標(biāo)題: Titlebook: Research-Based Art Practices in Southeast Asia; The Artist as Produc Caroline Ha Thuc Book 2022 The Editor(s) (if applicable) and The Autho [打印本頁(yè)] 作者: affront 時(shí)間: 2025-3-21 16:09
書(shū)目名稱Research-Based Art Practices in Southeast Asia影響因子(影響力)
書(shū)目名稱Research-Based Art Practices in Southeast Asia影響因子(影響力)學(xué)科排名
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書(shū)目名稱Research-Based Art Practices in Southeast Asia網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Research-Based Art Practices in Southeast Asia被引頻次
書(shū)目名稱Research-Based Art Practices in Southeast Asia被引頻次學(xué)科排名
書(shū)目名稱Research-Based Art Practices in Southeast Asia年度引用
書(shū)目名稱Research-Based Art Practices in Southeast Asia年度引用學(xué)科排名
書(shū)目名稱Research-Based Art Practices in Southeast Asia讀者反饋
書(shū)目名稱Research-Based Art Practices in Southeast Asia讀者反饋學(xué)科排名
作者: 難聽(tīng)的聲音 時(shí)間: 2025-3-21 23:45 作者: GLEAN 時(shí)間: 2025-3-22 04:20 作者: 游行 時(shí)間: 2025-3-22 06:57 作者: Ballerina 時(shí)間: 2025-3-22 11:45 作者: 送秋波 時(shí)間: 2025-3-22 13:27 作者: Ascendancy 時(shí)間: 2025-3-22 17:05 作者: 嘮叨 時(shí)間: 2025-3-22 21:13 作者: 事物的方面 時(shí)間: 2025-3-23 01:54
Caroline Ha Thuces. Lastly, the third part briefly introduces theoretical tools for GAs, the intersections and hybridizations with machine learning, and highlights selected promising applications..978-3-319-84834-1978-3-319-52156-5Series ISSN 1860-949X Series E-ISSN 1860-9503 作者: Deceit 時(shí)間: 2025-3-23 08:16
Caroline Ha Thuces. Lastly, the third part briefly introduces theoretical tools for GAs, the intersections and hybridizations with machine learning, and highlights selected promising applications..978-3-319-84834-1978-3-319-52156-5Series ISSN 1860-949X Series E-ISSN 1860-9503 作者: Limerick 時(shí)間: 2025-3-23 11:58 作者: Gratulate 時(shí)間: 2025-3-23 15:45
This book seeks to demonstrate the emancipatory dimension of these practices, which contribute to opening up our conceptions of knowledge and of art, bestowing a new and promising role to the artists within the society.978-3-031-09583-2978-3-031-09581-8作者: 去才蔑視 時(shí)間: 2025-3-23 19:16
Book 2022ndings is exhibited as an artwork and is not published or presented in an academic format. This book seeks to demonstrate the emancipatory dimension of these practices, which contribute to opening up our conceptions of knowledge and of art, bestowing a new and promising role to the artists within the society.作者: 阻撓 時(shí)間: 2025-3-24 00:31 作者: 蟄伏 時(shí)間: 2025-3-24 03:45
Research-based Art Practices: Context and Framework,knowledge that has long been neglected, and to local authoritarian systems that continuously reconfigure these previous models according to various political agendas. Ultimately, research-based art practices propose original conceptions of art and knowledge in which cognition and aesthetics mutually作者: epidermis 時(shí)間: 2025-3-24 07:29
The Artist-Researcher,aterial for art and the creative convergence that arises between the artists’ research findings and their artistic language. In particular, some artists express the possibility of transcending the entanglement of academic and empirical forms of knowledge thanks to imagination, resulting in an extrao作者: Exclaim 時(shí)間: 2025-3-24 11:05
,Research as Strategy: Reactivating Mythologies in Wah Nu and Tun Win Aung’s , Series (2008–),ols, the non-didactic installation resembles a monument where visitors experience a quasi-religious ritual that re-actualises a myth of resistance and freedom. After analysing the artists’ drive and their research process, this chapter questions the nature, impact and ambiguities of the artistic for作者: Ptsd429 時(shí)間: 2025-3-24 18:26
,Beyond the Artist’s Discourse: Implicit and Sensuous Knowledge in Khvay Samnang’s , (2017),inhabit the world and to approach what Philippe Descola called an anthropology of nature. At once resisting and transcending any discursive approach, and instead of directly shedding light on the specific Chong community, the work opens a path towards an expanded form of knowledge, elusive, sensuous作者: 簡(jiǎn)略 時(shí)間: 2025-3-24 19:58 作者: 南極 時(shí)間: 2025-3-25 00:11 作者: MURAL 時(shí)間: 2025-3-25 05:07 作者: Flawless 時(shí)間: 2025-3-25 11:33 作者: 譏諷 時(shí)間: 2025-3-25 14:17
Caroline Ha ThucAnalyses the issues at stake behind research-based art practices in Southeast Asia.Approaches these art practices critically and clarifies their innovative combination of aesthetics and cognition.Shed作者: 有機(jī)體 時(shí)間: 2025-3-25 16:40
Book 2022nt of academic and artistic research; in short, the Why, When, What and How of research-based art practices in the region.?In Southeast Asia, artists are increasingly engaged in research-based art practices involving academic research processes. They work as historians, archivists, archaeologists or作者: 輕浮女 時(shí)間: 2025-3-25 22:36
