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Journal articles on the topic "3699 Other creative arts and writing"
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Clifton, Glenn. "Critical-Creative Literacy and Creative Writing Pedagogy." University of Toronto Quarterly 91, no. 1 (February 1, 2022): 51–66. http://dx.doi.org/10.3138/utq.91.1.04.
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This article builds on psychological research that claims critical thinking is a key component of the creative process to argue that critical-creative literacy is a cognitive goal of creative writing education. The article also explores the types of assignments and prompts that might contribute to this goal and simultaneously build bridges between creative writing education and other humanities disciplines.
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Williams, Ronald D., and Amber R. Williams. "Creative Writing In Alcohol, Tobacco, And Other Drug Education." Contemporary Issues in Education Research (CIER) 5, no. 4 (September 20, 2012): 327. http://dx.doi.org/10.19030/cier.v5i4.7276.
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Health educators in elementary and secondary schools should seek collaborations with teachers of other subjects to enhance health education curriculum. The strategy described in this article details a potential collaboration between health education and language arts units. The activity enhances both drug education knowledge gains and creative writing skills among junior high/middle school students.
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Stukenberg, Jill. "Deep habits: Workshop as critique in creative writing." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 277–92. http://dx.doi.org/10.1177/1474022216652770.
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The creative writing workshop, involving peer critique of manuscripts in progress, is deeply connected to many writerly habits of mind. As such, this article examines workshop as a signature pedagogy in creative writing. Through workshop, students develop awareness of their readers, understanding of how texts are created by readers and through process, and abilities to problem-solve in drafts and hone their personal tastes while encountering contemporary aesthetic values. At the same time, examination of the writerly habits of mind transmitted through workshop also reveals other key skills and ways of thinking that can be shortchanged when workshop is too much the sole methodology; one deleterious habit of mind, that of being overly self-critical, may even result.
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Everington, Shanta. "Through the looking glass: Biographical writing as self-reflection." Journal of Writing in Creative Practice 12, no. 1-2 (April 1, 2019): 29–43. http://dx.doi.org/10.1386/jwcp.12.1-2.29_1.
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Combining creative writing excerpts from my Ph.D. work-in-progress, ‘The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing’, with reflective commentary, this article will discuss the ways in which writing the lives of others can serve as a process of self-reflection. Inspired by my personal experience as a biological and adoptive mother, my Ph.D. project involves creative practice as research, alongside critical approaches, to culminate in the production of a multi-subject biographical narrative of women who have become mothers through adoption, surrogacy and egg donation, and their silent partners – birth mothers, surrogates and egg donors – whose stories remain largely untold.
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Adji, Alberta Natasia. "The fragmentation of the writing self: Using dialogic reflection to explore the writing process of an autobiographical novel." Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 143–59. http://dx.doi.org/10.1386/jwcp_00019_1.
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In this article, the author-researcher presents three intertwined texts: excerpts from an autobiographical novel, extracts from a reflexive journal written during the writing of that novel, as well as a theorized account and analysis of the overarching creative process. These texts talk to each other as a form of intertextuality in the similar way that the three generations of a Chinese Indonesian family depicted in the novel interact with one another and present differing perspectives and fresh insights. The issues of the writer’s inner voices and multiplicity of the self feature prominently in this work, the result of a deep and critical engagement with the author-researcher’s creative writing and reflective thinking processes. Together, these three interrelated texts capture and explore multiple perspectives interacting during the writing process while at the same time present how the self and sites of meaning-making can be constructed through writing.
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Johnson, Clare. "Editorial." Journal of Writing in Creative Practice 15, no. 2 (September 1, 2022): 105–11. http://dx.doi.org/10.1386/jwcp_00032_2.
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This Editorial charts the journey from an initial conversation amongst visual culture colleagues at the University of the West of England to this Special Issue on ‘Ways of Writing in Art and Design’. It describes our intention to imagine forms of writing in/through/ alongside/with creative practice, as opposed to writing ‘about’ it, in the context of visual culture pedagogy. This is the desire to treat the artwork or other type of creative practice as a fellow subject, not an object to be written about. The Editorial explains the process through which we came together as a research network, describes a series of workshops that enabled our thinking, and situates the project within the context of the COVID-19 pandemic. Finally, it introduces each of the contributions in this collaborative constellation of articles, polemic, reflection, visual essay and illustration.
