presence in time and space and therefore has
Technoculture
406570
algorithm written by Frank Liang. TeX82 also uses fixed-point arithmetic instead of floating-point, to ensure reproducibility of the results across different computer hardware, and includes a real, Turing-complete programming language, following intense lobbying by Guy Steele. In 1989, Donald Knuth released new versions of TeX and Metafont. Despite his desire to keep the program stable, Knuth realised that 128 different characters for the text input were not enough to accommodate foreign languages; the main change in version 3.0 of TeX is thus the ability to work with 8-bit inputs, allowing 256 different characters in the text input. Since version 3,
TeX
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follow-up in 2006 with "Update", a bi-annual exhibition for interactive and digital art, and to the creation of the New Technological Art Award in 2008. The award is presented to the individual who displays "Outstanding Work in the World of Digital Art," after the evaluation by an international jury. The project has also begun naming an "Artist of the Month," which allows a promising young artist to present his or her work to a broad and diverse public audience in a non-commercial context. In 2010, a second "Update" exhibition was organized, in the form of "Body Sound", in cooperation with
Zebrastraat
17602417
spaces between political essay, poetry, and performance. Video's reproducibility and its capacity for broad distribution have enabled Buchanan to disseminate her message outiside the mainstream art establishment to a wider audience. Buchanan was a founding member of several art organizations, including F Space Gallery in Santa Ana, CA; Grandview Galleries at the Woman's Building in Los Angeles; Double X, a feminist art collective (with artists including Merion Estes and Nancy Youdelman); Close Radio; and Los Angeles Contemporary Exhibitions (LACE). Currently, she is a member of The LA ArtGirls and The Artists Formerly Known As Women. In addition to her art
Nancy Buchanan
20684500
second version in the 1960s. A charcoal study was acquired by the Aberdeen Art Gallery in 2016, with funding from the Scottish National Fund for Acquisitions. Evelyn Waugh attended the exhibition in its first week. The controversy over the painting may have inspired him to include a mixed-race relationship between the white Margot and black Chokey in his 1928 novel "Decline and Fall". The Breakdown The Breakdown was a 1926 painting by Scottish artist John Bulloch Souter (1890–1972) which stirred controversy in the United Kingdom during the Jazz Age. The work depicted a musician playing the saxophone while a naked
The Breakdown
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behavior in the MSA, there are three lines of evidence that can be considered: direct evidence reflecting concrete examples of symbols; indirect evidence reflecting behaviors that would have been used to convey symbolic thought; and technological evidence reflecting the tools and skills that would have been used to produce art. Direct evidence is difficult to find beyond 40ka, and indirect evidence is essentially intangible, thus technological evidence is the most fruitful of the three. Today there is widespread agreement among archaeologists that the world's first art and symbolic culture dates to the southern African Middle Stone Age. Some of the
Middle Stone Age
12241257
A TV Dante A TV Dante is a 1990 mini-series directed by Tom Phillips and Peter Greenaway. It covers eight of the 34 cantos in Dante Alighieri's "Inferno", part of his 14th century epic poem "Divine Comedy". Peter Greenaway and Tom Phillips won the Prix Italia for "A TV Dante", their ambitious project to produce a video version of "Dante's Inferno". Greenaway was first inspired by artist Tom Phillips’ illustrated translation of the work and they collaborated on this, the first eight Cantos of the work, using all the state-of-the-art technological resources available to the electronic media at the time.
A TV Dante
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a system with less than a 'practically infinite' number (much much less than Avogadro's or Loschmidt's numbers) of molecules, the thermodynamic reproducibility fades, and fluctuations become easier to see. According to this view of Jaynes, it is a common and mystificatory abuse of language, that one often sees reproducibility of dynamical structure called "order". Dewar writes "Jaynes considered reproducibility - rather than disorder - to be the key idea behind the second law of thermodynamics (Jaynes 1963, 1965, 1988, 1989)." Grandy (2008) in section 4.3 on page 55 clarifies the distinction between the idea that entropy is related to order
Extremal principles in non-equilibrium thermodynamics
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of nearly one a year. Each of these books was done twice — once as a rough version to show editor Dave Schreiner, then as a second, finished version incorporating suggested changes. Some of his last work was the retelling in sequential art of novels and myths, including "Moby-Dick". In 2002, at the age of 85, he published "Sundiata", based on the part-historical, part-mythical stories of a West African king, "The Lion of Mali". "Fagin the Jew" is an account of the life of Dickens' character Fagin, in which Eisner tries to get past the stereotyped portrait of Fagin in
Will Eisner
8633936
argues, offers a new model for thinking about humanist values in a technological age. Virtual art, as Popper sees it, is more than just an injection of the usual aesthetic material into a new medium, but a deep investigation into the ontological, psychological and ecological significance of such technologies. The aesthetic-technological relationship produces an unprecedented artform. Frank Popper Frank Popper (born April 17, 1918) is a historian of art and technology and Professor Emeritus of Aesthetics and the Science of Art at the University of Paris VIII. He has been decorated with the medal of the Légion d'honneur by the
Frank Popper
9980718
collector of Pre-Raphaelite art, who died before its completion. A second version, smaller at 684 × 990 mm, was commissioned in 1859 and completed in 1863. This is now in the Birmingham Museum and Art Gallery. It is closely similar, though for the lady with a blue parasol the face of Maria Leathart, the commissioner's wife, replaces that of Mrs Brown in the Manchester version. The picture depicts a group of so-called "navvies" digging up the road to build an underground tunnel. It is typically assumed that this was part of the extensions of London's sewerage system, which were being
Work (painting)
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Bonestell's work in particular was the portrayal of exotic worlds with their own alien beauty, often giving a sense of destination as much as of the technological means of getting there. The premier organization and only guild in the world dedicated to the creation of Space Art is the International Association of Astronomical Artists (IAAA). Composed of over 120 members, artists of the IAAA depict the wonders of the Universe in ways to inspire the greater human population and raise awareness of space. Members of the IAAA have been creating Space Art in all of its myriad forms since its
Space art
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understand, gain little for themselves. With a view to improving reproducibility of scientific results, it has been suggested that research-funding agencies finance only projects that include a plan for making their work transparent. In 2016 the U.S. National Institutes of Health introduced new application instructions and review questions to encourage scientists to improve reproducibility. The NIH requests more information on how the study builds on previous work, and a list of variables that could affect the study, such as the sex of animal subjects—a previously overlooked factor that led many studies to describe phenomena found in male animals as universal.
