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    دورية أكاديمية
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    دورية أكاديمية

    المصدر: 9 Arte (São Paulo); 2023: Dossiê das 7as Jornadas Internacionais de Histórias em Quadrinhos; e219551 ; 9ª Arte (São Paulo); 2023: Dossiê das 7as Jornadas Internacionais de Histórias em Quadrinhos; e219551 ; 2316-9877

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    دورية أكاديمية

    المصدر: Voluntas: International Journal of Philosophy; Bd. 14 Nr. 2 (2023): Dossiê Catástrofe ; e85574 ; Voluntas: International Journal of Philosophy; Vol. 14 No. 2 (2023): Catastrophe Dossier; e85574 ; Voluntas: International Journal of Philosophy; Vol. 14 Núm. 2 (2023): Dossiê Catástrofe ; Voluntas: International Journal of Philosophy; Vol. 14 No 2 (2023): Dossiê Catástrofe ; Voluntas: International Journal of Philosophy; V. 14 N. 2 (2023): Dossiê Catástrofe ; Voluntas: Revista Internacional de Filosofia; v. 14 n. 2 (2023): Dossiê Catástrofe ; 2179-3786

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    دورية أكاديمية

    المصدر: Schème: Revista Eletrônica de Psicologia e Epistemologia Genéticas; v. 15 n. 2 (2023); 5-44 ; Schème: Revista Eletrônica de Psicologia e Epistemologia Genéticas; Vol. 15 No. 2 (2023); 5-44 ; Schème: Revista Eletrônica de Psicologia e Epistemologia Genéticas; Vol. 15 Núm. 2 (2023); 5-44 ; 1984-1655

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    دورية أكاديمية

    المؤلفون: Arriagada, Leonardo

    المصدر: Estudios Artísticos; Vol. 10 No. 16 (2024): Enero-Junio 2024; 142-158 ; Estudios Artísticos; Vol. 10 Núm. 16 (2024): Enero-Junio 2024; 142-158 ; 2500-9311 ; 2500-6975