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Runco, Mark A. "Predicting Children's Creative Performance." Psychological Reports 59, no. 3 (December 1986): 1247–54. http://dx.doi.org/10.2466/pr0.1986.59.3.1247.
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The predictive validity of the fluency index of divergent-thinking tests was evaluated, with extracurricular creative performance in seven domains as the criteria. The unique aspects of this project were (a) that gifted and talented children were represented in the sample of 150 subjects, (b) that both performance quantity and quality scores were used as criteria, and (c) that fluency, fluency2, and an interaction of IQ X fluency were tested as predictors. Hierarchical regression analyses indicated that fluency has predictive validity; however, this is limited to certain areas of performance, e.g., writing and crafts. IQ was significantly related to other areas of performance, e.g., science and performing arts, but there was little indication of a quadratic relationship or an interaction of IQ X fluency.
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Gilbert, Francis, and Miranda Matthews. "Affective digital presence: How to free online writing and drawing?" Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 209–37. http://dx.doi.org/10.1386/jwcp_00023_1.
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Online learning can be an alienating experience; students can feel their emotions are disregarded, marginalized or even viewed as hindrances as they try to motivate themselves to learn, staring at the dancing pixels of their illuminated screens. They feel at a remove from other students, trapped in other rooms, far away from them. The closeness of bodies in a shared physical space is raised as an absence. And yet, we contend in this article that connecting with affect in online learning spaces could build connectivity that counteracts the alienation of social distancing. Raw creative affective discourses can be challenging, and uncomfortable for others to take in but they are necessary online. We show that using non-digital practices such as drawing and writing freely, without inhibitions, can immeasurably enhance the online experience, giving a space for affect to be expressed in a safe but emancipatory learning architecture.
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Gillam, Tony. "Enhancing public mental health and wellbeing through creative arts participation." Journal of Public Mental Health 17, no. 4 (December 17, 2018): 148–56. http://dx.doi.org/10.1108/jpmh-09-2018-0065.
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PurposeThe purpose of this paper is to explore how participation in creative arts activity can enhance public mental health and wellbeing. It is informed by both the author’s clinical practice with service users and carers and by research.Design/methodology/approachThe approach taken is to draw selectively on research in the field of creativity, creative arts and wellbeing, focusing in particular on the use of music and creative writing, and to incorporate learning from clinical experience to explore what is understood about the health and wellbeing benefits of creative arts activity.FindingsThere is evidence that creative arts activity is beneficial to mental health and wellbeing. Arts activities that involve active participation appear to offer the greatest benefits. Creative arts participation can help people with diagnosed mental health difficulties to recover from mental illness. Moreover, creative arts activities can also promote wellbeing in the general population.Research limitations/implicationsThe paper does not provide a comprehensive review of the literature in this field.Practical implicationsThe paper suggests that if nurses and other mental health professionals are to play a full role in facilitating flourishing then they will need to learn more about using creative arts in practice and will need to become involved and encourage others to do so.Social implicationsThe paper suggests it is important that creative arts activities should be participatory, so they become a vehicle not only for self-expression but also for participation in groups and communities, increasing connectedness and social inclusion.Originality/valueThis paper fulfils a need for a wider understanding of the health and wellbeing benefits of creative arts activity.
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McEvoy, William. "Finding the Balance: Writing and Performing Ethics in Théâtre du Soleil’s Le Dernier Caravansérail (2003)." New Theatre Quarterly 22, no. 3 (July 11, 2006): 211–26. http://dx.doi.org/10.1017/s0266464x0600042x.
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Théâtre du Soleil’s latest production, Le Dernier Caravansérail (The Last Caravanserai), staged the stories and experiences of immigrants, refugees, and asylum-seekers from around the world. In this article, William McEvoy argues that the company was motivated both by a political agenda to make migrants more visible and a concern to investigate the ethical implications of its own creative processes. This led to a potential conflict between representing migrants directly on stage and a performance that reflected the company’s worries about turning migrants’ traumatic narratives into theatre and spectacle. Focusing on the concept of balance in the production, the article shows how Théâtre du Soleil presented the ethical negotiations between creative self and represented other through exploring the links between text and performance, writing and the body, and manipulation and resistance. William McEvoy is a lecturer in the English Department at the University of Sussex, specializing in contemporary theatre and performance. He has published work on Peter Brook and Ariane Mnouchkine, and his current research deals with the shifting role of the text in experimental and physical theatre.
