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Journal articles on the topic 'Art Self-perception'
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Kudryavcev, V. T. "Culture as Self-Perception." Cultural-Historical Psychology 12, no. 3 (2016): 113–28. http://dx.doi.org/10.17759/chp.2016120307.
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An attempt is made to operationalize the content of the “culture” concept in cultural-historical psychology. It is demonstrated that within its framework the culture appears to be a “social environment”, a system of social standards, rather than mediator of human freedom, as a way of self-perception of a man, which helps to reveal creative potential. According to the author, culture as self-perception, its genesis in this capacity, which results in the development of free man, is the basic idea of cultural-historical psychology. It is noted that culture, both historically and ontogenically, at least, in current historical settings, is initially created in personal form, only this enables it to acquire social significance. Culture does not only bring people together based on some formal characteristic, and within it people become significant for each other. The role of imagination in the formation of self-perception is discussed. An assumption on the availability of genetic relation between imagination and spontaneity is put forward. At that, special emphasis is placed on “experiments on consciousness”, including in the form of inversion, which are conducted by means of art.
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Keefe, Francis J., John C. Lefebvre, William Maixner, Alfred N. Salley, and David S. Caldwell. "Self-efficacy for arthritis pain: Relationship to perception of thermal laboratory pain stimuli." Arthritis Care & Research 10, no. 3 (June 1997): 177–84. http://dx.doi.org/10.1002/art.1790100305.
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Aslan, Hüseyin, and Ümit Doğan. "Investigation of Science And Art Center Teachers’ Perception of Self-Efficacy." Adıyaman Üniversitesi Eğitim Bilimleri Dergisi 7, no. 1 (June 30, 2017): 172–92. http://dx.doi.org/10.17984/adyuebd.334852.
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Pepperell, Robert. "Problems and Paradoxes of Painting and Perception." Art and Perception 7, no. 2-3 (November 29, 2019): 109–22. http://dx.doi.org/10.1163/22134913-20191142.
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This illustrated essay highlights some conceptual problems that arise when we consider the nature of visual perception and its relationship to art. Science proceeds on the assumption that natural phenomena operate rationally and can be explained rationally. Yet the study of art shows that many ordinary acts of perception, such as looking at a picture, can be paradoxical, logically contradictory and self-referential. I conclude that we must confront these problems if we are to reconcile the scientific approach to explaining visual perception with artistic and philosophical discoveries.
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Tsymbal-Slatvinska, Svitlana, and Olga Kozii. "SPEECH DEVELOPMENT BY MUSICAL ART." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 23–26. http://dx.doi.org/10.36550/2415-7988-2021-1-192-23-26.
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The authors outlined the importance of music in speech therapy classes in order to form and develop speech and communication skills. It is proved that the use of musical art in the remedial developmental program helps to establish barrier-free communication, special trusting relationship between the pupil and the speech therapist, contact with the environment, socialization, enhancement of child`s physical and mental functions. It is indicated that the remedial support programs provide a unit of musical and rhythmic education by vocology, aimed at the development of perception, where music is used as a system aimed at correcting various forms of speech disorders. It is defined that the method of using the musical art in remedial developmental programs is based on didactic principles: systematicity (correctional and developmental program should have holistic guidelines, outlined structured and systematized model); humanity (pupil at the centre of the correctional and developmental process, its main component; the formation of the aesthetics of the inner world, positive perception of the environment and others, spiritual values, opportunities for self-realization, sense of significance, full personality), individuality (taking into account child`s individual mental and physical features, preferences, and so on), consistency and clarity (optimal load distribution; the use of various activities to develop child`s thinking, perception, observation, with regard to the prospects of their development). It is proved that the development of aesthetic perception of music, emotional and aesthetic attitude to the world, comparison and imagery, imaging parallels, distinguishing primary and secondary helps to activate the creative abilities of each pupil, create preconditions for barrier-free communication and quality interaction in the implementation of the key tasks of remedial developmental process.
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Peraica, Ana. "Selfies and the World Behind Our Back." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 48–53. http://dx.doi.org/10.47659/m4.048.art.
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(an excerpt from the upcoming book Postdigital Arcadia) Selfie photography serves not only a traditional role of photographic (self)recording, but also for manoeuvring the space behind one’s own back. Unfortunately, as two realities, the unmediated and mediated, human and machine vision, are not matching, there are many accidents of selfie-makers due to the crabwalk. By this, the photographic technology based on the rear-view mirror – in which objects (may) appear closer than they are – finally resolves one of the largest tragedies of human self-perception; the inability to see and control the world behind one’s back. Keywords: background, mobile photography, optical devices, photography, selfie
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Essam Abd Elatef Elakad, Essam Abd Elatef Elakad. "The Correlation between the Attitude towards Academic Advising and Self Esteem among King Abdulaziz University Student." journal of king abdulaziz university arts and humanities 27, no. 1 (January 10, 2019): 273–94. http://dx.doi.org/10.4197/art.27-1.10.
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This study aimed at finding the relationship between the attitude toward academic advising and self esteem among King Abdulaziz University students. In order to achieve this goal, the research team used a combination of two scales; one scale which they developed to measure the KAU students’ perception of academic advising services at their respective colleges, and the other is the Rosenberg’s Self Esteem scale. The research team believes that students’ perception of academic advising services could indicate their attitude towards such services. Both instruments were applied to a randomly selected sample totaling N=519 students (N=256 Males & N= 364 Females) who represented several faculties, varying GPAs and academic levels. Results indicated that students showed positively high on both areas; the Self-Esteem and the attitude toward academic advising services. The results also revealed that there are significant effects of gender and faculty type on the attitude towards academic advising while the GPA did not. The results also revealed that there are significant positive linear relationships among the constructs of the academic advising services and the Self-Esteem Scale. At the end of the report, the researchers provide the conclusion for the study and present recommendations for both research and practice in order to enhance the effectiveness of the academic advising services and self esteem among university students in Saudi Arabia in particular, in the Gulf region and in the Arab world in general.
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Lopatkova, Irina V. "PSYCHOTECHNOLOGICAL POSSIBILITIES IN PERCEPTION OF A WORK OF ART." Yaroslavl Pedagogical Bulletin 117, no. 6 (2020): 146–56. http://dx.doi.org/10.20323/1813-145x-2020-6-117-146-156.
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The article is devoted to the substantiation of the psychotechnological possibilities of perceiving a work of art in the direction of psychotherapy, psychocorrection, psychological support for the formation and development of mental properties, personality traits. The artistic perception of works of art is considered in the article as an incentive and mechanism for initiating the processes necessary for adaptation, socialization, personality formation and development, identification, self-actualization, reflection, etc. A comparative analysis of scientists' approaches to understanding the content of psychotechnology is given, and conclusions are drawn that psychotechnology is a holistic, focused and thoughtful way of influencing the human psyche (groups of people). In accordance with this conclusion, an assumption is made about the psychotechnological properties of artistic perception, which is interpreted as an intellectual-emotional complex of impressions, opinions, judgments about the artistic image of a work of art, literature, arts and crafts, culture as a whole. Analyzing empirical data on perception and its results or consequences, for example, correlation with one’s personality, events of one’s life, influence on it, embodiment of the heroes of the novel in the works of its own creativity, images of the novel by M. A. Bulgakov «Master and Margarita», the author comes to the conclusion about the psychotechnological possibilities of artistic perception, as a way of interaction integrating the elements of the world and significant elements of the inner world of the person, including explications of the past, present and future, social and personal, correlated with perceived artistic image and enriched with personal content in the process of its perception. We consider such elements of artistic perception as an emotional reaction (in the totality of its elements), personal interpretation (as a process of correlating one's conceptual system with the system proposed by the author). The article presents some results of experimental studies and exposure of copyright options to use artistic perception as psychotechnology.
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Fazekas, Peter, Bence Nanay, and Joel Pearson. "Offline perception: an introduction." Philosophical Transactions of the Royal Society B: Biological Sciences 376, no. 1817 (December 14, 2020): 20190686. http://dx.doi.org/10.1098/rstb.2019.0686.