Logology (science of science)
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work. But later, in 2013, Dr. Gerhard Schoeman used the word “ stillness “ to describe Seapoint Swimmers one of Meyersfeld ’s images in his publication “ Thinking Photographs - Art, History, Time and Reproducibility “. For the first time, Meyersfeld resonated with that intuitively applied adjective, stating: “It is perhaps this stillness, that enthrals me. I feel that for the most part, we live in a world so frantic, that we forget the beauty of the creation of stillness and how it can impact on our lives. Whether it is the stillness of joy, or the inevitable stillness of
Michael Meyersfeld
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invisible and indirect workings of the later digital computer: "the mechanical analogue computer, was a work of art in itself, involving a most beautiful arrangement of gears, belts, cams differentials and so on- it still retained in its working a visual attractiveness which has now vanished in the modern electronic counterpart; … I enjoyed seeing the machine work…". (Henry, 1972) In view of these considerations, Henry’s drawing machines may be said to not only reflect the early experimental phase of Computer Art and computer graphics but to also provide an important artistic and technological link between two distinct ages of
Desmond Paul Henry
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an initial list of 200 electronic addresses. Six years after its creation and succeeding developments, it has become the most influential medium of information and politization of Brazilian contemporary art in the Internet, being visited by more than 80 thousand people per month. Canal Contemporâneo and the works in it are also inserted in the exhibitions context. Performing as an “artist” in the contemporary art circuit, it completes its mission as a collective work and a space of engagement for the needs of the visual and technological arts. Its on-line activism with petitions, forums and lists of discussion guides frequent
Canal Contemporâneo
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which to define the artwork "independently from medium so that the work can be translated once its current medium is obsolete." It is a methodology that approaches a work as independent from its media, so that is may be thought of as a behavior and not something tied to its hardware. This process looks to preserve works despite the uncertainty of technological developments of the future. By making a work independent from its medium, the Variable Media Approach hopes to ensure the life of the artwork well into the future, beyond the obsolescence of all current technology. The approach encompasses
Conservation and restoration of time-based media art
11208749
students regardless of year group. The building in Mejlgade was renovated in 2006. The objective of the Jutland Art Academy is to teach and research within the visual arts, while developing an artistic and intellectual community of study and creation. It is essential for the academy that its activities reflect the fact that visual art must be in investigative dialogue with the constantly changing world of political, technological and economic conditions that shape our contemporary society. Students are encouraged to work in any given media (painting, sculpting, graphics, performance, new media etc.). The different modes of teaching at the school
Jutland Art Academy
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Museum of American Art/Smithsonian. Judith has received a medal from the Smithsonian Institution for this work in the innovation of art and technology, and her work is still currently held by the Smithsonian. She has recently added networking and experimental work with various corporations in all areas of printing and technology. As part of this search for technological futurism, Judith had become an active member of the International Association of Fine Art Digital Printmakers. Judith coined the term "Tradigital Art" in the early 1990s during her tenure at Tradigital Fine Art as a principal artist alongside Helen Golden. They traveled
Judith Moncrieff
18850263
Stéphan Barron Stéphan Barron is a contemporary artist. He developed through his artworks since the 1980s the ideas of Planetary Art and Technoromanticism. Planetary Art is an art form which takes the Earth in its planetary dimension as its basis for artistic creation. Technoromanticism is the theory of links between art and new technologies, within the context of the threats posed to Nature by technoscience and economic development. Technoromanticism also seeks to analyse the return of the human body within technological arts, formulating the hypothesis that a technological society needs a corporeal rebalancing of perceptions. "Stéphan Barron occupies, in Europe,
Stéphan Barron
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Jeffrey Shaw Jeffrey Shaw (1944 Melbourne) has been a leading figure in new media art since its emergence from the performance, expanded cinema and installation paradigms of the 1960s to its contemporary technology-informed and virtualized forms. In a prolific career of widely exhibited and critically acclaimed work, he has pioneered the creative use of digital media technologies in the fields of expanded cinema, interactive art, virtual, augmented and mixed reality, immersive visualization environments, navigable cinematic systems and interactive narrative. Shaw's numerous internationally exhibited and critically acclaimed artworks are milestones of technological and cultural innovation that have had a seminal impact
Jeffrey Shaw