Dissertations / Theses on the topic "3699 Other creative arts and writing"
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Feger, Phil. "Fairdealing: Book One and Other Stories." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/590.
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The following is a collection of works of fiction set mostly in Western Kentucky, with one short story taking place in Richmond, Virginia, in the year 2063. No characters in this collecting of fiction is meant to depict any real, live person, and no setting is meant to portray an existing place on earth. These works were written between February, 2012, and April, 2014.
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Wells, Logan Scott. "Among the Stars and Other Stories." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524325230197327.
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Kabot, Joel. "Hemlock and Other Stories." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/401.
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Hemlock and Other Stories is a collection of short stories focusing primarily on the importance of geography and cultural identity in modern America. Other stories explore similar themes but contain international and/or historical settings. Ultimately, most characters in the selected stories must find ways to reconcile heritage with present-day demands.
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Lager, Amanda Rene. "Renovations and Other Stories." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5385.
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Renovations and Other Stories is a linked collection of ten fiction stories that examines the ways by which women renew or restore themselves. The collection is set in the imaginary city of St. Clair, South Carolina, a town balancing historical accuracy with the sensational tourist industry; Carolinians who trace their ancestries back to the American Revolution with suburban newcomers; and the notion of cherishing the past with moving forward. Many of the characters struggle with identity, whether it is regional or feminine individuality. The protagonists must challenge self-image when faced with situations that make them reconsider their places in their marriages, schools, jobs, and in their lives. Relationships among women, especially mother-daughter bonds, are an important motif throughout the collection. These stories cover the lifetimes of two generations of Carolinian women. A baker struggles to break free of her Northern transient upbringing. A history student yearns to escape her past as a victim of bullying to form a new, confident identity while saying goodbye to her estranged mother. Another girl explores the confused social politics of the South which alienate her from a childhood friend. I intend to examine, through fiction, how people come to appreciate one another, often a moment too late, and how sometimes we completely misunderstand ourselves.ID: 031001372; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes reading list (p. 174-177).; Title from PDF title page (viewed May 21, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.
M.F.A.
Masters
English
Arts and Humanities
Creative Writing
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Childress, Catherine Pritchard. "Other: Poems." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etd/1138.
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This creative thesis is a collection of original poems entitled Other. The poems in Other reflect my study of the aesthetics of poetry as well as that of how women are represented as poets and as the subject of poems. Some of these poems are the product of my particular interest in the use of persona. Most reflect my desire to achieve self-reflection, to write from my experiences and perception, while still maintaining the universality that is an essential element of successful poems.
The critical introduction situates my poems within the framework of the poetic mode Personal Classicism—poetry that is emotionally based but relies on formal techniques and controlled elements in order to maintain distance. My primary goal in the critical introduction is to link my poems to the Personal Classicist lineage, which includes H.D., Elizabeth Bishop, and Louise Gluck – to whom I will pay particular attention.
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Kinkade, Natalie. "Fox Dreams and Other Essays." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1620380678047587.
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Horack, Bruce. "Grand Isle." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/820.
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A novel about a man injured while working on an oilrig in the Gulf of Mexico, set primarily in Louisiana, Nevada, and California. While recovering from his injury, the protagonist is contacted by his dead brother’s daughter—a person whom he did not know existed—and he journeys to San Francisco in search of her.
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Forkapa, Dan. "The Other Side of Fun." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513106622529833.
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Straight, Kelly L. "Kitchen Space, Cauldron Calling: Origins of Psychic Shells and the Poetry of Pain." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/50.