Introduction,sts or sociologists in order to produce knowledge and/or to challenge the current established systems of knowledge production, whether those knowledge systems consist of Western academic frameworks or of the local official narratives modelled on authoritarian ideologies. As artists, they are in a po作者: 強(qiáng)所 時(shí)間: 2025-3-26 02:00
Research-based Art Practices: Context and Framework,gies and in their artistic forms. This chapter identifies their main features and their specificities in the Southeast Asian context. As they derive from the artists’ desire to learn, generate and disseminate knowledge, these practices develop against the backdrop of the larger debate that questions作者: Vertical 時(shí)間: 2025-3-26 06:49 作者: entail 時(shí)間: 2025-3-26 11:28
The Artist-Researcher,the sociologist and other social scientists. As an example, this chapter focuses on the discipline of history. It highlights how the artistic methodology, while it challenges critically the academic sphere, also supplements its perspective. The artists are often active in breaking up the given chain作者: 繼而發(fā)生 時(shí)間: 2025-3-26 16:41
,The Artist as a Producer of Knowledge: Cultural Activism in Tiffany Chung’s , (2009–),ative and complex integration of scholarly research in her long-term series .. Begun in 2009, the project consists of an assemblage of cartographic works, archival materials, collaborative watercolour paintings, videos and texts based on the artist’s extensive research relating to the massive flux o作者: 最低點(diǎn) 時(shí)間: 2025-3-26 20:03
,Research as Strategy: Reactivating Mythologies in Wah Nu and Tun Win Aung’s , Series (2008–),aphs, this sound and image installation features 33 portraits of important Burmese figures who lived between the first Anglo-Burmese War (1824–1826) and the independence of the country (1948). Created as the outcome of the artists’ deep historical research on the colonial period, the series aims at 作者: META 時(shí)間: 2025-3-26 21:32
,Beyond the Artist’s Discourse: Implicit and Sensuous Knowledge in Khvay Samnang’s , (2017),eat number of Cambodian artists have developed art practices based on research and fieldwork. . (2017) by Khvay Samnang is typical of this trend. An installation consisting of eleven animal masks and a two-channel 18-minute film, it features traditional dancer Rady Nget dancing in the midst of the r作者: 不自然 時(shí)間: 2025-3-27 04:17 作者: Contracture 時(shí)間: 2025-3-27 08:02 作者: 農(nóng)學(xué) 時(shí)間: 2025-3-27 09:46
heir innovative combination of aesthetics and cognition.ShedThis book is the first overall study of research-based art practices in Southeast Asia. Its objective is to examine the creative and mutual entanglement of academic and artistic research; in short, the Why, When, What and How of research-ba作者: 不斷的變動(dòng) 時(shí)間: 2025-3-27 15:27
Birth of a New Art Language,cy towards research-based processes. There are obviously differences between countries, but a common feature to all is the desire to learn, to generate and transmit knowledge, with the aim to emancipate oneself from established systems of knowledge.作者: 舊病復(fù)發(fā) 時(shí)間: 2025-3-27 19:08
Conclusion,knowing itself, the hierarchy of knowledges and the conventional modes of knowledge production at large. In all cases, these practices contribute to a liberating process that opens up our conceptions of knowledge and of art.作者: 草率女 時(shí)間: 2025-3-27 23:08
,The Artist as a Producer of Knowledge: Cultural Activism in Tiffany Chung’s , (2009–),, filling the gaps in knowledge and contributing to a plural and holistic understanding of its scope. By shedding light on the singularities of each individual story, it opposes stereotypes and conveys the humanity of the refugees, who are too often perceived negatively and only approached as a homogeneous community.作者: 我不死扛 時(shí)間: 2025-3-28 03:18
on of the financial and economic crisis of 2007–2010. The sole point of unanimity appears to be rejection of the bailout. Even this rallying point may be questionable, because authors in favour of the bailout remained almost invisible for that very reason. Rather than produce strong articles in supp作者: opprobrious 時(shí)間: 2025-3-28 09:46
Caroline Ha Thucon of the financial and economic crisis of 2007–2010. The sole point of unanimity appears to be rejection of the bailout. Even this rallying point may be questionable, because authors in favour of the bailout remained almost invisible for that very reason. Rather than produce strong articles in supp作者: 紋章 時(shí)間: 2025-3-28 11:16 作者: 大笑 時(shí)間: 2025-3-28 14:58
