標(biāo)題: Titlebook: Non-Representational Theory and the Creative Arts; Candice P. Boyd,Christian Edwardes Book 2019 The Editor(s) (if applicable) and The Auth [打印本頁] 作者: 粗略 時(shí)間: 2025-3-21 16:45
書目名稱Non-Representational Theory and the Creative Arts影響因子(影響力)
書目名稱Non-Representational Theory and the Creative Arts影響因子(影響力)學(xué)科排名
書目名稱Non-Representational Theory and the Creative Arts網(wǎng)絡(luò)公開度
書目名稱Non-Representational Theory and the Creative Arts網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Non-Representational Theory and the Creative Arts被引頻次
書目名稱Non-Representational Theory and the Creative Arts被引頻次學(xué)科排名
書目名稱Non-Representational Theory and the Creative Arts年度引用
書目名稱Non-Representational Theory and the Creative Arts年度引用學(xué)科排名
書目名稱Non-Representational Theory and the Creative Arts讀者反饋
書目名稱Non-Representational Theory and the Creative Arts讀者反饋學(xué)科排名
作者: BILE 時(shí)間: 2025-3-21 21:18 作者: Cpap155 時(shí)間: 2025-3-22 03:10
Geologic Landscape: A Performance and a Wrecked Mobile Phonetics and feminist materialisms, Vickery reflects on a performance in a stream—the site of flash-flood in Cornwall (UK). This reflection neither precludes thinking landscape in terms of the political consequences of visual representation, nor as performed, subjective process. Using the disruption of 作者: 骯臟 時(shí)間: 2025-3-22 05:47 作者: Corral 時(shí)間: 2025-3-22 09:47 作者: linear 時(shí)間: 2025-3-22 13:57 作者: 很像弓] 時(shí)間: 2025-3-22 20:08
Affecting Objects: The Minor Gesture Within a Performative, Artistic Research Enquiry specific museum objects, fagotti—packages containing the abandoned possessions of former patients of a closed psychiatric hospital. The author recounts the instant of her first encounter with the fagotti when affect, which is non-representational, took place followed by subsequent reflection when c作者: 問到了燒瓶 時(shí)間: 2025-3-22 21:26 作者: 使迷惑 時(shí)間: 2025-3-23 02:06 作者: legitimate 時(shí)間: 2025-3-23 09:20 作者: 盤旋 時(shí)間: 2025-3-23 09:52 作者: 噴出 時(shí)間: 2025-3-23 17:10 作者: stressors 時(shí)間: 2025-3-23 18:30
Creativity, Labour and Captain Cook’s Cottage: From Great Ayton to Fitzroy Gardensy fashioned, though this may have been carried out long ago and far away. In looking at a controversial, contested heritage attraction in Melbourne, Cook’s Cottage, Edensor explores how it materially embodies a relational expression of creativity, one that has been distributed across continents and 作者: POINT 時(shí)間: 2025-3-23 23:14 作者: Annotate 時(shí)間: 2025-3-24 04:33 作者: pester 時(shí)間: 2025-3-24 07:38 作者: 駭人 時(shí)間: 2025-3-24 13:59
Sarah Bennetts à partir des travaux de J.J. Kohn..Lorsque la frontière est strictement pseudo-convexe ou analytique réelle, on constate (cf. Chapitre I) que les problèmes les plus importants sont résolus..Soit donc Ω un domaine de ?. faiblement pseudo-convexe à frontière ?...Ce travail porte sur l‘existence de c作者: 哀悼 時(shí)間: 2025-3-24 17:58
Kaya Barrys à partir des travaux de J.J. Kohn..Lorsque la frontière est strictement pseudo-convexe ou analytique réelle, on constate (cf. Chapitre I) que les problèmes les plus importants sont résolus..Soit donc Ω un domaine de ?. faiblement pseudo-convexe à frontière ?...Ce travail porte sur l‘existence de c作者: Confound 時(shí)間: 2025-3-24 22:59 作者: 壓艙物 時(shí)間: 2025-3-25 01:27
Simon Popes à partir des travaux de J.J. Kohn..Lorsque la frontière est strictement pseudo-convexe ou analytique réelle, on constate (cf. Chapitre I) que les problèmes les plus importants sont résolus..Soit donc Ω un domaine de ?. faiblement pseudo-convexe à frontière ?...Ce travail porte sur l‘existence de c作者: 職業(yè) 時(shí)間: 2025-3-25 05:53 作者: adulterant 時(shí)間: 2025-3-25 10:28 作者: Metamorphosis 時(shí)間: 2025-3-25 14:21
Ruth Raynors à partir des travaux de J.J. Kohn..Lorsque la frontière est strictement pseudo-convexe ou analytique réelle, on constate (cf. Chapitre I) que les problèmes les plus importants sont résolus..Soit donc Ω un domaine de ?. faiblement pseudo-convexe à frontière ?...Ce travail porte sur l‘existence de c作者: 聯(lián)想 時(shí)間: 2025-3-25 18:07 作者: 多樣 時(shí)間: 2025-3-25 20:43 作者: 圓木可阻礙 時(shí)間: 2025-3-26 00:38