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Cauldron Calling is a compilation of poems ranging in poetic forms from the sonnet to free verse to lyric prose that incorporates a number of processes including: hypnopompic texting, hypnagogic automatic writing, and direct observation. The purpose of this myriad of poetic forms is to peer through the psychic shells we create and examine the workings of the mind so as to give form to the nebulousness found within while most closely recreating physical experiences of pain. In the collection, domestic spaces, particularly kitchens, serve as filters and lenses through which to process anxiety and pain. Conversely, domestic spaces are viewed as areas of both liberation and confinement and the voices of the various speakers throughout the manuscript struggle with this duality/plurality and whether there is a choice to participate in the intergenerational recycling and handing down of these beliefs and behaviors or not. Through sound sense, enjambment, deep image, and the elevation of the mundane, these poems are meant to give insight into the feminine experience as it relates to ritualistic acts of release as opposed to product-driven enterprises for mass consumption.
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Hickey, Kelly Lee. "Tender places: unsettling settler-colonial relationship to land through place-based, creative, and pedagogical practice." Thesis, 2022. https://vuir.vu.edu.au/44409/.
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Humanity is living through a time of major ecological crisis exemplified by anthropogenic climate change and planetary-wide ecological system collapse. This is a driver for widespread and intersecting humanitarian and social crises including resource wars, famine, mass migration, and displacement. These entwined ecological and social crises are underpinned by global colonial capitalism that fuels systems of violent and inequitable extraction of wealth and resources from lands, people, and creatures. Indigenous and settler scholars acknowledge that addressing and dismantling colonialism is essential to effective action on the impacts and drivers of climate change, and other ecological and social crises, and the development of sustainable societies for the future.
The research proposes that for settler individuals and communities to take action against ecological and social violence, they must develop ways of being, doing, and knowing that attend to the issues of colonialism and extractivism. For settler-colonists, engaging with and through place is particularly important due to the centrality of land and the subsequent ongoing role of colonialism in severing, masking, ignoring, and denying the relationship between land and people’s embodied identities and lived experiences.
Tender places uses creative and pedagogical practices to examine the moral responsibilities of settler people in the time of ecological and social crisis. The research seeks to develop tools, processes that support anti-racist and anti-colonial creative practice that respond to ecological crises. The development of these tools and process has occurred through iterative engagement with a constellation of feminist, anti-colonial, Indigenous and queer scholarship including the work of Deborah Bird Rose, Max Liboiron, Claire Land, Ambelin Kwaymullina, Eve Tuck and Wayne Yang. The practices and ethics of engagement with anti-colonial and Indigenous literature are outlined within the exegesis.
This doctoral research is undertaken as creative practice led research, with a 50/50 split between the creative product and the exegesis. I recommend viewing the work after reading the exegesis. As the creative works were created in three iterations, presented in multiple locations, and include an ephemeral durational installation, I’ve produced a website to create a permanent record of the work for assessment and documentation purposes. You can view the creative work here: https://tenderplaces.net/.
The creative practice was undertaken at the Ilparpa Claypans, a series of 12 ephemeral claypans, located on ‘crown land’, 13 km southwest of the township of Mparntwe/ Alice Springs, in the Northern Territory, Australia. The popular recreational site was chosen due to my decade-long relationship with this place, and my distress over the impacts of dumping, four-wheel driving, and invasive weeds witnessed over this time. I undertook this research through the lens of Australian settler culture, as a queer, female, fourth generation Northern Territory settler of Irish, Scottish, and German descent. I bring my lived experience as an artist and activist to this inquiry.
Through the research, I developed a practice of reading, walking, and making at the Ilparpa Claypans, as a method by which to investigate the use of critical race and environmental humanities literature as an agent of defamiliarisation, with the aim to disrupt the settler gaze within place. I documented new ways of seeing and being with/in place, which emerged from this disruption through field notes, photos, and creative works. These creative translations informed the development of three artworks reflecting on the impacts and responsibilities of settler people and cultures to the Ilparpa Claypans.
Postcards from the Claypans was the first iteration of creative practice at the Ilparpa Claypans, which took place from May to June in 2019. In this iteration, individual walks were documented on individual postcards and mailed to individual peers in different parts of the world.
The second work, Shadow Work is an autoethnographic map of settler experience and the impact on the Ilparpa Claypans was developed in January, 2019. This map is comprised of twelve cyanotypes created from dumped refuse and weeds found at the claypans.
The third work, Testing Ground, was an 18-day durational performance installation, which positions the researcher’s body in service to place through daily visits to the Ilparpa Claypans to remove buffel grass (an invasive weed) and dumped items. These recovered items were used to create an installation that made visible the impacts of the ecological harms on the Ilparpa Claypans, alongside a soundscape created from field recordings and a public process journal of the 18-day practice.