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Experiences that are self-generated and independent of sensory stimulations permeate our whole life. This theme issue examines their similarities and differences, systematizes the literature from an integrative perspective, critically discusses state-of-the-art empirical findings and proposes new theoretical approaches. The aim of the theme issue is to foster interaction between the different disciplines and research directions involved and to explore the prospects of a unificatory account of offline perception in general. This article is part of the theme issue ‘Offline perception: voluntary and spontaneous perceptual experiences without matching external stimulation’.
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Janeiro Obernyer, Jessica. "Identity Remix – A Simulacrum of the Self in Contemporary Art." Anales de Historia del Arte 28 (September 25, 2018): 177–99. http://dx.doi.org/10.5209/anha.61611.
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This article analyses the conceptions of identity in contemporary times by delving into art practices from the 1970s onwards that deal with topics such as the construction of the self, identity as simulacrum, gender as masquerade, cyberfeminism, the cyborg, the techno-medical body or online identity fluidity. In the information and digital era, new technological, medical and scientific developments like genetic engineering, biotechnology, surgical and hormonal procedures and the Internet permeate our lives, affecting the perception, representation and understanding of the self. Through the analysis of the work of Lynn Hershman Leeson, ORLAN and Francesca da Rimini, this article examines contemporary art practices that reflect on these current issues, mirroring contemporary changes, subverting homogenising and repressive articulations of identity, and considering the new malleability, reproducibility and plurality of the self. These art practices ultimately represent the merging of human and machine, of original and copy, of natural and artificial, of the corporeal and the virtual.
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Sukhanova, Ekaterina. "Introduction to Art and Literature as Components of Person-Centered Care." International Journal of Person Centered Medicine 7, no. 3 (July 31, 2018): 165–69. http://dx.doi.org/10.5750/ijpcm.v7i3.646.
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The article brings the attention of mental health professionals to the theoretical framework underpinning the contemporary understanding of the dynamics of psychiatric art. Using the semiotics approach to art production and perception, the article makes the connection between the dialogical mechanisms of art and the potential uses of art to counteract stigma, including self-stigmatization. Creative works by patients have long been acknowledged a key source of information in the clinical diagnostic process. Furthermore, because all artistic activity is a communicative act, working with patient art aids the clinician to gain a better understanding of the preserved aspects of a patients’ personality, beyond the pathological syndromes, and build a better rapport, resulting in more successful therapeutic approaches. Gaining an insight into patient art allows the clinician to be more effective in planning specific medical and social rehabilitation strategies. At the community level, outsider art is a powerful tool in anti-stigma campaigns because the dialogic potential inherent in art is conducive to stopping the “vicious cycle” of stigmatization.
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Reva, Valentin. "SPIRITUAL AND PHYSICAL FOUNDATIONS OF MUSICAL PERCEPTION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 114–18. http://dx.doi.org/10.36550/2415-7988-2021-1-195-114-118.
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Perception of music is auditory-motor in nature, accompanied by active bodily responses. It would be a gross methodological mistake not to take this intoaccount in the practice of art education. The effects of music, recorded not only by the ear, but also by the body, and by the vibrations of the muscles, indicate a unified musical perception. Sensorimotor skills saturate it with bodily associations, become fixed in memory, become artifacts of co-creation, solidary intonation-bodily empathy. Attempts to separate the bodily reactions of perception from consciousness, to bring them into the realm of the unconscious, which creates obstacles to perception, should be considered as untenable. Auditory-motor actions, including gestures, facial expressions, pantomimics, kinesics, and other bodily manifestations, are nothing more than the unified languages of music, the techniques of nonverbal sound communication peculiar to humans. The system «music-body-consciousness» generates intonation-sound associations of an artistic type, emphasizing the synergetic essence of musical perception, openness to self-completion, resonant spiritual response, actualizing auditory attention. Motor reactions are an essential factor in the emergence of artistic associations, musical thinking, and reflection. The mechanisms of musical perception linked with sensorimotor responses to the intonation of music. In this case, muscle activity acts as a mediating link between sensory responses and emotions transmitted in music. They are associated with the simplest semantic elements of musical perception. Musical perception is based on the synthesis of thought and feeling, spiritual and physical, and aesthetic experiences do not arise spontaneously, like physiological reactions. They are the result of painstaking spiritual and physical work, a symbiosis of artistic imagination and creative imagination, which determine the culture of musical perception of a person. It is impossible to find the experience of empathy, emotional responses to the meaning of music as self-expression of another person's soul, without working them through the mechanisms of bodily perception, which, in fact, is the main pathos of music education. Spiritual and bodily perception of music provides a unique opportunity to feel the present, the real presence in it, the coordination of personal life aspirations with the humanistic attitudes of art culture. Pedagogical comprehension of spiritual and bodily processes expands the possibilities of educating musical perception in secondary schools, overcoming the deficit of theoretical knowledge about music, skills of analysis of musical works, saturation of classes in search of personal meanings in art.
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De Oliveira, Luiz Sérgio. "The Artist, the Image and the Self: Representation in Rembrandt, Bacon, Mapplethorpe, Sherman, and Nan Goldin." Barcelona Investigación Arte Creación 7, no. 1 (February 6, 2019): 30. http://dx.doi.org/10.17583/brac.2019.2263.
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Before photography, only painters, printmakers, and sculptors could tell, through self-portraits, how they saw themselves and how they were perceived. In the past, only artists had the resources to capture and picture themselves. From one brushstroke to another, this mediated gesture marked the perception of the self. Western art highlights numerous works from artists who wrote the history of culture through portraiture and self-representation. In contemporary art, some artists have been able to explore new means to investigate new possibilities of representing the self. In the past, painters seemed to scrutinize the mirror in search for hidden truths; in our era, however, dominated by uncertainty, ambiguity, and speedy records that carry out their obsolescence, new issues cross the representation in contemporary art. It is undeniable that the history of art reveals how self-representation has been an essential tool for artists, regardless of the historical time in which they are inserted, in their search to reflect on themselves and their relations with the world. In the face of an immensely large and virtually inexhaustible universe, in this study we focus on five artists: Rembrandt, Francis Bacon, Robert Mapplethorpe, Cindy Sherman, and Nan Goldin.
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Ermolaeva, M. V., D. V. Lubovsky, and L. V. Silaeva. "Adolescents’ Understanding of Human Images in Fine Art Photography: A Formative Experiment." Cultural-Historical Psychology 17, no. 1 (2021): 93–101. http://dx.doi.org/10.17759/chp.2021170113.
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The article describes a formative experiment in which teaching adolescents the basics of fine art photography was used as a means of developing their understanding of human images in photography. The study was conducted with 62 students of 5th grades and 63 students of 9th—10thgrades and employed the following techniques: a modified version of a technique for studying the perception of art (by V.A. Guruzhapov, Yu.A. Poluyanov), A.V. Karpov's reflectivity questionnaire, and the technique “Who am I?” by M. Kuhn and T. McPartland (modified by T.V. Rumyantseva). The formative experiment involved a specially developed programme for teaching the basics of fine art photography consisting of 16 lessons. It is shown that these lessons promote the formation of meaning-making systems of understanding of fine art and facilitate the acquisition of the cultural norm in the perception of fine art photography in high school students. Also, the lessons proved highly effective in developing personality-related educational outcomes (such as reflectivity and self-identification) in younger adolescents. Further research perspectives and practical significance of the experiment are discussed.
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Allen, Andrew P., and Lynda Loughnane. "Cognition about the creative process – Interview with Dr Andrew P. Allen." Europe’s Journal of Psychology 12, no. 4 (November 18, 2016): 679–86. http://dx.doi.org/10.5964/ejop.v12i4.1323.
