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1 process art
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2 process art
Большой англо-русский и русско-английский словарь > process art
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3 process art
[͵prəʋsesʹɑ:t] -
4 process art
[ˌprəʊses'ɑːt]Общая лексика: концептуальное искусство (род абстракционизма) -
5 process art
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x. 개념 예술 -
8 Process art
"искусство процесса"Разновидность концептуального абстрактного искусства (в США получила распространение в 1960-70-е), в которой предметом художественного произведения является сам процесс его создания (или разрушения). Художники достигают нужного эффекта за счет использования нестойких материалов: льда, текучих вязких смол (И. Хессе [Hesse, Eva]), жидких красок, воды, испаряющейся и конденсирующейся под влиянием изменения температуры в помещении (Х. Хааке [Haacke, Hans]), или снимают на кино- или видеопленку процесс своей работыEnglish-Russian dictionary of regional studies > Process art
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9 art
1. искусство2. ремесло3. искусство травленияmartial art — "искусство боя"
4. искусство гравирования5. офортная манераbase art — чёрно-белый оригинал, воспроизводимый чёрной краской на многокрасочном оттиске
6. переплётное делоstate of the art — современное состояние, положение дел
7. искусство переплётаCAD generated art — машинный оригинал, выполненный в системе автоматизированного проектирования
camera-ready art — оригинал, подготовленный к фотографированию
comp art — машинный оригинал; оригинал, выполненный с помощью ЭВМ
8. графическое искусство, графика9. изобразительный оригиналkey art — чёрно-белый оригинал, воспроизводимый чёрной краской на многокрасочном оттиске
10. рисование пером и тушьюcalendar art — рисунки, рассчитанные на мещанский вкус; сентиментальные или вульгарно-комические рисунки
11. графический оригинал, выполненный пером и тушьюboard art — оригинал, смонтированный на картоне
reproducible art — оригинал, пригодный для репродуцирования
12. полиграфия13. полиграфическое искусство, искусство книгопечатания14. фотокопия, используемая в качестве оригинала15. оригинал, пригодный для репродуцирования16. печатное дело17. типографское искусство18. видеоживопись19. машинный изобразительный оригиналart printing office — типография, выпускающая изобразительные издания
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10 Art
1. n Арт2. n искусство3. n изобразительное искусствоmartial art — «искусство боя»
4. n гуманитарные наукиstate of art — уровень развития науки на; данном этапе
5. n искусства6. n обыкн. ремёсла7. n умение, искусство, мастерство8. n обыкн. l9. n хитрость, коварство10. n колдовство, магия11. n спец. дизайн12. n полигр. собир. иллюстративный материал13. n сл. фотографии разыскиваемых преступников14. n сл. обыкн. фотографии красоток, обнажённых, или знаменитостейart is long, life is short — жизнь коротка, искусство вечно
15. a художественный16. a относящийся к искусству,art brut — «сырое искусство»; непрофессиональное искусство
17. a театр. кино некоммерческий; экспериментальный18. a профессиональный; классическийword of art — профессиональный термин; специальный термин; юридический термин
Синонимический ряд:1. aptitude (noun) ability; adroitness; aptitude; artistry; dexterity; expertise; finesse; genius; imagination; inventiveness; knack; know-how; mastery; talent; virtuosity2. artfulness (noun) artfulness; artifice; cageyness; canniness; craftiness; cunning; deceit; deception; dishonesty; duplicity; foxiness; guile; slyness; wiliness3. the arts (noun) humanities; liberal arts; the arts4. trade (noun) calling; craft; handicraft; metier; profession; skill; technique; trade; vocation5. work of art (noun) description; illustration; imitation; modeling; painting; portrayal; representation; shaping; work of artАнтонимический ряд:incompetence; ineptitude; science -
11 art
2) отрасль знаний; дисциплина4) способ, метод, процесс5) искусство; ремесло•- art of process
- art of record
- analogous art
- analogous art area
- anticipatory art
- applied graphic art
- available prior art
- commercial art
- crowded art
- functional art
- graphic arts
- line art
- nonanalogous art
- old art
- pertinent art
- prior art
- reconstruction prior art
- typographic art
- visual arts
- useful arts* * *область техники; отрасль знаний; дисциплина -
12 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