    وصف الملف: application/pdf

    العلاقة: https://revistas.udistrital.edu.co/index.php/estart/article/view/21833/19903Test; Arriagada, L. (2021). Artistas mecánicos: Una mirada a la capacidad estética de máquinas y algoritmos desde la música pop y el pop art [Mechanical Artists: A Look at The Aesthetic Capability of Machines and Algorithms from Pop Music and Pop Art]. Calle 14 revista de investigación en el campo del arte, 16(29), 54–66. https://doi.org/10.14483/21450706.17401Test; Arriagada, L. (2023). CG-art: An aesthetic discussion of the relationship between artistic creativity and computation [University of Groningen]. https://doi.org/10.33612/diss.693764937Test; Bruno, G. (2014). Surface: Matters of Aesthetics. The University of Chicago Press.; Cacioppo, J. T., Petty, R. E., Losch, M. E., & Kim, H. S. (1986). Electromyographic activity over facial muscle regions can differentiate the valence and intensity of affective reactions. Journal of Personality and Social Psychology, 50(2), 260–268. https://doi.org/10.1037/0022-3514.50.2.260Test; Chamberlain, R., Mullin, C., Scheerlinck, B., & Wagemans, J. (2018). Putting the art in artificial: Aesthetic responses to computer-generated art. Psychology of Aesthetics, Creativity, and the Arts, 12(2), 177–192. https://doi.org/10.1037/aca0000136Test de Vries, K. (2020). You never fake alone. Creative AI in action. Information, Communication & Society, 23(14), 2110–2127. https://doi.org/10.1080/1369118X.2020.1754877Test; Dickie, G. (1969). Defining Art. American Philosophical Quarterly, 6(3), 253–256. JSTOR. Doherty, R. W. (1997). The Emotional Contagion Scale: A Measure of Individual Differences. Journal of Nonverbal Behavior, 21(2), 131–154. https://doi.org/10.1023/A:1024956003661Test; Dubal, S., Lerebours, A.-E., Taffou, M., Pelletier, J., Escande, Y., & Knoblauch, K. (2014). A Psychophysical Exploration of the Perception of Emotion from Abstract Art. Empirical Studies of the Arts, 32(1), 27–41. https://doi.org/10.2190/EM.32.1.EOV.4Test; Eisner, L. H. (1952). L’écran démoniaque: Influence de Max Reinhardt et de l’expressionnisme [The Haunted Screen Expressionism in the German Cinema and the Influence of Max Reinhardt]. Bonne.; Eisner, L. H. (2009). The haunted screen: Expressionism in the German cinema and the influence of Max Reinhardt (2. paperback ed., [Repr.]). Univ. of California Press. Elgammal, A., Liu, B., Elhoseiny, M., & Mazzone, M. (2017). CAN: Creative Adversarial Networks, Generating “Art” by Learning About Styles and Deviating from Style Norms. arXiv:1706.07068 [Cs]. http://arxiv.org/abs/1706.07068Test; Esrock, E. J. (2018). Einfühlung as the breath of art: Six modes of embodiment. Cognitive Processing, 19(2), 187–199. https://doi.org/10.1007/s10339-017-0835-4Test; Folgieri, R., Lucchiari, C., Granato, M., & Grechi, D. (2014). Brain, Technology and Creativity. Unveiling the Creation of AI-Generated Artworks: Broadening Worringerian Abstraction and Empathy / Leonardo Arriagada 157 BrainArt: A BCI-Based Entertainment Tool to Enact Creativity and Create Drawing from Cerebral Rhythms. In N. Lee (Ed.), Digital Da Vinci (pp. 65–97). Springer New York. http://link.springerTest. com/10.1007/978-1-4939-0965-0_4; Freedberg, D., & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience. Trends in Cognitive Sciences, 11(5), 197–203. https://doi.org/10.1016/j.tics.2007.02.003Test; Gallese, V. (2001). The “Shared Manifold” Hypothesis: From Mirror Neurons to Empathy. Journal of Consciousness Studies, 8(5–7), 33–50. Ganczarek, J., Hünefeldt, T., & Olivetti Belardinelli, M. (2018). From “Einfühlung” to empathy: Exploring the relationship between aesthetic and interpersonal experience. Cognitive Processing, 19(2), 141–145. https://doi.org/10.1007/s10339-018-0861-xTest; Gangadharbatla, H. (2022). The Role of AI Attribution Knowledge in the Evaluation of Artwork. Empirical Studies of the Arts, 40(2), 125–142. https://doi.org/10.1177/0276237421994697Test; Gao, H. -l, & Zheng, B. -z. (2019). Human-Machine Integration: A Philosophical Analysis Based on McLuhan Media Theory and Traditional Chinese Culture. 