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What is the relationship between the creative process and cognition and perception? Lynda Loughnane, a master’s student in Art and Process in Crawford College of Art and Design, Cork, Ireland interviewed Dr Andrew P. Allen about the subject. Areas covered include mindfulness, Type 1 and Type 2 thinking, stage theories of creativity, engagement with the art process and the artwork, phenomenology and consciousness with and without self report. The interview was constructed to cover a wide range of subject matter, so as to gather as much information as possible in layman's language about the cognitive process in relation to creativity and interaction with art.
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Cervone, Einor K. "Art | Adrift." Archives of Asian Art 69, no. 2 (October 1, 2019): 155–79. http://dx.doi.org/10.1215/00666637-7719404.
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Abstract A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the mid- and late Ming, against currents of growing social mobility and dynamic imbalance that gave rise to a culture of connoisseurship as part of a fierce competition for social distinction. This paper examines the lure of waterborne art connoisseurship as cultural capital. Unique to the art boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous inspiration complemented the boats' movement along their free-form routes. Yet, the most prominent feature distinguishing the art boat was its visibility. Open panoramas of outstretched waterscape conjured a new creative avenue, a self-aestheticizing of both participant and vessel. This paper extricates the painting-and-calligraphy boat from its perception as a passing curiosity and shows it to be an enduring phenomenon that permeated premodern Jiangnan—the choice of the waterscape as a space of creation and recreation.
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Kalyanasundaram, Srisrividhiya. "Bird and Line." Trumpeter 36, no. 1 (March 19, 2021): 19–41. http://dx.doi.org/10.7202/1075877ar.
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"Bird and Line" is an artistic inquiry into the relationship between a deep state of artistic consciousness and the act of drawing a line to arrive at the form of a bird. This inquiry further proposes that by using line as a mode of research, the artist begins to perceive the consciousness of a bird and the relationship it shares with its form.
For me, the embodied and porous experiences of watching and knowing birds through the practice of working with "line" as an artistic element allow for an intimacy of experiencing and an unfolding of intersubjectivity. Artistic inquiry also acts as an investigation into self-awareness and self-realization in this space of making eco-art. These acts of being lead me into reflections on how perception and creativity are melded together during creative moments to allow for a porous consciousness to emerge and perform the act of drawing a bird. As an artist working with text, movement, and image, I embed questions on the ethics of creativity into how we evolve our lines of art, as well as encounter other beings. By unraveling the relationship between the inner and the outer through Indian aesthetic philosophy, I evolve methods for eco-art practice using line as an element. I emphasize the importance of artistic research with a framework of Indian aesthetics as a way of deepening our perception and relationships with the natural world.
This article is written to make artistic processes visible through a reflective auto-ethnographic approach. I write in a non-linear reflective narrative to comprehend cultural ontologies that drive my practice, unfolding internal thought processes, directions of research, and moments of mystical experience.
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Ermolaeva, M. V., and D. V. Lubovsky. "The Psychotherapeutic Value of Tragic Catharsis." Консультативная психология и психотерапия 26, no. 1 (2018): 29–44. http://dx.doi.org/10.17759/cpp.2018260103.
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The article analyzes the phenomenon of catharsis that occurs from the perception of the tragic in art. Based on the eudemonistic understanding of catharsis we trace the cultural and historical aspects of the problem and show that catharsis as an aesthetic and psychological phenomenon that emerged in antiquity in order to facilitate acceptance of the necessity of dying of Self for rebirth into a new life. Using the examples of expressionist paintings and their early origins (M. Grünewald, E. Munch, P. Picasso) we analyze catharsis that occurs in the process of the tragic artworks perception, showing its therapeutic value for the audience (accepting the inevitable and searching for meaning, struggling with despair, resisting chaos, evil, and destruction). We show that the tragic in art, including painting, creates an aesthetic space that penetrates the living space of the subject of artistic perception and creates the possibility of expanding the conceptual horizon and spiritual renewal.
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Березина, Юлия, Yuliya Berezina, Олена Князева, and Olena Knyazeva. "Methodical bases of formation of color perception of children of preschool and younger school age." Universities for Tourism and Service Association Bulletin 10, no. 2 (June 15, 2016): 86–93. http://dx.doi.org/10.12737/19552.
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The article is devoted to the topical problem of formation of color perception of children of preschool and younger school age in artistic and creative activities. The perception of color is defined by the authors as the process of understanding color, which basic laws are integrity, understanding, apperception, selectivity and constancy. Analysis of the age stages of formation of color perception led to the conclusion that the stages are associated with the environment in which a child grows: experience of color perception in reality, in works of fine art and experience of the own artistic and creative activities, expert help of the teacher. Therefore, the formation of color perception skills of children of preschool and younger school age needs systematic work in the dynamics of preschool children
development of colour standards through the expansion of the primary school children’s views about the color and perfection of color skills to the cognition of color as a tool of the artist, which is able to express feelings, emotions and relation. The authors developed methodological recommendations for the formation of color vision in children of preschool and younger school age: the active position of a teacher, the creation of an atmosphere of co-creation, experimentation; demonstration of techniques for working with color; the organization of perception process of art works, including the analysis of a color system in art and nature; the creation of a special aesthetic environment of a group class. The results of the study can be used in the process of teaching and learning fine arts in the design of individual routes of teachers self-education and personality developing educational technologies in system of improvement of teachers professional skill.
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Nikitina, I. A. "FORMATION OF KEY COMPETENCES WHEN STUDYING DISCIPLINE «WORLD ART CULTURE»." Scientific bulletin of the Southern Institute of Management, no. 2 (June 30, 2017): 74–76. http://dx.doi.org/10.31775/2305-3100-2017-2-74-76.
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In this article questions on creation of conditions for development of the creative person of the student, her self-determination and self-realization are considered. The main objectives of teaching World art culture are marked out: development of research activity of students which will serve achievement of one of the most important purposes of education - to think independently, to be able to put and solve problems, attracting knowledge from the different fields of science, acquisition of own cultural experience. The aspects promoting formation of complete system in perception of art and an art picture of the world, allowing to enter the identity of the trainee into space of art culture, to create in are considered it is mute readiness and ability to independent spiritual development of true, art values. The problem of knowledge of students in the field of art isn’t solved adequately used today textbooks on world art culture. In the course of socialization and interaction with mass culture and media at students own cultural experience is formed and they become objects and subjects of vigorous cognitive activity. The program of training in world art culture provides to the student some kind of “construction material" for forming of own course of life of development. In the light of it the role of the teacher who is competently directing cogitative activity of the student increases.
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Zhao, Jianfeng, Bodong Liang, and Qiuxia Chen. "The key technology toward the self-driving car." International Journal of Intelligent Unmanned Systems 6, no. 1 (January 2, 2018): 2–20. http://dx.doi.org/10.1108/ijius-08-2017-0008.
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Purpose The successful and commercial use of self-driving/driverless/unmanned/automated car will make human life easier. The paper aims to discuss this issue. Design/methodology/approach This paper reviews the key technology of a self-driving car. In this paper, the four key technologies in self-driving car, namely, car navigation system, path planning, environment perception and car control, are addressed and surveyed. The main research institutions and groups in different countries are summarized. Finally, the debates of self-driving car are discussed and the development trend of self-driving car is predicted. Findings This paper analyzes the key technology of self-driving car and illuminates the state-of-art of the self-driving car. Originality/value The main research contents and key technology have been introduced. The research progress as well as the research institution has been summarized.
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Pollok, Anne. "Beautiful Perception and its Object. Mendelssohn’s theory of mixed sentiments reconsidered." Kant-Studien 109, no. 2 (June 7, 2018): 270–85. http://dx.doi.org/10.1515/kant-2018-2007.
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Abstract: Complex aesthetic perception, according to Mendelssohn’s writings between 1755 and 1771, is most alluring if it showcases a breach in the order of perfection. With this, Mendelssohn introduces a shift in our understanding of the artistic act of imitation: Artistic semblance is always lacking, and a painting that does not point to this fact is, in fact, displeasing. This is also the main reason why we enjoy non-beautiful art: in the artistic rendering of an unpleasant ‘object’ we focus on the artistic act itself, on its formal features, and its effects on us as the perceiver. Thus, a representation that evokes the mixed feelings of pleasure, appreciation, and rejection is superior to ‘pure’ beauty, in that it better refers us to higher forms of perfection: the perfection of the perceiving and creative subject (hence, including both artist and audience). It is the nagging, near-painful impression of mixed sentiments that, according to Mendelssohn, guides our self-perfection, the highest aim of all human endeavors.