13 Art
The concept of the primary process as the archaic, wholly irrational function of the deep unconscious, is now undergoing drastic revision. This revision, in Marion Milner's words, is due partly to the need for accommodating the facts of art. These facts suggest forcibly that the undifferentiated matrix is technically far superior to the narrowly focused conscious processes, if only because of its wider focus that can comprehend serial structures irrespective of their order in time and space. There is little that is primitive or infantile about Schoenberg's mastery in handling a theme without regard to its sequence in time. (Ehrenzweig, 1967, pp. 260-261)Historical dictionary of quotations in cognitive science > Art
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14 art of process
Патенты: способ, средство получения (средство или способ, нацеленные на получение физического результата, достижение которого не зависит от какого-л. механизма или механической комбинации) -
15 art of process
средство получения (средство или способ, нацеленные на получение физического результата, достижение которого не зависит от какого-л. механизма или механической комбинации)* * *средство получения (средство пли способе имеющие целью получение физического результата, достижение которого не зависит от какого-либо механизма или механической комбинации) -
16 art of process
PATENT TERMS ТНТ №006средство получения (средство пли способе имеющие целью получение физического результата, достижение которого не зависит от какого-либо механизма или механической комбинации) -
17 mode of process
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18 general agreement on tariffs and trade
- генеральное соглашение по тарифам и торговле (ГАТТ)
- генеральное соглашение по тарифам и торговле
- генеральное соглашение о тарифах и торговле
генеральное соглашение о тарифах и торговле
ГАТТ
Торговый договор, действующий с 1948 г., к которому присоединились 95 стран, а еще 28 государств применяют его правила де-факто. Таким образом, правила ГАТТ регулируют приблизительно 90 % мировой торговли. Целью ГАТТ является расширение мировой торговли и обеспечение постоянного форума для решения возникающих в этой связи проблем. Особое внимание уделяется внешнеторговым проблемам развивающихся стран. В ходе Токийского раунда (Tokyo round), завершившегося в 1979 г., были достигнуты договоренности о снижении многих тарифов, о мерах нетарифного ограничения импорта и о пересмотре правил применения антидемпинговых мер. В ходе Уругвайского раунда (Uruguay round), начавшегося в 1986 г., ведутся переговоры о нетарифных мерах, субсидиях, гарантиях и т.д. Уругвайский раунд несколько раз заходил в тупик в 1991 и 1992 гг. Штаб-квартира ГАТТ находится в Женеве.
[ http://www.vocable.ru/dictionary/533/symbol/97]Тематики
Синонимы
EN
генеральное соглашение по тарифам и торговле
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[ http://www.iks-media.ru/glossary/index.html?glossid=2400324]Тематики
- электросвязь, основные понятия
EN
генеральное соглашение по тарифам и торговле
ГАТТ
Международное соглашение, подписанное в 1947 г., которое использовалось в качестве основы международной организацией, устанавливающей торговые правила, до его замены ВТО. Пересмотренные Генеральные соглашения настоящее время представляют собой соглашение о ВТО, регулирующее торговлю товарами (ГАТТ-1994). 3 статьи ГАТТ взяты за основу для переговоров по упрощению торговли в переговорном процессе ВТО: ст. V (свободный транзит); ст. VIII (оплата и формальности); и ст. X (публикация всех торговых правил)
[Упрощение процедур торговли: англо-русский глоссарий терминов (пересмотренное второе издание) НЬЮ-ЙОРК, ЖЕНЕВА, МОСКВА 2011 год]EN
general agreement on tariffs and trade
GATT
An international agreement, signed in 1947, which acted as the basis for an international trade rules-based organization before it was replaced by the WTO. An updated General Agreement is now the WTO agreement governing trade in goods (GATT 1994). Three GATT articles are taken as the basis for trade facilitation negotiations in the WTO negotiation process: art. V (freedom of transit); art. VIII (fees and formalities); and art. X (publication of all trade rules)
[Trade Facilitation Terms: An English - Russian Glossary (revised second edition) NEW YORK, GENEVA, MOSCOW 2450]Тематики
Синонимы
EN
Англо-русский словарь нормативно-технической терминологии > general agreement on tariffs and trade