The exegesis locates the research inquiry theoretically and methodologically, and articulates the process, findings, and impacts. The autoethnographic component of the exegesis draws on the creative works, reflective writing, field notes, and formal research documents, to examine the development and use of arts and place methodologies and methods as a research process. Creative and reflective writing are used throughout the exegesis as a mode by which to locate the reader with my lived experience of place and process throughout the research lifespan.
This exegesis, Tender Places, identifies and contributes processes for settler people to reflect on their complicity individually and collectively in ongoing colonial and extractivist drivers of entangled ecological and social violence. The methods and methodologies utilised in this project can aid the development frameworks of moral responsibility for the action that addresses these violences in order to restore social and ecological justice.
Books on the topic "3699 Other creative arts and writing"
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Formichelli, Linda. The renegade writer: A totally unconventional guide to freelance writing success. Oak Park, IL: Marion Street Press, 2003.
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1964-, Burrell Diana, ed. The renegade writer: A totally unconventional guide to freelance writing success. Oak Park, IL: Marion Street Press, 2003.
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W, Dawe Charles, ed. The brief English handbook: A guide to writing, thinking, grammar, and research. 7th ed. New York: Pearson/Longman, 2004.
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Robert, Dees, ed. The brief English handbook: A guide to writing, thinking, grammar, and research. 9th ed. New York: Longman, 2009.
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Dornan, Edward A. The brief English handbook. 3rd ed. Glenview, Ill: Scott, Foresman/Little-Brown, 1990.
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W, Dawe Charles, ed. The brief English handbook: Edward A. Dornan, Charles W. Dawe. 5th ed. New York: HarperCollins College Publishers, 1996.
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W, Dawe Charles, ed. The brief English handbook. 3rd ed. Glenview, Ill: Scott, Foresman/Little-Brown, 1990.
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W, Dawe Charles, ed. The brief English handbook. 2nd ed. Boston: Little, Brown, 1987.
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Van Cleave, Ryan G., 1972- and Pierce Todd James 1965-, eds. Behind the short story: From first to final draft. New York: Pearson Longman, 2006.
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Dornan, Edward A. The brief English handbook. 4th ed. New York: HarperCollins College Publishers, 1994.
Find full textBook chapters on the topic "3699 Other creative arts and writing"
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Edwards, Harriet, and Julia Lockheart. "Creative Writing and the Other Arts." In A Companion to Creative Writing, 144–59. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch10.
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Cooper-Novack, Gemma, and Karis Jones. "Creative Writing as a Way of Knowing Each Other in Digital Spaces." In Handbook of Research on Teacher Practices for Diverse Writing Instruction, 70–87. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-6213-3.ch005.
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This chapter connects the experiences of student writers in two affinity-group writing programs on Zoom within larger arts spaces. The authors lift up the relational and pedagogical structures that make space for student creative learning processes in out-of-school-time spaces, examining creative writing as a way of knowing. The chapter draws on affect theory to trace ways of feeling literacy through the event, showing how focal students developed their own affective systems of engagement and developed different kinds of self-knowledge through creation. In this process, writing emerged for both focal students as a way of knowing each other.
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Jaillant, Lise. "Lorry-Driver Poets and Student Radicals." In Literary Rebels, 151–74. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192855305.003.0008.
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Abstract American programmes in creative writing offered one model for the rise of the ‘writer-in-residence’ in Britain. As Chapter 7 shows, a second model was informed by progressive educational ideas, which also led to the expansion of the comprehensive school system. Funded by the Arts Council and other organizations, writers-in-residence advised underprivileged populations: from lorry-driver poets to dry-cleaners-turned-novelists. With the rise of the discourse on creative writing in academia as a source of conformity, all institutions started becoming suspicious—including the Arts Council. The only way to be completely autonomous was to reject funding from institutions and survive in the marketplace, argued the novelist and playwright Jack Trevor Story after a stint as writer-in-residence in Milton Keynes.
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Eggert, Paul. "Revising and Rewriting." In The Edinburgh Companion to D. H. Lawrence and the Arts, 219–30. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0016.