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Ilchuk, Yuliya. "Hearing the voice of Donbas: art and literature as forms of cultural protest during war." Nationalities Papers 45, no. 2 (March 2017): 256–73. http://dx.doi.org/10.1080/00905992.2016.1249835.
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This paper analyzes literary, visual, and street art works of writers and artists from Eastern Ukraine produced during 2014. Two Donetsk artists, Serhii Zakharov and Anzhela Dzherikh, and two Luhansk writers, Serhii Zhadan and Olena Stepova, play with the myth of the proletarian Donbas, on the one hand, and debunk the popular perception of Donbas people as being in consent with the politics of the self-proclaimed Donetsk and Luhansk People's Republics, on the other. They explore familiar tropes and images of Donbas and use guerrilla tactics (shock effects, provocativeness, and deception) to initiate public reaction to the war. Their works are united by their search for a shared communication space and direct access to the audience on occupied territories. These artists challenge the accepted perception of Donbas as a free but uncivilized space and participate in the creation of a new Donbas text. The interaction between politics, art, and activism makes their voices and vision powerful and infectious and can help achieve civic consolidation in Donbas.
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Baixinho, Cristina Lavareda, Isabel Carvalho Beato Ferraz, Óscar Manuel Ramos Ferreira, and Helga Marilia da Silva Rafael. "The art and learning patterns of knowing in nursing." Revista da Escola de Enfermagem da USP 48, spe2 (December 2014): 164–70. http://dx.doi.org/10.1590/s0080-623420140000800024.
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Objective To identify the perception of the students about the use of art as a pedagogical strategy in learning the patterns of knowing in nursing; to identify the dimensions of each pattern valued in the analysis of pieces of art. Method Descriptive mixed study. Data collection used a questionnaire applied to 31 nursing students. Results In the analysis of the students’ discourse, it was explicit that empirical knowledge includes scientific knowledge, tradition and nature of care. The aesthetic knowledge implies expressiveness, subjectivity and sensitivity. Self-knowledge, experience, reflective attitude and relationships with others are the subcategories of personal knowledge and the moral and ethics support ethical knowledge. Conclusion It is possible to learn patterns of knowledge through art, especially the aesthetic, ethical and personal. It is necessary to investigate further pedagogical strategies that contribute to the learning patterns of nursing knowledge.
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Kutsyn, Erika. "Pedagogical potential of art-therapeutic influence of musical art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 139–43. http://dx.doi.org/10.33310/2518-7813-2019-66-3-139-143.
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The article considers the problem of the introduction into the educational process of art-therapeutic technologies as a means of psychological and pedagogical adaptation of the individual in the conditions of society globalization. The role of musical art in influencing the emotional and sensual sphere of revealing and development of natural abilities, creative expression of personality is revealed, the expediency of using varieties of music therapy in music-creative activity of younger students is clarified. Music education, vocal therapy, receptive perception of music, rhythm therapy, which contribute to overcoming psychological discomfort in students' educational activities, encourage the creative expression of personality, the child's knowledge of the art world.The education system in Ukraine requires updating and enriching the content of the pedagogical process on the basis of humanization, which will contribute to the full development of the individual, the formation of vital competences for the maximum disclosure of his or her natural inclinations and creative potential. It is in the primary school that the foundations for the formation of the experience of educators (younger students), their needs, which motivate learning, knowledge and skills, which are formed in different educational environment, different social situations and condition the formation of attitude to them, are laid. The state normative document (The Law of Ukraine "On Education") emphasizes the need for students to acquire key competences that enable the development of successful learning, self-expression, self-knowledge, social adaptation and preservation of their physical and mental state. Such development of education in Ukraine makes it necessary to actively introduce into the educational process the innovative technologies and modern pedagogical approaches, among which artpedagogy is a new trend that integrates theoretical knowledge and methodological developments in psychology, art and pedagogy. With the help of music, drawing, fairy tales, theatre teachers can unite the class, identify problems of the child in time, form their life values, motivate them to study. The professional activity of a music art teacher in the context of educational reform and the introduction of inclusive education as a form of providing equal access to quality education for children with special educational needs, presupposes the need to master innovative technologies for the use of musical art as a method of comprehensive and multidimensional stimulation of personality development, child's condition, behavioural abnormalities, and also as a form of art treatment. One of the effective ways of solving the set tasks before the educational industry is the introduction of innovative, art-therapeutic – humanistic-oriented technology in the educational process, which involves the creation of a psychologically-comfortable educational environment by updating the pedagogical potential by means of art education (vocal therapy, art therapy, music therapy, (etc.)
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Stratan-Artyshkova, Tetyana. "CREATIVE AND PERFORMANCE TRAINING OF THE FUTURE TEACHER OF MUSIC ART IN THE CONTEXT OF THE HUMANISTIC PARADIGM OF EDUCATION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 33–36. http://dx.doi.org/10.36550/2415-7988-2021-1-195-33-36.
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The article reveals the peculiarities of creative-performance training of a future teacher of musical art; analyzes the definitions of «creativity» and «performance»; proves the expediency and effectiveness of composer-performer activity in the formation of author ability, ability of a future specialist to self-expression and self-actualization in his own work. Music performance is undoubtedly a creative process, and creativity involves the creation of new products and does not exist without performance. Thus, creative-performance training of future teachers of musical art becomes significant and innovative, as it is based not only on the ability to creatively perceive, perform and interpret musical works (instrumental, vocal, choral), to express themselves in performing activities (co-creation), but also assumes the ability of future teachers to self-create, to be both the author and performer of their own work. The meaning of professional training, its qualitative characteristic is the creative and performing training of the future teacher of musical art, which is due to the theory and practice of musical education, the originality of musical and pedagogical activity and consists in solving pedagogical problems by means of musical art, is aimed at developing a personality capable of self-expression and self-realization, capable of perceiving new knowledge and experience, organizing the conditions necessary to express its subjectivity, uniqueness, unique essence.In the complex process of creative-performance activity based on artistic perception-interpretation, design of artistic image, musical work - to its creative presentation the self-expression and self-actualization of future specialists is carried out. This process implies self-realization of own forces, abilities, talents, opportunities, disclosure of all reserves of creative activity of personality, the whole complex of individual-personal qualities, objectification of essence forces in own production, various social activity, leads to transformation of personality into a subject of own life and profession.
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Yatskiv, N. "The Pluralism of the Artist’s Image as a Search of an Aesthetic Motto in the Goncourt Brothers’ Novel “Manette Salomon”." Journal of Vasyl Stefanyk Precarpathian National University 3, no. 4 (December 30, 2016): 84–89. http://dx.doi.org/10.15330/jpnu.3.4.84-89.
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The article studies the aesthetic theories of the French art of the middle of the XIX century through the interaction between literature and painting. In the novel “Manette Salomon” the Goncourt brothers formulate their innovative views of the ways of the development of art through the artists’ efforts to express Beauty. The five painters, different in terms of talent and skill, express the writers’ pluralism in creating the aesthetic ideal. The writers are on the side of those who constantly strive for self-improvement, who do not approve of imitating reality but invent in constant creative torments new ways and techniques in order to express one’s own individual perception
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Kozlovskii, Vladimir Vyacheslavovich, and Dar'ya Vladimirovna Tkachuk. "Tastes in music and art in the context of self-determination of youth." Социодинамика, no. 10 (October 2020): 31–45. http://dx.doi.org/10.25136/2409-7144.2020.10.34036.