Matthew Shepherds à partir des travaux de J.J. Kohn..Lorsque la frontière est strictement pseudo-convexe ou analytique réelle, on constate (cf. Chapitre I) que les problèmes les plus importants sont résolus..Soit donc Ω un domaine de ?. faiblement pseudo-convexe à frontière ?...Ce travail porte sur l‘existence de c作者: 是突襲 時(shí)間: 2025-3-26 06:18
Michelle Duffy,Paul Atkinson,Nichola Woods à partir des travaux de J.J. Kohn..Lorsque la frontière est strictement pseudo-convexe ou analytique réelle, on constate (cf. Chapitre I) que les problèmes les plus importants sont résolus..Soit donc Ω un domaine de ?. faiblement pseudo-convexe à frontière ?...Ce travail porte sur l‘existence de c作者: 廢止 時(shí)間: 2025-3-26 08:56 作者: 笨拙的你 時(shí)間: 2025-3-26 12:51
https://doi.org/10.1007/978-981-13-5749-7non-representational theory; creative arts; new materialisms; situated art practice; creative geographie作者: 諂媚于性 時(shí)間: 2025-3-26 19:22
Candice P. Boyd,Christian EdwardesFills a significant gap in the literature by bringing together images, theatre scripts, reflections on performances, artistic practices or music production alongside academic texts that consider both 作者: Irritate 時(shí)間: 2025-3-27 00:41 作者: Cholagogue 時(shí)間: 2025-3-27 04:31 作者: 疾馳 時(shí)間: 2025-3-27 06:14
Affecting Objects: The Minor Gesture Within a Performative, Artistic Research Enquiry psychiatric system. The final artwork—a four-channel video installation produced through embodied enactments—is described as oscillating between, and contributing to, both non-representational and representational modes of ‘knowing’, which itself provides an affective encounter for the viewer.作者: 異端邪說下 時(shí)間: 2025-3-27 11:30 作者: 刀鋒 時(shí)間: 2025-3-27 16:21 作者: condemn 時(shí)間: 2025-3-27 20:35
Queerly Feeling Art in Public: The Gay Liberation Mo(nu)mentaradox that is part and parcel of translating observation of public artwork in both research practice and research output. The analysis also draws attention to the transformative potential of rendering situated experimental research as a public work of art in and of itself.作者: abduction 時(shí)間: 2025-3-27 23:49
Making Theatre That Matters: Troubling Subtext, Motive and Intuition materialities and imaginaries falling together and worked together through playwriting practice. Fragments of discarded script, characters’ thoughts, notes from collaborators, and Raynor’s own memories and reflections are re-formed in a trace of the ‘creative’ process, which seeks to open dialogue with its reader.作者: 逃避系列單詞 時(shí)間: 2025-3-28 05:54 作者: PAC 時(shí)間: 2025-3-28 06:19
“Call That Art? I Call It Bad Eyesight”: , or , in the Context of Responsive Art Practicetexts. A focus on context is a focus on . rather than on . Loitering with intent in a series of vignettes she invites you to “vade mecum … .” as she revisits past projects in an attempt to re-present experiential complexities . practice through narrative c/.ographies.作者: conceal 時(shí)間: 2025-3-28 14:00
Forward Back Together, and the Materialities of Taking Partng part, and in what ways this transforms our understanding of what constitutes a ‘public’ for public art. These themes are discussed in relation to Pope’s research that explores the ways that participatory modes of contemporary art can produce hybrid more-than-human social worlds.作者: committed 時(shí)間: 2025-3-28 14:41
Where Does ‘Your’ Space End and the Next Begin? Non-Representational Geographies of Improvised Perfoeat these practices reductively but to highlight the ways in which an attunement to the non-representational is at the heart of the work. The chapter is infused throughout with references to philosophical thought that go only part way to elucidating what is intuitively felt and realised by performers through creative acts of improvisation.作者: LUDE 時(shí)間: 2025-3-28 22:33