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of new technology”. Noting that the rapid pace of technological innovation has profound implications for culture and society, he presents the role of Ars Electronica as working to integrate developments in technology with art and society to the benefit of all, and contrasts this perspective with the Modernist call for "art for art’s sake". Grover concludes by hoping that Ars Electronica "will be able to maintain its ongoing quest for innovation and expansion so that we can all benefit from and further involve ourselves in the integration of art, technology, and society". Grover (2008) has described the published work of
Ars Electronica
1368802
Riko collaborated on, we see a second generation of energy efficient prefabricated homes with a large emphasize on Eco-technological systems. Riko is a high tech company with expertise in state of the art insulation and energy producing technology as well as being one of the leading European manufacturer’s of wooden sustainable prefab buildings so it was a natural fit that these two earth friendly designers would come together to create Prefabricated Accessible Technological Homes – or P.A.T.H. Philippe Starck has designed his first smartphone: the Mi Mix for Chinese electronics company Xiaomi. The Mi Mix is distinguished by its ceramic
Philippe Starck
8633933
immersion into the image and interaction with it. The impression of reality felt under these conditions was not only provided by vision and hearing, but also by the other bodily senses. This multiple sensing was so intensely experienced at times, that Popper could speak of it as an immersive virtual reality (VR). In his book "From Technological to Virtual Art", Popper traces the development of immersive, interactive new media art from its historical antecedents through today's digital art, computer art, cybernetic art, multimedia and net art. Popper shows that contemporary virtual art is a further refinement of the technological art
Frank Popper
5470460
post-graduate work in three fields: general education, the history of pedagogy and education, Russian history, the Russian language. In art and graphics department 2008 year launched five workshops in which students engage in decorative art. The Academy has four modern sports halls. In summer, a wall is erected for climbing. There is a gymnasium and fitness room. The Nizhny Tagil Technological Institute is located south-east of the city center. The city formerly had an association football team, FC Uralets Nizhny Tagil, which played in the Russian Second Division and was dissolved in 2006. The city ice hockey team is Sputnik
Nizhny Tagil
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remixed video artwork by Stéphan Barron starting 2010 Stéphan Barron Stéphan Barron is a contemporary artist. He developed through his artworks since the 1980s the ideas of Planetary Art and Technoromanticism. Planetary Art is an art form which takes the Earth in its planetary dimension as its basis for artistic creation. Technoromanticism is the theory of links between art and new technologies, within the context of the threats posed to Nature by technoscience and economic development. Technoromanticism also seeks to analyse the return of the human body within technological arts, formulating the hypothesis that a technological society needs a corporeal
Stéphan Barron
18181687
with artist and academic Jon Thomson. In the four month launch programme collaborations with communities and other art forms plus explorations into political and technological change featured heavily alongside original commissioned moving image works. Since 2008, Turner has been a founding member of a curatorial group, Hysteriography, which is composed of British female filmmakers, writers and curators. Sarah Turner (filmmaker) Sarah Turner is a British artist, filmmaker, writer, curator and academic. Her moving image work is known for its preoccupation with form and its interplay between abstraction and narration. Turner studied Fine Art, Film and Video at St Martin’s School
Sarah Turner (filmmaker)
3738713
store art-related or documentary data on a website. Cloning, plagiarizing, and collective creation are provided as alternative answers, such as in the Refresh Project. Olia Lialina has addressed the issue of digital curating via her web platform Teleportacia.org, an online gallery to promote and sell net.art works. Each piece of net.art has its originality protected by a guarantee constituted by its URL, which acts as a barrier against reproducibility and/or forgery. Lialina claimed that this allowed the buyer of the piece to own it as they wished: controlling the location address as a means of controlling access to the piece.
Net.art
18267618
Art Official Age Art Official Age is the thirty-seventh studio album by American recording artist Prince. It was released on September 26, 2014 by NPG Records under a renewed license to Warner Bros. Records, marking the second collaboration of both parties since 1995's "The Gold Experience". Prince also released the album "Plectrumelectrum", with his touring band 3rdeyegirl, simultaneously. "Art Official Age" debuted at number five on the "Billboard" 200 and sold 51,000 copies in its first week. In its second week of sales, the album dropped to number 22 on the chart, selling 15,000 copies, bringing the total to 66,000
Art Official Age
52946
and Marracq colleges), 5 private colleges (La Salle Saint-Bernard, Saint Joseph, Saint-Amand, Notre-Dame and Largenté) which meet the criteria of the first cycle of second degree studies. For the second cycle Bayonne has 3 public high schools (René-Cassin school (general education), the Louis de Foix school (general, technological and vocational education), and the Paul Bert vocational school), 4 private high schools (Saint-Louis Villa Pia (general education), Largenté, Bernat Etxepare (general and technological), and Le Guichot vocational school). There are also the Maurice Ravel Conservatory of Music, Dance, and Dramatic Art and the art school of the urban community of Bayonne-Anglet-Biarritz.