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The subject of this research is analysis of the impact of tastes in music and art upon self-determination of youth. The key problem is to identify the specificity of formation of personal preferences of youth in the process of music consumption in the context of modern cultural industries. The scale and mechanisms of the impact of music as a sociocultural factor of socialization, identification, cultural demarcation and, most importantly, social differentiation and cultural diversity are insufficiently studied. The problem of studying sociocultural capacity of tastes in music and art consists in poor perception for the sociological research on cultural determination of the practices of within and outside the intergenerational semantic (symbolic) distinction and unity within the youth environment. The goal is to search the methods for formation and representation of tastes in culture, and namely, in music and art as the elements comprising semantic and value structure of identity of a young person. The core of the strategies for creating semantic and value structure in the course of sociocultural socialization of a person are music and art patterns that manifest in Russian youth born between 1987 and 1997 in relation to various musical genres, practices, performers and those with different tastes in music and art. Music alongside tastes in music in the context of self-determination of youth fulfill a function of worldview, behavioral and ideological reference points, an instrument for postulating new values, as well as reconsideration and of the established preferences, attitudes and patterns.
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Gentle, Emma, Paul Linsley, and John Hurley. "“Their story is a hard road to hoe”: how art-making tackles stigma and builds well-being in young people living regionally." Journal of Public Mental Health 19, no. 2 (January 31, 2020): 109–18. http://dx.doi.org/10.1108/jpmh-10-2019-0087.
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Purpose Remote and regional Australia have comparatively fewer mental health services than their urban counterparts, what is more, mental health remains profoundly stigmatised. This study aims to understand how, if at all, the process of group art-making then publicly displaying the artworks can contribute to stigma reduction for young people (YP) experiencing mental health challenges in regional Australia. Design/methodology/approach Interviews were conducted with six young artists who use regional mental health services and 25 people who viewed their displayed art using a thematic analysis of the coded interview data. Findings Findings of this study demonstrated how art-making as a process increased self-esteem, social interaction and artistic expression; while the viewers experienced an emotional connection to the art. The viewer’s response enhanced YP’s confidence in their abilities. Originality/value Incorporating art-making and exhibiting the art in public spaces could be incorporated into YP’s mental health services to support well-being and inform the perception the general public hold of mental health, thus reducing stigma.
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Yermolayeva, M. V., and D. V. Lubovsky. "Types of Catharsis in the Perception of Paintings." Cultural-Historical Psychology 15, no. 3 (2019): 125–32. http://dx.doi.org/10.17759/chp.2019150313.
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The article analyzes the functions and structure of psychological catharsis as a cultural means of meaning-making. Basing on eudemonistic understanding of catharsis, the authors show its meaning-making action. In the structure of catharsis, there are phases of excitement (pathos), concentration (‘merging’ with the main character), and transcendence (‘reaching beyond one’s limitations’) which, through personal reflection, concludes with the individual’s ‘return to oneself’, transformed through the encounter with the work of art. The authors consider catharsis as an event that encourages action and creates the space of opportunities for it; basing on the research of art historians, the authors describe two kinds of catharsis (in the perception of Caravaggio’s and Rembrandt’s works). The authors identify psychotechnical means of interrupting catharsis at the moment of emotional extremum (in the works of Caravaggio) and the conditions for completing the reflective catharsis with the ‘return to one’s transformed self’ (using the paintings of Rembrandt as an example). The paper concludes with an outline of further prospects of exploring catharsis as a cultural means of meaning-making.
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Danyliuk, Liudmyla. "Decorative-usage arts as means of formation of professional competence of future teachers of fine arts." HUMANITARIUM 44, no. 2 (December 31, 2019): 40–47. http://dx.doi.org/10.31470/2308-5126-2019-44-2-40-47.
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In the article on the basis of analysis and generalization of literary sources, pedagogical theory and practice, the means of formation the professional competence of future teachers of fine arts are determined. The main basis component of the formation of the art culture of future teachers of fine arts is decorative- usage arts, folk art crafts are noted in it. An important condition for the professional activity of future teachers of fine arts is the formation of art culture, which includes the ability to emotionally perceive of the environment, creatively transform it, culture of work, knowledge of culture people and nations in different periods of development of society, possession of universal values, in particular, the values of creative, which provide of personality of self-realization and self-development in decorative- usage arts and fine arts. The main basis component of the formation of the art culture of future teachers of fine arts is the decorative-usage arts, folk artistic crafts, the cultural and educational mission of which consists, first of all, in the increase of a productive representation of the values of human life, represented in figurative form of art works, the development of art intuition, aesthetic taste, emotional perception of art creativity, the definition of art as a specific spiritual activity in the development of culture of a particular epoch and on this based on the achievement of a high level of their own art skills.The important condition of professional activities of the future teachers of fine arts is formation of art culture is grounded. In the research and mastery of techniques of decorative-usage art in the future a teacher of fine art form of the desire to learn and protect the Ukrainian people’s material and spiritual achievements is determined.
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Cheah Yong Xiang and Cheah Whye Lian. "THE PREVALENCE OF UNHEALTHY SNACKING BEHAVIOUR AND ITS ASSOCIATION WITH INDIVIDUAL AND ENVIRONMENTAL FACTORS AMONG COLLEGE STUDENTS IN KUCHING, SARAWAK." Malaysian Journal of Public Health Medicine 21, no. 2 (August 28, 2021): 275–84. http://dx.doi.org/10.37268/mjphm/vol.21/no.2/art.1001.
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Unhealthy snacking behaviour among young people is a growing public health concern because of its negative consequences on health. This study was to determine the prevalence of unhealthy snacking behaviour and its determinants among college students in Kuching. In this cross-sectional study, 12 colleges in Kuching were stratified into private and government colleges. Three private and three government colleges were selected through a stratified random sampling method. A total of 422 respondents (male 49.5%, female 50.5%) were recruited in this study. A self-administered questionnaire was used to gather data regarding unhealthy snacking behaviour and its determinants (gender, food preferences, type of school and courses, taste-and-sensory perception, nutritional knowledge, perceived self-efficacy, and cost/price sensitivity, perceived parental control, easy accessibility, and media advertisements influence) among respondents. The survey was conducted online via e-mail/Whatsapp. Multiple binary logistic regression analysis was used to analyse the data. A quarter of the respondents (24.6%) practised unhealthy snacking behaviour. More than half of the respondents (58.3%) consumed unhealthy snacks one to three times per week. A minority of the respondents (17.1%) claimed that they did not consume any unhealthy snacks for the past month. The final model explained 15.7% of the total variance. Taste-and-sensory perception (Adjusted OR = 2.20, 95%CI [1.55, 3.13], p < 0.001) and nutritional knowledge (Adjusted OR = 1.48, 95%CI [1.12, 1.97), p < 0.05) were positively associated with unhealthy snacking behaviour among respondents. The present study suggested the stakeholders concentrate on nutritional knowledge and taste-and-sensory perception among college students in future intervention development
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Kozyr, Alla. "Preparation of future teachers of musical art for the development of artistic and imaginative thinking of adolescents." Scientific visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 140–43. http://dx.doi.org/10.33310/2518-7813-2019-65-2-140-143.
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The article considers the problem of preparing students of the faculties of arts at pedagogical universities to develop the artistic and imaginative thinking of adolescents. The significance of the development of musical thinking is highlighted: conceptual, logical, emotional-figurative, practical, artistic, eidetic, etc. Artistic-figurative thinking allows you to creatively combine high intelligence with a developed sensual sphere, helps it to evoke bright images and associations in the audience’s listeners music, based on self-experienced experiences. Artistic and imaginative thinking allows you to creatively combine high intelligence with a developed sensual sphere, helping to arouse bright images and associations in the audience of listeners in the process of full-fledged perception of music, based on independently experienced impressions. The article presents several types of imaginative phenomena, and spam: images of perception, imagination, afterimage and eidetic image. In psychological and pedagogical science, there are several types of figurative phenomena, among them: images of perception, imagination, after image and eidetic image. Images of perception – this reflection in the ideal of an external object, which acts on the organs of human senses. Images of imagination – are fictitious, presented in the imagination, but they do not have analogues in reality, and therefore they have never been perceived by sensory organs before. Aidetic imagination is the ability of an individual to see the image of an object, despite its actual absence. At the same time, the thinking image is an accurate reflection of reality, rather than a reconstruction using memory skills. Forward image – a modified, involuntary perception of the ghostly object, which was recently considered in the presence of a strictly immobile view. Eidetic image – a clear, detailed, complete representation of the object, for some time after the termination of its consideration; is different from the image of independence from eye movements and stability over time. The personality of the artistic and musical activity emphasizes the value of the eidetic image, which is characterized by subjective ideas about the object (or a composition of objects) for a certain time after the cessation of current perception, which has clarity and detail. Eidetic images are at an intermediate stage between sensory perception and imagination. It is noted that the specificity of the musical training of future music teachers is characterized by mastery of the basic professional performing skills, a detailed understanding of all the expressive means of music that allow creating a holistic musical and artistic image and bring it to the students.