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19 GATT
генеральное соглашение по тарифам и торговле
ГАТТ
Международное соглашение, подписанное в 1947 г., которое использовалось в качестве основы международной организацией, устанавливающей торговые правила, до его замены ВТО. Пересмотренные Генеральные соглашения настоящее время представляют собой соглашение о ВТО, регулирующее торговлю товарами (ГАТТ-1994). 3 статьи ГАТТ взяты за основу для переговоров по упрощению торговли в переговорном процессе ВТО: ст. V (свободный транзит); ст. VIII (оплата и формальности); и ст. X (публикация всех торговых правил)
[Упрощение процедур торговли: англо-русский глоссарий терминов (пересмотренное второе издание) НЬЮ-ЙОРК, ЖЕНЕВА, МОСКВА 2011 год]EN
general agreement on tariffs and trade
GATT
An international agreement, signed in 1947, which acted as the basis for an international trade rules-based organization before it was replaced by the WTO. An updated General Agreement is now the WTO agreement governing trade in goods (GATT 1994). Three GATT articles are taken as the basis for trade facilitation negotiations in the WTO negotiation process: art. V (freedom of transit); art. VIII (fees and formalities); and art. X (publication of all trade rules)
[Trade Facilitation Terms: An English - Russian Glossary (revised second edition) NEW YORK, GENEVA, MOSCOW 2450]Тематики
Синонимы
EN
Англо-русский словарь нормативно-технической терминологии > GATT
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20 Creativity
Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)11) The Earliest Stages in the Creative Process Involve a Commerce with DisorderEven to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)[P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)Historical dictionary of quotations in cognitive science > Creativity
См. также в других словарях:
Process art — is an artistic movement as well as a creative sentiment and world view where the end product of art and craft , the , is not the principal focus. The process in process art refers to the process of the formation of art: the gathering, sorting,… … Wikipedia
process art — process art, = conceptual art. (Cf. ↑conceptual art) … Useful english dictionary
Process art — Prozesskunst (engl: Process art) oder prozesshafte Kunst ist eine Form der zeitgenössisch avantgardistischen Konzeptkunst die in den 1960er Jahren, basierend auf den Ideen der Minimal Art entwickelt wurde. Werke der Prozesskunst sollen Zeit und… … Deutsch Wikipedia
Process-Art — Pro|cess Art, auch Pro|cess|art [ prousɛsɑ:t] die; <aus engl. process art, eigtl. »Prozesskunst«> eine Richtung der avantgardistischen Kunst seit den 1960er Jahren, in deren Zentrum die Vermittlung künstlerischer Prozesse steht … Das große Fremdwörterbuch
Process Art — noun A style of art, especially of sculpture, which emphasises the process by which it was made, rather than on its form … Wiktionary
Art therapy — is a form of expressive therapy that uses art materials, such as paints, chalk and markers. Art therapy combines traditional psychotherapeutic theories and techniques with an understanding of the psychological aspects of the creative process,… … Wikipedia
Art repatriation — is the return of art or cultural objects, usually referring to ancient or looted art, to their country of origin or former owners (or their heirs). The disputed cultural property items are physical artifacts of a group or society that were taken… … Wikipedia
Art periods — Art period n. A phase in the development of the work of an artist, groups of artists or art movement. Sienese School Contents 1 Renaissance 2 Renaissance to Neoclassicism 3 Romanticism … Wikipedia
Art director — See also: Artistic director The art director is a person who supervise the creative process of a design. The term art director is a blanket title for a variety of similar job functions in advertising, publishing, film and television, the Internet … Wikipedia
Art methodology — refers to a studied and constantly reassessed, questioned method within the arts, as opposed to a method merely applied (without thought). This process of studying the method and reassessing its effectiveness allows art to move on and change. It… … Wikipedia
process — pro·cess / prä ˌses, prō / n 1: a continuous operation, art, or method esp. in manufacture whoever invents or discovers any new and useful process...may obtain a patent therefor U.S. Code 2 a: procedure (1) see also … Law dictionary