Bayonne
580643
usually reported as a standard deviation. A reproducibility limit is the value below which the difference between two test results obtained under reproducibility conditions may be expected to occur with a probability of approximately 0.95 (95%). Reproducibility is determined from controlled interlaboratory test programs or a measurement systems analysis. Although they are often confused, there is an important distinction between replicates and an independent repetition of an experiment. Replicates are performed within an experiment. They are not and cannot provide independent evidence of reproducibility. Rather they serve as an internal "check" on an experiment and should not be shown as
Reproducibility
12128419
York and Gettysburg, Pennsylvania. Towards the end of her life, art historian Helen Teri Caro located Peck and acquired over 100 pieces of her artwork on behalf of the Glenbow Museum in Calgary, Alberta. Peck died in Gettysburg in February 1968. Peck's career in illustration began in the early 1900s with her work for publisher George W. Jacobs in Philadelphia, Pennsylvania. This was a period when technological innovations in halftone and color printing engendered the "Golden Age of Illustration". In addition to illustrations, Peck created decorations and lettering designs for books. Notable works from this period include illustrations for Sara
Clara Elsene Peck
15462143
Research Institute, an interdisciplinary team of artists, designers, computer scientists, neuroscientists, and medical doctors investigating how new technologies—ranging from virtual reality and visualization to social media—may be used as a technological form of analgesia and pain management. With Jay Bolter, Gromala is the co-author of "Windows and Mirrors: Interaction Design, Digital Art and the Myth of Transparency". This book was based on her experience as the Art Gallery Chair for SIGGRAPH 2000, which had the greatest number of interactive artworks in its history. Her work is widely published in the domains of Computer Science, Interactive Art and Interaction Design. Her
Diane Gromala
16742249
in the 2001 exhibition of Atomic Age design at the Brooklyn Museum of Art, titled "Vital forms: American art and design in the atomic age, 1940–1960". Atomic power was a paradox during the era. It held great promise of technological solutions for the problems facing an increasingly complex world; at the same time, people were fearful of a nuclear armageddon, after the use of the atomic bomb at the end of World War II. People were ever-aware of the potential good, and lurking menace, in technology. Science became more visible in the mainstream culture through Atomic Age design. Atomic particles
Atomic Age (design)
17297047
the returning Color Powers. The 3DS version, co-developed with Dimps, was designed to "fully utilize" the 3DS hardware with 3D gameplay and motion controls. Development was harder on 3DS due to its more limited processing power. Iizuka stated that the Color Powers are "essential" to the level design of the 3DS version, while they work as an "additional tool" in the Wii U version. A simple art style was used to make objects stand out more against the backgrounds, and to keep the game running at a consistent 60 frames per second. The design of the new "Deadly Six" villains
Sonic Lost World
1834014
future elements. Steampunk, a term applying both to the retrojection of futuristic technology into an alternative Victorian age, and the application of neo-Victorian styles to modern technology, is a highly successful version of this second trend. In the movie "Space Station 76" (2014), mankind has reached the stars, but clothes, technology, furnitures and above all social taboos are purposely highly reminiscent of the mid-1970s. In practice, the two trends cannot be sharply distinguished, as they mutually contribute to similar visions. Retrofuturism of the first type is inevitably influenced by the scientific, technological, and social awareness of the present, and modern
Retrofuturism
758362
Although traditionally the Second Department of the Joint Staff Department was responsible for military intelligence, it is beginning to increasingly focus on scientific and technological intelligence in the military field, following the example of Russian agencies in stepping up the work of collecting scientific and technological information. The research institute under the Second Department of the Joint Staff Headquarters is publicly known as the Institute for International Strategic Studies; its internal classified publication "Foreign Military Trends" (《外军动态》, "Wai Jun Dongtai") is published every 10 days and transmitted to units at the division level. The PLA Institute of International Relations at
People's Liberation Army
1609995
the facade of the Scottish National Gallery of Modern Art in November 2009. Although "Work No. 975" is a unique sculpture, the phrase has been used on several related works, each assigned its own work number. Previous to "Work No. 975," a red neon text appeared in New York’s Times Square ("Work No.225" 1999, commissioned by Public Art Fund), a thirty-metre-long version was installed in Detroit ("Work No.790" 2007), and another text in white neon ran the 75 ft length of the Rennie Museum’s façade in Vancouver’s Chinatown ("Work No.851" 2008). Most recently, a 46-metre multicoloured version was commissioned for
Martin Creed
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of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be." In the artwork proper, Benjamin argues, the "sphere of authenticity is outside the technical [sphere]" of producing the art work; hence, the original work of art is independent of the copy. The action of mechanical reproduction diminishes the original art work by changing the cultural context (original vs. copy); thus, the "aura", the unique aesthetic authority, of an artwork is absent from the mechanically produced copy. Benjamin's concept of the "aura" of a work of art
The Work of Art in the Age of Mechanical Reproduction
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Pardus (operating system) Pardus is a Linux distribution developed with support from the Turkish government. Pardus' main focus is office-related work including the use in Turkish government agencies. Despite that, Pardus ships in several languages. Its ease of use and availability free of charge has spawned numerous communities throughout the world. Pardus was started by Turkish National Research Institute of Electronics and Cryptology (UEKAE), a division of the Scientific and Technological Research Council of Turkey (TÜBİTAK). The first live CD version of Pardus was a fork of Gentoo Linux. The current version is a fork of Debian. PiSi (; Packages
Pardus (operating system)