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Bruera, Eduardo, Aimee Elizabeth Anderson, Janet L. Williams, and Diane D. Liu. "A survey of palliative care clinicians’ weekly self-care practices." Journal of Clinical Oncology 37, no. 31_suppl (November 1, 2019): 59. http://dx.doi.org/10.1200/jco.2019.37.31_suppl.59.
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59 Background: Recent evidence suggests that clinician burnout exceeds the national average in the Palliative Care workforce. MD Anderson’s Palliative Care service has therefore implemented measures to reduce stress and burnout and support engagement and health, including a 13-item, evidence-based Palliative Clinician Self Care Checklist. To improve the checklist, we conducted a survey to understand clinicians’ perception of the list and its items, and the frequency with which clinicians were able to achieve each item. Methods: The survey was administered electronically to Palliative Care medical professionals, including physicians, advanced practice providers, and counsellors. We collected demographic information in addition to survey items. We asked respondents to rate their perception of the usefulness of each of the 13 items, and how often they achieved each item. We also asked participants to rate their satisfaction with their professional life, and to respond to questions related to burnout. Results: The response rate to the survey was 32/39 providers contacted (82.0%), including 15 physicians, 10 APPs, and 7 counsellors. Items most often rated as useful or very useful were meeting with friends (93.7%), achieving a personal self-care goal (90.7%), and meeting with family (90.3%). Items least often rated as useful or very useful were visual arts (46.9%), reading literature (59.4%), and art, movies, or theater (65.7%). Items most reported as achieved most weeks or every week were meeting with friends (84.4%), achieving a personalized self-care goal (81%), and avoiding a personal item of maladaptive coping (81%). Visual arts (28.1%), art, movies, or theater (37.6%), and literature (43.8%) were least reported to be achieved most weeks or every week. All respondents reported some degree of satisfaction with their professional life. However, 25% of respondents reported feeling burned out once a week or more. Conclusions: While checklist items that respondents achieved least frequently were those that they perceived as least useful, some items perceived as most useful were not achieved as frequently. Future studies will focus on measures to facilitate providers’ ability to practice and access self-care measures.
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Dumitrescu, Marius. "A Journey Inside the Perception of the Self-Image - from the 15th Century Italian Portrait to the Glamorized Image on the Facebook." Postmodern Openings 12, no. 3 (August 10, 2021): 34–59. http://dx.doi.org/10.18662/po/12.3/326.
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This article aims to present the philosophical perspective upon the birth of the idea of the individual and the consequences of the discovery of the self-image on the techniques of image reproduction from the Renaissance to the present day. The process of projecting the self-image into the public space acquires a special importance with the elaboration of the portrait technique in the Italian painting of the 15th century. Through Leonardo da Vinci's paintings, this technique of reproducing self-image reaches a certain perfection. Following the evolution of this kind of projections and reproductions of the self-image, it is found that there is an obvious tendency by which the individual tends to free himself from certain patterns, or rather canons, which a certain epoch imposes. This process manifested in the visual arts corresponds to a new philosophical perception of man opened by the works of Ficino and Pico della Mirandola. The assertion of a new type of dignity, correlated with the idea of the microcosm, of the Renaissance man will lead to an affirmation of his own personality and especially to an increase of the will to power reflected more and more in the works of art. With the resurgence of the Italian renaissance, artists and philosophers experienced a decline, but found a favorable space for their development at the court of Elizabeth I, Queen of England. The art of portraiture, but also the philosophy of renaissance survives and is even more flourishing at the court of this queen. But the most important moment of this renaissance is marked by Dutch art after its liberation from Spanish rule. From this moment on, the emancipation of the individual will occur on an unimaginable scale until then.
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Adamiv, Halyna. "PEDAGOGICAL POTENTIAL OF ART IN THE CONTENT OF TRAINING FUTURE TEACHER." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 116–24. http://dx.doi.org/10.33989/2226-4051.2017.15.175901.
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The article highlights the relevance of problems of using pedagogical potential of art in the content of training future teacher. Determined the conditions for implementing the relationship of pedagogy and art; showing results of integration pedagogy with art. Exposed areas of interaction between pedagogy and art; described directions for its implementation in process of preparation of future teachers. Proved, that in an integrated educational potential use of different types of art, formed by interaction of art and pedagogy in the teacher training(that has an innovative resource for positive changes in terms of preparation, that: aims at the liberalization of educational environment; optimizes of educational interaction; creatives self- fulfillment subjects of professional education). Shown main directions of using pedagogical potential of art in the content of training future teacher: disclosure of pedagogy as art; using art to develop humanistic personality; the introduction of teaching methods based on different types of art. It is found, that interaction between pedagogy and art (implementing in new features in the perception of educational material, expressing a holistic understanding of the nature of educational events and value attitude to art) stimulates the activity of creative expression of students and awakens their interest in cognitive subjects psycho-pedagogical cycle and humanity areas. Also its provides psychophysiological and psychological comfort of training and creates conditions for personal growth.
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MIKKONEN, KAI. "The modernist traveller in Africa: Africanism and the European author's self-fashioning." European Review 13, no. 1 (January 20, 2005): 115–25. http://dx.doi.org/10.1017/s1062798705000116.
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The central question in this paper is the relationship between European modernist traveller's self-fashioning and the representation of Sub-Saharan African cultures, spaces and cross-cultural encounters in the early 20th century. The premise is that the cultural production of identity, including the question of artistic identity and poetics, is most productive where it is most ambivalent and uneasy. High modernist critical narratives pose the question of the phenomenology of travel in terms of textual authority. Authority, in the perception in late colonial European writing, was often simultaneously questioned and affirmed, meaning that Western art, and the modern society, were seen as lacking something significant outside of its margin. At the same time, the idea of the pure exotic emerged as incompatible with modern historical consciousness, and colonial texts anticipate many later theoretical ideas in postcolonial studies. The question is how to portray cross-cultural encounters, and how to fashion the self in the contact zone of travel and sojourn. Modernist travel writing asks what was the writer's self and the recognition of identity and difference in others. The modernist image of Africa carries important implications for the re-evaluation of art and literature and the renewal of artistic or narrative forms.
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Walsh, Susan. "Contemplation, Artful Writing." Qualitative Inquiry 18, no. 3 (January 23, 2012): 273–85. http://dx.doi.org/10.1177/1077800411431553.
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In this article, the author experiments with artful writing as a means of contemplating research with internationally educated female teachers. In doing so, she sits with, listens to, writes from particular moments of the research process. The author also composes found poems from words and phrases in the transcripts. Her intention is to dwell with particular artifacts, rather than analyze or interpret them according to a theoretical framework. In this work, she considers Deleuze and Guattari’s writing about art and also Shambhala/Buddhist Chögyam Trungpa’s teachings about Dharma art—all of whom contend that art is a form of bodily attunement to and awareness of the physical world through perception, the senses, sensation rather than a means of expressing the self and/or representing something. In a broad sense, the author is interested in how the practice of contemplation through artful writing might inform, transform the research process.