Creativity, Labour and Captain Cook’s Cottage: From Great Ayton to Fitzroy Gardensook’s Cottage, Edensor explores how it materially embodies a relational expression of creativity, one that has been distributed across continents and eras, but as with other elements of the built environment, a labour that is integral to the ongoing emergence of the city.作者: 無底 時(shí)間: 2025-3-28 23:27
Attuning to the Geothermal Urban: Kinetics, Cinematics, and Digital Elementalityhapter, Shepherd outlines a methodological approach that engages digital video to attune to and apprehend the elementality of the geothermal urban. It outlines how walking, via the concept of ., can combine with digital video technologies to produce valuable materials for orienting a researcher within geologic and urban phenomena.作者: BOGUS 時(shí)間: 2025-3-29 06:22
Book 2019oing so, it fills a significant gap in the already sizeable body of non-representational discourse by bringing together images and reflections on performances, art practice, theatre, dance, and sound production alongside theoretical contributions and examples of creative writing.? It considers how c作者: 功多汁水 時(shí)間: 2025-3-29 08:22
Geo/Graphic Designdesigned using a geo/graphic design process. Drawing on theory and practice from cultural geography and graphic design, work of a geo/graphic nature offers the reader an individual, interactive and multisensory experience that reflects contemporary geographic conceptualisations of place.作者: 愛哭 時(shí)間: 2025-3-29 12:29 作者: 充滿人 時(shí)間: 2025-3-29 19:29
Circadian Rhythms, Sunsets, and Non-Representational Practices of Time-Lapse Photographyiscussed in which the sensations and relations between one’s body, the motion of the time-lapse photographs, and the planetary movements of the sun setting and rising become entangled in a non-representational account of these bodily environmental adjustments.作者: Charitable 時(shí)間: 2025-3-29 22:53
Material Conditions in the Post-Human Cityd art-historical catalysts; the terms and concepts that located and guided his art-geography practice; and contemporary art precedents that informed his methodological experimentation. The chapter culminates with documentation of the installed, resolved artwork.作者: Cardiac-Output 時(shí)間: 2025-3-30 01:17 作者: CRP743 時(shí)間: 2025-3-30 06:28 作者: 毗鄰 時(shí)間: 2025-3-30 09:02
practitioners in the creative arts and, across its four sections, demonstrates the potential for non-representational theory to bring cultural geography and contemporary art closer than ever before..978-981-13-5749-7作者: Ruptured-Disk 時(shí)間: 2025-3-30 16:02
Sarah Bennett:.Ce résultat est à rapprocher de celui de J.J. Kohn dans (14) où aucune hypothèse sur le rang de la forme de Lévi n‘est faite mais où l‘on suppose qu‘elle est diagonable localement..Dans un article récent (5), David Catlin a établi qu‘à un point de sous-ellipticité les ordres de contact avec δΩ des作者: FLACK 時(shí)間: 2025-3-30 16:44 作者: 對手 時(shí)間: 2025-3-30 21:12
Annie Lovejoy:.Ce résultat est à rapprocher de celui de J.J. Kohn dans (14) où aucune hypothèse sur le rang de la forme de Lévi n‘est faite mais où l‘on suppose qu‘elle est diagonable localement..Dans un article récent (5), David Catlin a établi qu‘à un point de sous-ellipticité les ordres de contact avec δΩ des作者: 半球 時(shí)間: 2025-3-31 02:47 作者: 火海 時(shí)間: 2025-3-31 07:34
Candice P. Boyd,with Yan Yang,Juana Beltrán,Clinton Green,Jordan White,Carmen Chan Schoenborn,Elnaz :.Ce résultat est à rapprocher de celui de J.J. Kohn dans (14) où aucune hypothèse sur le rang de la forme de Lévi n‘est faite mais où l‘on suppose qu‘elle est diagonable localement..Dans un article récent (5), David Catlin a établi qu‘à un point de sous-ellipticité les ordres de contact avec δΩ des作者: 迎合 時(shí)間: 2025-3-31 13:10
:.Ce résultat est à rapprocher de celui de J.J. Kohn dans (14) où aucune hypothèse sur le rang de la forme de Lévi n‘est faite mais où l‘on suppose qu‘elle est diagonable localement..Dans un article récent (5), David Catlin a établi qu‘à un point de sous-ellipticité les ordres de contact avec δΩ des作者: Lime石灰 時(shí)間: 2025-3-31 15:27 作者: ARCHE 時(shí)間: 2025-3-31 19:57 作者: 罐里有戒指 時(shí)間: 2025-3-31 23:21