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Singularity (software) Singularity is a free, cross-platform and open-source computer program that performs operating-system-level virtualization also known as containerization. One of the main uses of Singularity is to bring containers and reproducibility to scientific computing and the high-performance computing (HPC) world. The need for reproducibility requires the ability to use containers to move applications from system to system. Using Singularity containers, developers can work in reproducible environments of their choosing and design, and these complete environments can easily be copied and executed on other platforms. Singularity began as an open-source project in 2015, when a team of researchers at Lawrence
Singularity (software)
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seamlessly integrates with many resource managers including: Singularity (software) Singularity is a free, cross-platform and open-source computer program that performs operating-system-level virtualization also known as containerization. One of the main uses of Singularity is to bring containers and reproducibility to scientific computing and the high-performance computing (HPC) world. The need for reproducibility requires the ability to use containers to move applications from system to system. Using Singularity containers, developers can work in reproducible environments of their choosing and design, and these complete environments can easily be copied and executed on other platforms. Singularity began as an open-source project in 2015,
Singularity (software)
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being questioned and the term "reproducibility crisis" has been coined. For example, psychologist Stuart Vyse notes that "(r)ecent research aimed at previously published psychology studies has demonstrated--shockingly--that a large number of classic phenomena cannot be reproduced, and the popularity of p-hacking is thought to be one of the culprits." Open Science approaches are proposed as one way to help increase the reproducibility of work as well as to help mitigate against manipulation of data. Open Science has more impact There are several components to impact in research, many of which are hotly debated. However, under traditional scientific metrics parts Open
Open science
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vocabulary exploring the social impact of the technological age. The phrase considers the fears associated with technological evolution and change, and acknowledges the possibility of exclusion as a result of a rising reliance on technology in day-to-day life. Everyday use of technology has increased dramatically since the turn of the century, significantly impacting both those embracing technological change as well as those reluctant to be a part of it. A sharp rise in technological innovations during the 21st century has been responsible for changing much of the way we work, socialize, and learn – all of which can be at
Digital phobic
2397925
work was lost to the Western world for a long time. It was available in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. Aristotle's work on aesthetics consists of the "Poetics," "Politics" (Bk VIII) and "Rhetoric". The "Poetics" is specifically concerned with drama. At some point, Aristotle's original work was divided in two, each "book" written on a separate roll of papyrus. Only the first part – that which focuses on tragedy and epic (as a quasi-dramatic art, given its definition in Ch 23) – survives. The lost second part
Poetics (Aristotle)
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terminally ill patients with flutemetamol to post mortem standard-of-truth assessments of cerebral cortical neuritic plaque density. The second trial assessed intra-reader reproducibility of PET scans using flutemetamol. Of the 176 patients imaged in this trial had a median age was 82, with 57 of patients being female. The initial flutemetamol PET scan resulted in 43 positive and 25 negative results for cerebral cortisol amyloid status. 69 of the initial patients died within 13 months of the flutemetamol PET scan. The autopsy for 67 of those patients determined the global brain neuritic plaque density category. Of those 67 patients 41 were
Flutemetamol (18F)
8633927
Frank Popper Frank Popper (born April 17, 1918) is a historian of art and technology and Professor Emeritus of Aesthetics and the Science of Art at the University of Paris VIII. He has been decorated with the medal of the Légion d'honneur by the French Government. He is author of the books: "Origins and Development of Kinetic Art", "Art, Action, and Participation", "Art of the Electronic Age" and "From Technological to Virtual Art". He turned 100 in April 2018. Popper documents the historical record of the relationship between technology and participatory forms of art, especially between the late 1960s and
Frank Popper
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walls through their Code+Art program, which invites students to create visualizations for the digital spaces that blur the line between computational thinking and design thinking. The Code+Art program features data visualizations, generative art, procedurally generated environments, and animated GIFs. James B. Hunt Jr. Library The James B. Hunt Jr. Library is the second main library of North Carolina State University (NCSU) and is located on the University's Centennial Campus. The $115 million facility opened in January 2013 and is best known for its architecture and technological integration, including a large robotic book storage and retrieval system which houses most of
James B. Hunt Jr. Library
3590018
U.S.C Sec. 1201(a)(1)) of the DMCA states: No person shall circumvent a technological measure that effectively controls access to a work protected under this title. The Act defines what it means in Section 1201(a)(3): (3) As used in this subsection— (A) to "circumvent a technological measure" means to descramble a scrambled work, to decrypt an encrypted work, or otherwise to avoid, bypass, remove, deactivate, or impair a technological measure, without the authority of the copyright owner; and (B) a technological measure "effectively controls access to a work" if the measure, in the ordinary course of its operation, requires the application
Anti-circumvention
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non profit Arts education company in the United Kingdom. Set up in 2003 after a four-year development period to create a new species of training and arts engagement provider in the cultural industries...see Hybrid:arts Many artists are responding to the central role scientific and technological research plays in contemporary culture. They are going beyond merely using technological tools and gadgets (e.g. computers) in their work to engage deeply with the processes of research. They are creating revolutionary art at the frontiers of scientific research. They see art as an independent zone of research that pursues areas of science and research