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Though relatively short-lived, Lawrence was a prolific writer. Characteristically, he would be writing and revising multiple works, often across genres, at or around the same time. Taking a break from one to write the other became habitual – and understandable given the extended period that, say, a novel might take to bring to completion. Each work became an element in the fertile soil from which the others sprang. To demonstrate the truth and implications of this it is only necessary to take a cross-section of his contemporaneous writings at any one creative moment. Immediately, his oeuvre appears differently. The surprisingly provisional nature of his usually forcefully expressed ideas comes into focus when we privilege textual process; and accepted practices of interpretation, based on the published forms of his writings taken as individual objects, as separate works, become problematic. An unfamiliar Lawrence emerges. Examples are taken from Twilight in Italy, ‘The Blind Man’ and The Boy in the Bush.
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Martin, Travis L. "The Veteran Storytellers." In War & Homecoming, 108–38. University Press of Kentucky, 2022. http://dx.doi.org/10.5810/kentucky/9780813195643.003.0005.
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Chapter Four draws upon creative works from the non-profit Military Experience and the Arts, an organization that provides workshops, writing consultation, and publishing venues to veterans and their families. "Veteran storytellers" harness their symbolic authority, demonstrate awareness of stereotypes, and develop individualized versions of veteran identity. Examples discussed in the chapter include a Marine who tells stories of homecoming through interpretive dance, an Army veteran who teaches veterans how to transform their old uniforms into art, an author and an artist forcing their audiences to face the realities of Military Sexual Trauma (MST), and a continual return the theme of veterans and civilians talking over one another. These "veteran storytellers" escape the silencing pressures and conformity experienced by "heroes" and "wounded warriors," and they provide other veterans with examples of resilience and post-traumatic growth to model during homecoming.
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Rice, Alison. "The Terms of the Text." In Worldwide Women Writers in Paris, 245–80. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192845771.003.0010.
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Chapter 9 examines how unconventional written work is currently pushing the limits of our understanding of genre. Women from elsewhere are drawing from personal experience in order to disturb tired distinctions between “text” and “life” in imaginative fashions that reconfigure the reading experience. Their creative work is contributing to liberating these authors from overworked modes of expression and worn expectations, and allows them to break free from rigid definitions. It is significant that a number of worldwide women writers are now opting to compose works in a variety of creative forms ranging from the bande dessinée to the journal to the photo essay to récits of all sorts, expanding our conceptions of generic classification by playing with everything from titles to formats within the written work. This inventiveness includes a great deal of attention to visual arts and music, occasionally through the integration of works of art and musical notations in the text itself, and other times through allusions to artistic and musical pieces, or even through the construction of passages that liken literature to these other art forms. Authors are more and more impressively contributing to their own publishing profiles by writing “autobiographically” in variations that elude any clear categorization, but that reveal intimate details in texts that embody movement, progression, and development in exciting new terms.
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Vallack, Jocene. "Myth, Magic & Method." In Developing and Utilizing E-Learning Applications, 246–68. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61692-791-2.ch014.
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Researchers from all disciplines are increasingly inclined to acknowledge intuition and reflective practice as a valid ways of knowing. But in technology and areas other than the arts, this thinking is still new, and few strategic frameworks are available to assist researchers to approach intuitive research with rigor. In this chapter, Subphenomenology is laid out as a methodology for analysing weblog writing, as data for research. As a template for other first-person research, the framework showcases the author’s own experiences as a novice Web 2.0 user. Starting with the research question, “Why do I resist learning with technology?” I show how candid blogs are analysed to reveal an archetypal image of Echo and Narcissus in response to the research question. This chapter formulates how Subphenomenology uses intuition to access unconscious knowing, and reveal an archetypal image of the research in question. The case studied, like all case studies, may not be applicable to every learner who, in the described sample, shies away from technology. But it may provide profound insight to those who self-identify with the given universal myth. Subphenomenology is a formula, which can be applied to any weblog data, or indeed any creative work, to enable researchers to understand more about the universal implications of their most subjective reflections.
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Saylor, Eric. "“One Has to Write as One Feels” (1937–1943)." In Vaughan Williams, 153–65. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190918569.003.0013.