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González-Zamar, Mariana-Daniela, and Emilio Abad-Segura. "Digital Design in Artistic Education: An Overview of Research in the University Setting." Education Sciences 11, no. 4 (March 24, 2021): 144. http://dx.doi.org/10.3390/educsci11040144.
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Digital design processes in artistic education promote the development of autonomy and self-critical capacities among students. Digital technology has transformed university education and the development of transversal skills. The objective of this study is to analyze research on digital design in art education in the context of higher education during the period 2000–2020. Bibliometric techniques were applied to 1027 articles selected from the Scopus database. The findings yielded data on the scientific productivity of journals, authors, research institutions and countries/territories that promote this topic. The data show an exponential trend, with more insistence in the last three years. Six current schools of knowledge related to art, level, formation, faculty, perception and relationship were detected. This research establishes the link between education, art and technology in the university context, and it is a tool for decision making by promoters of this field of research.
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Ciftcibasi, Mehmet Can. "Instrument performance self-efficacy perceptions of Music education students." Cypriot Journal of Educational Sciences 16, no. 3 (June 30, 2021): 1204–16. http://dx.doi.org/10.18844/cjes.v16i3.5841.
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The aim of this research was to identify the instrument performance self-efficacy status of students in the music education department. The study group for the research comprised 121 students attending Mehmet Akif Ersoy University Faculty of Education, Department of Music Education. In order to identify the self-efficacy perceptions of students in the research, the “Self-Efficacy Scale Related to Instrument Performance” developed by Şeker (2016) was used. The model had a chi-square value 283.52, with 148 degrees of freedom. Investigation of the reliability of the scale found that the Cronbach alpha coefficient for the whole scale was .90 with correlation coefficient r= .88, p<0.01. When the instrument performance self-efficacy of students in the music education department was investigated, it was seen that male students have higher self-efficacy perception than female students. Additionally, students who had graduated from fine art high schools were surmised to have higher self-efficacy for instrument performance compared to those who had graduated from other high schools.
Keywords: Instrument performance; music education; self-efficacy.
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Zavitrenko, Dolores, and Natalia Berezenko. "FEATURES OF THE EFFECT OF MUSIC ON CHILDREN WITH THE SPECIAL NEEDS." Academic Notes Series Pedagogical Science 1, no. 190 (November 2020): 95–100. http://dx.doi.org/10.36550/2415-7988-2020-1-190-95-100.
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In the article the problems of music influence on disabled children are examined. The psychological (the connection of the main music elements with the principal human spheres) and the physiological (the physical music influence on human organs) aspects of music influence on an ordinary child are revealed. The music perception specificity of children with development abnormalities (physical, psychological and mental) is brought out; the peculiarities of music influence on them are contemplated. It is determined that the artistic development of the individual as part of his spiritual culture is a way of transmitting from generation to generation of universal values, in the perception and reproduction of which is the creative self-development of man. Art education is aimed at forming a culture of perception of the world around us, the development of individual abilities to their own transformation and the surrounding reality. We are convinced that art education, due to the specifics of art and the peculiarities of its perception, affects the development of the inner culture of the whole person. Education and culture are inseparable from each other. Art education is a long process and has no end. The growth of artistic culture of the individual determines the growth of cultural potential of society. The main ways of using of music while working with disabled children for therapeutic purposes have been brought forward. The introduction of non-standard, creative means to activate the internal resources of the body of a child with psychophysical disorders creates more chances for its development. That is, creativity is a powerful adaptive method, which with the help of one's own inner forces opens a new world of possibilities. In summary, it is safe to say that music significantly affects the development of all areas of the child (physical, mental and intellectual) and activates the movement, speech, thinking of the child; has the ability to therapeutically (healing, versatile, developing) to influence a child with special educational needs. Methods of music therapy give the opportunity to go beyond the ordinary, to overcome or forget for a while about the disease, to restore the ability to act in accordance with their dreams and preferences. There is a desire to constantly develop. The introduction of non-standard, creative means to activate the internal resources of the body of a child with psychophysical disorders creates more chances for its development. That is, creativity is a powerful adaptive method, which with the help of one's own inner forces opens a new world of possibilities.
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Reinberga, Baiba, and Beatrise Garjāne. "Figurative insight and its development of prospective art pedagogues." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 509. http://dx.doi.org/10.17770/sie2013vol1.586.
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The relevance of creativity (characteristics that describe the ability to formulate original and interesting thoughts, approaches, to form new material and spiritual values, to organise ideas and real happenings in unusual relations) becomes more and more important in the society these days, thus a pedagogue who is interested in creativity and is able to lead students towards the creative cooperation in the learning process is needed. How the competency of the perspective art subject teachers is formed in the study process? One of the criteria describing the professional readiness is the figurative perception ability and insight as the personal self-experience that is connected with the personal creative potential. The aim of the paper is to determine and describe the figurative insight and its development opportunities of the prospective art pedagogues. Their figurative insight and its potential development was revealed through the analysis of the correlation between in the results of integrated practical creative works (visual dominant creative text exercise) and results of creative potential describing test (Venker test). The findings allow stating the future course of the development of the perspective art pedagogues’ figurative insight
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Johnson, Galen A. "On the Origin(s) of Truth in Art: Merleau-Ponty, Klee, and Cézanne." Research in Phenomenology 43, no. 3 (2013): 475–515. http://dx.doi.org/10.1163/15691640-12341271.
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Abstract Beginning from Klee’s statement on truth in self-portraiture that his faces are truer than real ones and Cézanne’s promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger’s argument in “The Origin of the Work of Art,” a truth happens between the work and painter, between the work and viewer, and is not limited to the domain of language, but words and symbols mix together with colors and forms, as in the paintings of Klee. Similar to Husserl’s argument in “The Origin of Geometry,” the originary sense of art, like geometry, is an interweaving (Verflechtung) of world, intersubjectivity, speech, and writing that achieves a more “militant” (powerful) truth than mere logical propositions. Truth is marked by its endurance, mobility, agility, subtlety, and depth. These interweavings mean there is no single origin of truth in art and life but a plurality of origins in movement, pleasures, and desires for the becoming of creation.
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Bjerke, Rune, and Nicholas Ind. "The influence of aesthetic investments on employees." EuroMed Journal of Business 10, no. 2 (July 6, 2015): 214–33. http://dx.doi.org/10.1108/emjb-09-2014-0029.
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Purpose – The purpose of this paper is to explore new constructs related to organizations, art and physical environment. Further, an intention was to explain and discuss whether investments in the physical environment in the form of art, design and architecture do have an effect on employees. Design/methodology/approach – To conclude whether aesthetics had an impact on employees in terms of job satisfaction, motivation and their self-perception of their own ability to provide customer service, the authors undertook a quantitative study of 222 employees in seven companies. The authors subsequently commenced five in-depth, semi-structured interviews with four accessible corporate art buyers and one curator to identify the main motivations for purchasing art and placing it in the work place. Findings – With regard to perceptions of art, design and architecture, the physical environment is perceived as a whole and seems to play a significant role in organizational life for employees in companies that have invested in art. The research implies, however, that the companies that invested in art, design and architecture, despite the positive influence on employees’ self-perceived service ability, did not accumulate benefits on service ability relative to employees in companies without art. Practical implications – Managers should cautiously reflect on their motivations for investing in art, design and architecture. Useful motivations might include projecting a desired external image or decoration or expressing connection to a community. Investing in art, design and architecture independent of what the organization is trying to do strategically will create cosmetic solutions that lack any wider purpose. Originality/value – Despite increased corporate interest in aesthetics, little research has been done to determine the effect on employees. The research shortage may be due to the challenge of understanding the meaning of the visible expressions. This paper is a contribution to strengthen the knowledge of the impact of workspace aesthetics on employees (the authors subsequently undertook five in-depth, semi-structured interviews with four accessible corporate art buyers at Storebrand (insurance and banking corporation), Telenor (mobile operator), Hydro (aluminium company), Nordic Choice Hotels and one curator).