Hybrid arts
17713011
procured from external vendors. Material costs may influence the selection of one synthetic route over another or the decision to outsource production of an intermediate. The conversion cost of a chemical process is a factor of that procedure's overall efficiency, both in materials and time, and its reproducibility. The efficiency of a chemical process can be quantified by its atom economy, yield, volume-time output, and environmental factor (E-factor), and its reproducibility can be evaluated by the Quality Service Level (QSL) and Process Excellence Index (PEI) metrics. The atom economy of a reaction is defined as the number of atoms from
Process chemistry
18533892
memories, Del Castillo, in other series such as his metal works and mixed media toys, also attempts to refashion innocence and playfulness amidst the locus of art and its seriousness, ultimately embracing the act of production itself as the main motive of his art, samples of which have been praised as not only "playful but also powerful." By accomplishing such feats, he has been said to communicate the essence of transformation, technological advancement, and enlightenment by creating culturally informed imagery. Meanwhile, others see his work as symbolic of rigid modernity where "life is a lackluster cycle." Several works by the
Anton Del Castillo
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today's technological apparatus, its political and phenomenological implications, as well as our basic philosophical assumptions underlying western perspectival space". Craig Kalpakjian’s exhibits have been reviewed in The New York Times, The New Yorker, Frieze magazine. and Time Out New York. His work has been featured in Blind Spot Magazine; Cabinet Magazine; Modern Painters magazine; Visionaire 34 "Paris"; and Visionaire 24 "Light". It has also been included in the books "Visions from America: Photography from the Whitney Museum of American Art 1940-2001", "New Philosophy for New Media," "Subjective Realities: Works from the Refco Collection of Contemporary Photography," "Digital Art," "The Digital
Craig Kalpakjian
18952027
Gallery MOMO Gallery MOMO is a South African contemporary art gallery, which represents South African and international artists at its exhibition spaces in Johannesburg and Cape Town. Gallery MOMO was founded in Johannesburg in 2002 by the South African art dealer and collector, Monna Mokoena. In 2015, the organization opened a second branch in Cape Town. Since its founding, Gallery MOMO has established an extensive programme of showcasing new work in solo and group exhibitions by South African and international artists. Amongst the gallery's earliest events were the 2003 exhibition 'The Age of Enlightenment' by the South African painter, Johannes
Gallery MOMO
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film festivals around the world, and produced radio programs for ResonanceFM in London, Epsilonia Festival Radiophonique in Paris, and Voice of the People in Lebanon. In 1997 Scaff founded and edited Strobe, which according to the UCLA Bruin was the first academic journal published exclusively on the internet. Contributions included articles by the famous film theorists Peter Wollen and Nick Browne. Scaff also produced the first online version of the famous Walter Benjamin essay The Work of Art In The Age of Mechanical Reproduction, and Scaff's essay Art and Authenticity in the Age of Digital Reproduction has been widely referenced
Julian H. Scaff
580634
Reproducibility Reproducibility is the closeness of the agreement between the results of measurements of the same measurand carried out with same methodology described in the corresponding scientific evidence (e.g. a publication in a peer-reviewed journal). Reproducibilty can also be applied under changed conditions of measurement for the same measurand to check, that the results are not an artefact of the measurment procedures. A related concept is replicability, meaning the ability to independently achieve non-identical conclusions that are at least similar, when differences in sampling, research procedures and data analysis methods may exist. Reproducibility and replicability together are among the main
Reproducibility
664332
Proteomics gives a different level of understanding than genomics for many reasons: "Reproducibility". One major factor affecting reproducibility in proteomics experiments is the simultaneous elution of many more peptides than mass spectrometers can measure. This causes stochastic differences between experiments due to data-dependent acquisition of tryptic peptides. Although early large-scale shotgun proteomics analyses showed considerable variability between laboratories, presumably due in part to technical and experimental differences between laboratories, reproducibility has been improved in more recent mass spectrometry analysis, particularly on the protein level and using Orbitrap mass spectrometers. Notably, targeted proteomics shows increased reproducibility and repeatability compared with shotgun
Proteomics
580646
released alongside as a demonstration, in 2017 it was suggested in an article published in "Scientific Data" that this may not be sufficient and that the whole analysis context should be disclosed. In 2015, Psychology became the first discipline to conduct and publish an open, registered empirical study of reproducibility called the Reproducibility Project. 270 researchers from around the world collaborated to replicate 100 empirical studies from three top Psychology journals. Fewer than half of the attempted replications were successful. There have been initiatives to improve reporting and hence reproducibility in the medical literature for many years, which began with
Reproducibility
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and Joline Blais: At the Edge of Art, thames & hudson, 2006 Mitchell, Robert, 2010, Bioart and the Vitality of Media, University of Washington Press, Seattle and London. Paul, Christiane. Digital Art. Thames & Hudson. 2003 Poissant, Louise and Ernestine Daubner (eds.) Art Et Biotechnologies. Presses de l'Universite du Quebec. Montreal, 2004 Popper, Frank. 2005. From Technological to Virtual Art. Cambridge: MIT Press, 2007 Scott, Jill (ed). Artists in the Lab. SpringerWienNewYork, Wien, Austria, 2006. Reichle, Ingeborg. Art in the Age of Technoscience. Genetic Engineering, Robotics, and Artificial Life in Contemporary Art SpringerWienNewYork 2009 Shanken, Edward A.. Telematic Embrace: Visionary
Hybrid arts
580652