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The strain of work and recent events—Holst’s death, deadline pressures, and the unsettled political climate, culminating in the outbreak of the Second World War—all contributed to Vaughan Williams “feeling that I shall never again write a note of music” by the late 1930s. Yet inspiration came unexpectedly in the form of Ursula Wood, a young woman whom he met in 1938 and with whom he began a passionate affair soon after. The complex personal dynamics between Ralph, Ursula, and Adeline—who almost certainly knew about the affair, and who herself built a close relationship with Wood in spite of that knowledge—have only recently become public knowledge, and are examined here. Unsurprisingly, the war also had a profound impact on Vaughan Williams’s life. Though too old to serve, he was vehemently opposed to the Nazi regime (despite his acceptance of an arts prize in Hamburg in 1938), and worked on behalf of refugees both in Dorking and as Chair of the Home Office Committee for the Release of Interned Alien Musicians. He also contributed to the war effort in a host of other ways, most significantly by writing music intended to boost morale at home and abroad, making his first forays into writing music for film as an outgrowth of such activities. His wartime compositional efforts culminated with the Symphony No. 5 in D Major, which glimpsed both the peace Britain fought for and the creative fire he felt had eluded him for so many years.
Conference papers on the topic "3699 Other creative arts and writing"
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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.
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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Franco, Jorge. "A Decolonized Mood of Creating a Three-dimensional Digital Space Based on Integrating Transdisciplinary Knowledge." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.
Full textAbstract:
This experimental artwork has attempted to produce a decolonized mood of researching and creating Three-dimensional (3D) Virtual Reality (VR) digital spaces based on using and integrating transdisciplinary knowledge. These research and creative 3DVR digital spaces processes have been connected with applying the concept of Digital Transformation (DX) within Educative Computational Practice (ECP) proceedings, addressing the idea of empowering people. The mentioned ECP proceedings have occurred through designing and carrying out 3DVR digital spaces by using 3D computer graphics programming techniques, bringing about individuals’ developing digital and visual communication skills with support of employing Web3D-based technologies, such as the Extensible 3D (X3D) language and the X3Dom framework, as Open Educational Resources (OER). Low cost and accessible Web3D technologies have allowed practicing, analyzing and extending our open-ended long-term investigation at K-12 education levels referent to sharing 3DVR and computer graphics programming knowledge, aiming to inspire individuals’ engagement in computing practices encompassing coding and visual literacy skills. These educational processes have also been sustained by art and its learning and expressing opportunities in the digital age. With support of Web3D technologies and lifelong learning and teaching experiences, we have taken part of a course called “Projeto Espetáculo em Realidade Aumentada”, at Fabrica de Cultura Diadema. Through this course, there has been designed and implemented a 3DVR artwork which has extended our research and digital knowledge acquisition processes through producing a decolonized content by interconnecting conceptual knowledge referent to the visual artwork of Rubem Valentim’s mix of Afro-Brazilian, Amerindian and European cultures and Jacob Lawrence’s Afro-American culture symbolic representation. Both artists have trajectories of lifelong learning and using geometry and colorful forms in their artwork composition. Their artwork has expressed knowledge related to Afro-Brazilian and Afro-American cultures, contributing to reduce a gap, at official education, in the teaching of black culture contributions to the worlds of arts, sciences and technology. Interacting with these artists’ trajectories and artworks has lead to research, apply and share knowledge related to ancient Africa, having as reference the Egyptian civilization use of mathematics, geometry (at some extent sacred geometry) shapes and colors knowledge for building and decorating pyramids and other monuments. Such transdisciplinary knowledge confluence has made part of researching and forming the bases of computer graphics libraries and techniques in databases, allowing through educative 3D computer programming practices, to integrate in this 3DVR artwork features referent to digital sculpture, installation and net art, be it within a standalone way and/or through a blog based interface online. This knowledge confluence has brought about using 3D computer graphics programming proceedings for building and visualizing symbolic representation of Afro-Brazilian, European and Amerindian Enchanted Beings’ sacred adornments and instruments. It includes, based on the artwork another Brazilian educator and artist, Abdias do Nascimento, learning to research and utilize knowledge from people of the West Africa related to a writing system, the Adinkra, which is a group of symbols that express and represent ideas in proverbs. In addition, this artwork participatory development has stimulated individuals enhancing cognitive and technical skills, including their complex and spatial thinking abilities.