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Pyra, Justyna. "From the realism to the Real. The „suicidal gesture” in the photography Self Portrait as a Drowned Man by Hippolyte Bayard and in the painting The Wounded Man by Gustave Courbet." Tekstualia 2, no. 49 (June 12, 2017): 65–78. http://dx.doi.org/10.5604/01.3001.0013.3123.
Full textAbstract:
The article begins with an analysis of two works of art: the photography Self Portrait as a Drowned Man by Hippolyte Bayard (1839–1840), which is one of the fi rst photographs in history, and the painting The Wounded Man by Gustave Courbet (1845–1854). Both these images use the same iconographic theme: the death of the author. This comparison leads to a refl ection about the intersections of photography and death, in an artistic as well as an anthropological sense. The similarity of the subject of both the works, and their rootedness in the time of creation, induce a variety of questions: what was the status of photography shortly after the invention of this medium? How did it affect the notion of art, the social position of the artist, the comprehension of realism, and fi nally – the perception of the world itself? The article tries to answer some of these questions by bringing out the picture of a specifi c moment in (art) history, when both man’s interest in death and the realist’s aspiration to create mimetic representations have found a new refl ection in art thanks to photography.
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Budanov, Vladimir G., and Albert R. Efimov. "Science and Art in the Digital Age: A Synergy Problem." Russian Journal of Philosophical Sciences 64, no. 1 (June 2, 2021): 116–33. http://dx.doi.org/10.30727/0235-1188-2021-64-1-116-133.
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Today artistic perception of the world and scientific and technical understanding of reality remain the main forms of creative self-realization. For many centuries, starting in Antiquity, art and science went hand in hand in cultural history. However, during the heyday of technogenic civilization, there occurred a split, and since the second half of the 20th century these two parts of a previously common culture became poorly compatible. According to the authors, the era of digitalization is going to completely replace the algorithmic and instructive professions in technology and service personnel with robots and artificial intelligence, and a person will have to develop the spheres of right-brain practices, which undoubtedly include scientific and technical creativity and art. Like all previous information revolutions, the modern digital revolution is creating new network structures of fast communication and ultra-long-distance, global order. Distance does not matter any more. In this situation, the cognitive maps of a person change radically, new types of self-organization and socialization appear, and there occurs a deformation of value spaces and worldview guidelines. Life in the uncertainty of this new world can only become effective in interaction of man and artificial intelligence, and the only aspect of activity that cannot be replaced by artificial intelligence is creativity and aesthetic experiences as well as culture. Thus, the authors conclude that a new synthesis in culture is needed, the ways of which are discussed in detail in the article. Among them are promotion of new concepts of Science-Art, application of post-Turing methodology, and use of quantum-synergetic anthropology, which develops new ideas about theatrical and engineering creativity, – and these will remain unattainable to artificial intelligence in foreseeable future.
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Maksimainen, Johanna P., Tuomas Eerola, and Suvi H. Saarikallio. "Ambivalent Emotional Experiences of Everyday Visual and Musical Objects." SAGE Open 9, no. 3 (July 2019): 215824401987631. http://dx.doi.org/10.1177/2158244019876319.
Full textAbstract:
Art brings rich, pleasurable experiences to our daily lives. However, many theories of art and aesthetics focus on specific strong experiences—in the contexts of museums, galleries, and concert halls and the aesthetic perception of canonized arts—disregarding the impact of daily experiences. Furthermore, pleasure is often treated as a simplistic concept of merely positive affective character, yet recent psychological research has revealed the experience of pleasure is far more complicated. This study explored the nature of pleasure evoked by everyday aesthetic objects. A mixture of statistical and qualitative methods was applied in the analysis of the data collected through a semi-structured online survey ( N = 464). The result asserts the experience of emotional ambivalence occurred and was composed of a variety of nuanced emotions and related association, rather than just a combination of contradicting emotions. Such paradoxical pleasure is defined as a self-conscious hedonic exposure to negative emotions in art reception. The study also depicted four types of attitudinal ambivalence: loss, diversity, socio-ideology, and distance, reflecting contextual elements intertwined into experience, and the connection between ambivalence and intense emotional experience.
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Miles, Murray. "Leibniz on Apperception and Animal Souls." Dialogue 33, no. 4 (1994): 701–24. http://dx.doi.org/10.1017/s0012217300010787.
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InLeibniz: Perception, Apperception, and Thought, Robert McRae alleges a flat “contradiction” (McRae 1976, p. 30) at the heart of Leibniz's doctrine of three grades of monads: bare entelechies characterized by perception; animal souls capable both of perception and of sensation; and rational souls, minds or spirits endowed not only with capacities for perception and sensation but also with consciousness of self or what Leibniz calls (introducing a new term of art into the vocabulary of philosophy) “apperception.” Apperception is a necessary condition of those distinctively human mental processes associated with understanding and with reason. Insofar as it is also a sufficient condition of rationality, it is not ascribable to animals. But apperception is a necessary condition of sensation or feeling as well; and animals are capable of sensation, according to Leibniz, who decisively rejected the Cartesian doctrine that beasts are nothing but material automata. “On the one hand,” writes McRae, “what distinguishes animals from lower forms of life is sensation or feeling, but on the other hand apperception is a necessary condition of sensation, and apperception distinguishes human beings from animals” (McRae 1976, p. 30). “We are thus left with an unresolved inconsistency in Leibniz's account of sensation, so far as sensation is attributable both to men and animals” (ibid., p. 34).
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Silva, Valéria, Ana Macara, Carlos Januário, and Fátima Wachowicz. "Preliminary study for validation of questionnaire CDC - Body, Dance and Community for teenagers." PSICOLOGIA 30, no. 2 (December 7, 2016): 15–24. http://dx.doi.org/10.17575/rpsicol.v30i2.1127.
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This article presents the second preliminary study designed to develop and validate the questionnaire CDC (Body, Dance and Community) for young dance practitioners from the Art Centers of Rio de Janeiro City Hall. The theoretical framework was based on studies related to the physical dimension (Figueiredo, 2013; Furhmann, 2014), affective dimension (Damásio, 2014; 2013; Figueiredo, 2011), social dimension (Fuhrmann, 2008; Marques, 2010; 2014; Shapiro, 2008) and adolescence (Lipp, 2010; Matos & Thomas, 2012). The instrument was applied to 50 subjects aged from 12 to 16 years old. Based on the results of this study, we obtained the internal consistency of the questionnaire and its subscales. The results from the study point adequate values for the internal consistency of the questionnaire and identify benefits derived from the practice of dance by young people, namely in the physical dimension trough a better expressiveness and self-perception of emotions expressed while dancing, as well as in an affective dimension, through the development of feelings of self-confidence and well-being and in a social dimension by the impact of dance on a better interaction and social participation with family, school, community and among members of the art center.
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Bradski, Gary, Gail A. Carpenter, and Stephen Grossberg. "Working Memory Networks for Learning Temporal Order with Application to Three-Dimensional Visual Object Recognition." Neural Computation 4, no. 2 (March 1992): 270–86. http://dx.doi.org/10.1162/neco.1992.4.2.270.
Full textAbstract:
Working memory neural networks, called Sustained Temporal Order REcurrent (STORE) models, encode the invariant temporal order of sequential events in short-term memory (STM). Inputs to the networks may be presented with widely differing growth rates, amplitudes, durations, and interstimulus intervals without altering the stored STM representation. The STORE temporal order code is designed to enable groupings of the stored events to be stably learned and remembered in real time, even as new events perturb the system. Such invariance and stability properties are needed in neural architectures which self-organize learned codes for variable-rate speech perception, sensorimotor planning, or three-dimensional (3-D) visual object recognition. Using such a working memory, a self-organizing architecture for invariant 3-D visual object recognition is described. The new model is based on the model of Seibert and Waxman (1990a), which builds a 3-D representation of an object from a temporally ordered sequence of its two-dimensional (2-D) aspect graphs. The new model, called an ARTSTORE model, consists of the following cascade of processing modules: Invariant Preprocessor → ART 2 → STORE Model → ART 2 → Outstar Network.