facility was never fully operational and was not completed due to economic problems, so no attempt to reproduce his first result was ever carried out. Other examples which contrary evidence has refuted the original claim: The reproducibility requirement cannot be applied to individual samples of phenomena which have a partially or totally non-deterministic nature. However, it still applies to the probabilistic description of such phenomena, with error tolerance given by probability theory. Reproducibility Reproducibility is the closeness of the agreement between the results of measurements of the same measurand carried out with same methodology described in the corresponding scientific evidence
Reproducibility
19535996
Her work frequently incorporates technology. But as J.R. Carpenter points out: "Much of Bachmann’s work with technology has been aimed at demystifying it, humanizing it, stripping it down to its essentials, and then hanging stories on those bare bones. She has used bits of yarn to map the internet’s under-sea cables, harnessed the computer loom to 'print' seismic activity, offered giant knitting needles as a user-computer interface." In an article in Canadian Art Magazine Terence Sharpe writes: "Ingrid Bachmann’s work can be read as a mapping of social and technological evolutions. It attempts to harness the alienation of new media
Ingrid Bachmann
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Hahn/Cock Hahn/Cock is a sculpture of a giant blue cockerel by the German artist Katharina Fritsch. It was unveiled in London's Trafalgar Square on 25 July 2013 and was displayed on the vacant fourth plinth. The fibreglass work stood high and was the sixth work to be displayed on the plinth, on which it stayed until 17 February 2015. It was subsequently acquired by Glenstone, a private museum, and exhibited at the National Gallery of Art in Washington, DC, following its 2016 reopening. The work is in an edition of two. The second version is in the sculpture garden of
Hahn/Cock
21642
first version (in the Museum of Modern Art, New York) was completed in 1902, and renamed "La Méditerranée". Maillol, believing that "art does not lie in the copying of nature", produced a second, less naturalistic version in 1905. In 1902, the art dealer Ambroise Vollard provided Maillol with his first exhibition. The subject of nearly all of Maillol's mature work is the female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore, and his serene classicism set a standard for
Aristide Maillol
14227995
and projects are concerned with the construct of ‘space’ and the way it can be planned, experienced and conceptualised in an information age. The attention lies in the relation between architecture, light and advanced technologies. The projects of LAb<nowiki>[</nowiki>au<nowiki>]</nowiki> deal with processes and systems based on different rules. This method is determined by the technological and artistic parameters and qualified by the artists as metadesign. This alliance between theory and practice motivated the group to found the gallery 'MediaRuimte' in the city centre of Brussels in 2003. The gallery work stands for LAb<nowiki>[</nowiki>au<nowiki>]</nowiki>'s typical function as a collaborative art agency
LAb(au)
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of it, should be a hit." Hahn/Cock Hahn/Cock is a sculpture of a giant blue cockerel by the German artist Katharina Fritsch. It was unveiled in London's Trafalgar Square on 25 July 2013 and was displayed on the vacant fourth plinth. The fibreglass work stood high and was the sixth work to be displayed on the plinth, on which it stayed until 17 February 2015. It was subsequently acquired by Glenstone, a private museum, and exhibited at the National Gallery of Art in Washington, DC, following its 2016 reopening. The work is in an edition of two. The second version
Hahn/Cock
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on the Art Institute of Chicago-housed second version rather than the other two versions in the series. Lichtenstein dramatically enlarged the scale of van Gogh's work from 72 cm x 90 cm to 320 cm × 420 cm (130 in × 170 in) and changed the tone from rustic to bourgeois, using Mies van der Rohe-inspired bright yellow Barcelona chairs. In fact, Lichtenstein supposedly worked from a 1993 Vincent van Gogh Calendar that included the Art Institute version. Lichtenstein says that he cleaned up Van Gogh's version and jokes that it would be to Van Gogh's liking, although he notes
Bedroom at Arles
9672475
And forget about stars. Of Atomic's nine announced films, not one has a big-name." In sum, this was an updated version of a Golden Age big studio B unit targeting a market very similar to the one Samuel Z. Arkoff and James H. Nicholson's AIP helped define in the 1950s. Despite its low budgets and consequently low benchmarks for profitability, Fox Atomic's output was seen as unsuccessful by its parent company, which shut it down in 2009. In a development hinted at by the "Variety" quotation above, technological advances are greatly facilitating the production of truly low-budget motion pictures. Although
B movies since the 1980s
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get people to think about the ideas I'm making connections or links between. I personally like work that makes me think so I try to make work to make others think…What obsesses me is not the internet per se but the idea of networks, all sorts of networks, technological (digital, electronic and electrical), social, biological etc. My work is starting to be a networked art rather than net.art, an internet art". Since 2001 curating has been a part of Garrett's practice. Initially curating online net.art works through the "Banner Art Collective", in 2006 he co-founded the sonic arts events "Open
Garrett Lynch
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his primary focus was on photography as art, some of his work raised public awareness of the beauty of the Sierra Nevada and helped to build political support for their protection. Such photography has also had effects in the area of censorship law and free expression, due to its concern with the nude body. There is now a trend toward a careful staging and lighting of the picture, rather than hoping to "discover" it ready-made. Photographers such as Gregory Crewdson, and Jeff Wall are noted for the quality of their staged pictures. Additionally, new technological trends in digital photography have
Fine-art photography
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Age", A.K.Peters, Wellesley, USA, pp. 178–180. Lucie-Smith, Edward (1980), "Art in the Seventies", Phaedon, Oxford. Meecham, Pam and Sheldon, Julie (2000), "Modern Art: A Critical Introduction", Routledge, London. O’Hanrahan, Elaine (2001)(interview) "Intercultural Drawing Practice: the Art School Response" In Jagjit Chuhan, (ed.) (2001), "Responses: Intercultural Drawing Practice", Cornerhouse Publications, Manchester, pp.: 40–47. O’Hanrahan, Elaine (2005), "Drawing Machines: The machine produced drawings of Dr. D. P. Henry in relation to conceptual and technological developments in machine-generated art (UK 1960–1968)". Unpublished MPhil. Thesis. John Moores University, Liverpool. Peiry, Lucienne (1997), "Art Brut- The Origins of Outsider Art", Flammarion, Paris. Popper, Frank (1993),