21st Century Ethics Research, 36–49. https://doi.org/10.24546/81011206Test; Gelernter, D. (2009, February). The Gothic Vision. American Enterprise Institute - AEI. https://www.aei.org/articles/the-gothic-visionTest/; German, K., Limm, M., Wölfel, M., & Helmerdig, S. (2019). Towards Artificial Intelligence Serving as an Inspiring Co-Creation Partner. EAI Endorsed Transactions on Creative Technologies, 6(19), 1–11. https://doi.org/10.4108/eai.2642019.162609Test; Gernot, G., Pelowski, M., & Leder, H. (2018). Empathy, Einfühlung, and aesthetic experience: The effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR. Cognitive Processing, 19(2), 147–165. https://doi.org/10.1007/s10339-017-0800-2Test; Hill, L. (2022). Jung’s Reception of Picasso and Abstract Art (1st ed.). Routledge. https://www.taylorfrancis.com/books/9781003222729Test; Lang, P. J., Greenwald, M. K., Bradley, M. M., & Hamm, A. O. (1993). Looking at pictures: Affective, facial, visceral, and behavioral reactions. Psychophysiology, 30(3), 261–273. https://doi.org/10.1111/j.1469-8986.1993.tb03352.xTest; Lanzoni, S. (2009). Practicing psychology in the art gallery: Vernon Lee’s aesthetics of empathy. Journal of the History of the Behavioral Sciences, 45(4), 330–354. https://doi.org/10.1002/jhbs.20395Test; Lanzoni, S. (2012). Empathy in Translation: Movement and Image in the Psychological Laboratory. Science in Context, 25(3), 301–327. https://doi.org/10.1017/S0269889712000154Test; Lipps, T. (1903). Ästhetik: Psychologie des Schönen und der Kunst [Aesthetics: Psychology of Beauty and Art]. Voss. Mäki-Reinikka, K. (2018, May 1). Cave Paintings for the AI: Art in the Age of Singularity. Politics of the Machines - Art and After. https://doi.org/10.14236Test/ ewic/EVAC18.13; McLuhan, M. (1994). Understanding media: The extensions of man (1st MIT Press ed). MIT Press. Mikalonytė, E. S., & Kneer, M. (2021). Can Artificial Intelligence Make Art? (SSRN Scholarly Paper ID 3827314). Social Science Research Network. https:// papers.ssrn.com/abstract=3827314; Mordvintsev, A., Olah, C., & Tyka, M. (2015, June 17). Inceptionism: Going Deeper into Neural Networks. Google AI Blog. http://ai.googleblog.com/2015/06Test/ inceptionism-going-deeper-into-neural.html; Öhlschläger, C. (2015). Introdución [Introduction]. In Abstracción y naturaleza: Una contribución a la psicología del estilo [Abstraction and empathy: A contribution to the psychology of style] (Kindle ed.). Fondo de Cultura Económica. Persson, I., & Savulescu, J. (2018). The Moral Importance of Reflective Empathy. Neuroethics, 158 Estudios Artísticos: revista de investigación creadora 11(2), 183–193. https://doi.org/10.1007/s12152-017-9350-7Test; Rabazas, A. (2002). Pequena elucidación sobre o proxectar [A Short Elucidation on Projecting]. Eduga: revista galega do ensino, 36, 113–139. Read, H. (1948). Art now: An introduction to the theory of modern painting and sculpture (Revised and enlarged ed.-i.e. 3rd ed.). Faber and Faber.; Rekimoto, J. (2019). Homo Cyberneticus: The Era of Human-AI Integration. arXiv:1911.02637 [Cs]. http:// arxiv.org/abs/1911.02637 Titchener, E. B. (1909). Lectures on the experimental psychology of the thought-processes. The Macmillan. Vilchez, J. L., & Michay Valarezo, W. L. (2020). Quantifying the extraction of art meaning: No laterality effect. Neuropsychiatria i Neuropsychologia, 15(3–4), 101–107. https://doi.org/10.5114/nan.2020.101292Test; Vischer, R., Mallgrave, H. F., & Ikonomou, E. (1994). Empathy, form, and space: Problems in German aesthetics, 1873-1893. Worringer, W. (1907). Abstraktion und Einfühlung: Ein Beitrag zur Stilpsychologie [Abstraction and empathy: A contribution to the psychology of style].; Worringer, W. (1997). Abstraction and empathy: A contribution to the psychology of style (1st Elephant pbk. ed). Ivan R. Dee. Zepke, S. (2005). Art as abstract machine: Ontology and aesthetics in Deleuze and Guattari. Routledge; https://revistas.udistrital.edu.co/index.php/estart/article/view/21833Test

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    كتاب

    المساهمون: Sá, Alexandre Franco de, Santos, Ana Morais dos, Mesquita, António Pedro, Ferro, Bernardo, Ferrer, Diogo Falcão, Henriques, Fernanda, Borges Duarte, Irene, Braga, Joaquim, Meirinhos, José, Carvalho, Mário Santiago de, Diogo, João Emanuel, Instituto de Estudos Filosóficos, Fundação para a Ciência e a Tecnologia, Ministério da Ciência, Tecnologia e Ensino Superior, Rosa, José Silva, Miranda, Margarida, Carvalho, Mário Jorge de, Dias, Paula Barata, Calafate, Pedro, Miguens, Sofia, Moura, Vitor, Parracho, Francisco

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