Desmond Paul Henry
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featuring an overtly phallic spaceship that transported a naked woman, the work was edited, despite the fact that Funkadelic “…was following up two consecutive million-selling records,” while signed to Warner Bros. Ultimately, Bell’s art for "The Electric Spanking of War Babies" was featured with a lime-green sketch of shape covering the majority of the cover art, which says, “Oh Look! The Cover that ‘They’ were TOO-SCARED to print!” Recently, the CD version of the album was reproduced with its original album artwork. In January 1994, artist and publisher Turtel Onli featured Bell as a guest artist at the Second Annual
Pedro Bell
10994790
as a multidisciplinary laboratory embracing experimentally built and published projects as well as theoretical works focusing on the transformation of architecture and its integration with digital space. The vision that technological advancements should establish continuity with the past—instead of creating a fracture—has been expressed in architectural and educational projects, art installations, artwork, furniture and graphic design. Bertol's most recent project ---and work in progress--- is "Sky Spirals", a series of places devoted to sustainable design: the shaping of the landscape based on interesecting spirals follow solar and celestial alignments . Sky Spirals began as a conceptual work based on digital
Daniela Bertol
18842594
Lucas' work has been commissioned by the Dia Art Foundation, and is in the collection of the Museum of Modern Art. Her videos are distributed by Electronic Arts Intermix and her work is represented by Postmasters. Lucas was an Eyebeam resident in 2013. Kristin Lucas Kristin Lucas is a media artist who works in video, performance, installation and on the Internet. Her work explores the impacts of technology on humanity, blurring the boundary between the technological and corporeal. In her work she frequently casts herself as the protagonist in videos and performances where her interactions with technology lead to isolation,
Kristin Lucas
20617376
British Museum in 2013. The exhibition was a surprise success for the British Museum, which extended its run, despite the fact that it had struggled to attract sponsorship. Ice Age Art attracted large visitor numbers and good reviews. Cook used art by Picasso, Degas, Mondrian, and Matisse, as well as work by modern artists such as Ghislaine Howard in combination with Ice Age artefacts to examine the development of western art. Ice Age Art was transformed into a new exhibition called Art in the age of Altamira at the Fundación Botín, Santander in late 2013. The Lampedusa Cross was acquired
Jill Cook
13724832
the phenomenon of Third World multinationals, and developing countries as the exporters of technology. A second interwoven strand of work was on the development of technological capability in developing countries. Technology has generally mystified economists, and in turn, and true to their profession, economic theorists have tended to mystify technology. Lall stands in a fine line of thinkers who have challenged the black-box, reductionist view of technology in economic theorising. In its place, he attempted to develop over time the notion of the construction of technological capability, whether in an enterprise, in a firm, in an industry, or in an
Sanjaya Lall
5925293
which separates the original work of art from the reproduction. He also discusses the ritualization of art-reproduction and the emancipation of "the work of art from its parasitical dependence on ritual." That the social-value of the exhibition of art progressed from the private sphere to the public sphere of life; historically, works of art were for the private viewing and aesthetic enjoyment of the owner of the artefacts (usually High Art); contemporarily, works of art are exhibited in a public gallery, to provide the enjoyment of aesthetic pleasure to a greater number of people. "The Work of Art in the
The Work of Art in the Age of Mechanical Reproduction
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or copy centre where the reproduction is made (Art. 68). Lawful users may also reproduce music and videos for personal, non-commercial use (Art. 71-sexies). Authors and phonograph producers are entitled to remuneration for these activities via levies on recording devices and blank media (Art. 71-septies). Where a work is protected by a technological protection measure, the rights holders are obliged to adopt proper solutions to allow the exercise of certain exceptions and limitations by lawful users on request, where the exercise would not conflict with the normal exploitation of the work or unduly prejudice the rights holder (Art. 71-quinquies). Law
Copyright law of Italy
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College, Sydney, as science and art master in June 1880. On 15 January 1888 Baker was appointed assistant curator to Joseph Henry Maiden at the Technological Museum, and in 1901 succeeded Maiden as curator and economic botanist. In 1902 Baker published an important work, "A Research on the Eucalypts especially in regard to their essential oils", prepared in collaboration with Henry George Smith, second and enlarged edition, 1920. Baker published a small book, "Building and Ornamental Stones of New South Wales" (1908), and, again in collaboration with Henry Smith, another valuable piece of research, "A Research on the Pines of
Richard Thomas Baker
118612
Animation, for example, which involves the display of rapid movement in an art work, is one of these techniques that particularly appeals to younger audiences. The advent of computer-generated imagery (CGI) in the 21st century made it "possible to do spectacle" more cheaply and "on a scale never dreamed of" by Cecil B. DeMille. From the 1930s to 1950s, movies and radio were the "only mass entertainment" but by the second decade of the 21st century, technological changes, economic decisions, risk aversion and globalisation reduced both the quality and range of films being produced. Sophisticated visual effects and CGI techniques,
Entertainment
1469559
World War I was to bring a profound change to Bomberg's outlook. His experiences of its mechanized slaughter and the death of his brother in the trenches — as well as those of his friend Isaac Rosenberg and his supporter T. E. Hulme — permanently destroyed his faith in the aesthetics of the machine age. This can be seen most clearly in his commission for the Canadian War Memorials Fund, "Sappers at Work" (1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version. The artist's book "Russian
David Bomberg