Relevant bibliographies by topics / Collaboration in art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Collaboration in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 June 2025

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Journal articles on the topic "Collaboration in art"

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Schaaf, Rebecca, Julieann Worrall-Hood, and Owain Jones. "Geography and art: encountering place across disciplines." cultural geographies 24, no. 2 (2016): 319–27. http://dx.doi.org/10.1177/1474474016673068.

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This article summarises a project undertaken at the Newton Park campus of Bath Spa University over 1 week in October 2015. The project provided a space for interdisciplinary collaborations between geography and art students to explore the commonalities and differences in how they saw, interpreted and creatively re-presented the campus, using a variety of methods. This article outlines the project and reflects on the processes, outcomes, and challenges of collaboration. It highlights how this approach can enhance student learning experiences, by facilitating more interdisciplinary collaboration across the sciences, arts and humanities, and social sciences. In doing so, it explores the potential and pitfalls of collaborative cultural geography in practice across disciplines.
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Roberts, John, and Stephen Wright. "Art and collaboration." Third Text 18, no. 6 (2004): 531–32. http://dx.doi.org/10.1080/0952882042000284934.

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Radermecker, Anne-Sophie V. "Buy one painting, get two names. On the valuation of artist collaborations in the art market." Arts and the Market 10, no. 2 (2020): 99–121. http://dx.doi.org/10.1108/aam-10-2019-0030.

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PurposeTo analyze the market reception of multi-authored works of art through the lens of collaborative old master paintings (“formal/prestige collaboration”). This paper tests whether multi-authored attribution strategies (i.e. naming two artists as brand names) affect buyers' willingness to pay differently from single-authored works in the auction market.Design/methodology/approachThis case study focuses on collaborative paintings by Flemish masters, based on a data set comprising 11,630 single-authored and collaborative paintings auctioned between 1946 and 2015. Hedonic regressions have been employed to test whether or not co-branded artworks are differently valued by buyers and how the reputation of each artist might influence valuation.FindingsDespite the opportunity for buyers to purchase one artwork with two brand names, this study reveals that the average value of collaborative paintings is statistically lower than that of single-authored paintings. This is especially true when a reputed master was involved in the collaboration. The present findings suggest that the valuable characteristics of formal collaborations (i.e. double brand name, dual authorship and reputation, high-quality standards) are no longer perceived and valued as such by buyers, and that co-branding can affect the artist brand equity because of a contagion effect. We argue that integral authorship is more valued than partial authorship, suggesting that the myth of the artist as a lone genius is still well-anchored in purchasing habits.Research limitations/implicationsPrestige collaborations are a very particular form of early co-branding in the art world, with limited data available. Further research should consider larger samples to reiterate the analysis on other collaboration forms in order to challenge the current findings.Practical implicationsResearchers and living artists should be aware that brand building and co-branding are marketing strategies that may generate negative effects on prices in the art market. The perceived and market value of co-branded works are time-varying, and depends on both the context of reception of these works and the reputation of the artists at time t.Originality/valueThis market segment has never been considered in art market studies, although formal collaboration is one of the earliest documented forms of co-branding in the art world. This paper provides new empirical evidence from the auction market, based on buyers' willingness to pay, and it further highlights the reception of multi-authored art objects in Western art markets that particularly value individual creators.
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Millegan, Pat. "The art of collaboration." Leading Edge 24, no. 4 (2005): 380–82. http://dx.doi.org/10.1190/1.1901390.

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Rezwan, Mohammad Zaki. "Institutional Intervention as Collaboration: A Critique of the Self and Disintegration of Rickshaw Art in Rongbaaz (2020)." Journal of Bangladesh Studies 26, no. 2 (2024): 12–22. https://doi.org/10.1163/27715086-02602003.

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This research primarily focuses on the internalization of the practice of rickshaw art in the institutionalized project Rongbaaz (2020). This project was formulated by Britto Arts Trust in collaboration with rickshaw and cinema banner painters, venturing a decolonial approach to institutional art by incorporating the visual vocabulary of non-institutional practices. Despite previous exclusionary attitudes, a continuing growth of interest in rickshaw art is now noticeable through collaborations in the institutional art domain. Taking Rongbaaz as a case study, the paper intends to understand the function and outcome of such collaborations. It illustrates how artistic collaborations between mainstream and ‘traditional’ artists disintegrate rickshaw art and artists from their original contexts, eventually offering an unintentional critique of existing institutional art practices in Bangladesh. The exhibition Rongbaaz is examined with reference to the production and exhibition systems of the practice of rickshaw art. The study discusses how the collaboration in this exhibition results in differentiation, despite its intention to seek an association between two different art practices, revalidating the power dynamic between the two entities.
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Patterson, Pam. "Modelling International Collaborations in Art Education." Canadian Review of Art Education 51, no. 1 (2025): 101–4. https://doi.org/10.26443/crae.v51i1.1502.

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Book response: Modelling International Collaborations in Art Education by Peter Sramek, Giselle Mira-Diaz, and Charisse Fung, Bristol, UK, Intellect & Chicago, USA, University of Chicago Press, 2024 (Hardcover), 376 pp., ISBN 9781789389258. Keywords: Art education, online teaching, international collaboration
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Green, Chris, and Dominic Bilton. "Queer(ing) art, curation and collaboration." Art & the Public Sphere 12, no. 2 (2023): 125–39. http://dx.doi.org/10.1386/aps_00092_2.

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This article serves as an introduction to this Special Issue of Art & the Public Sphere on the topics of Queer(ing) art, curation and collaboration. The overall aim of this issue is to explore current trends in queer art, curatorial practice and forms of collaboration. The articles in this issue draw on international perspectives that provide the reader with global approaches to the topics in question. The following editorial is in three parts, the first explores a range of definitions or (un)definitions of queer and queering. Drawing on key theorists to provide context for their usage, we must preface that these definitions are by no means exhaustive but are illustrative of the type of writing available (although authors might also offer their own definition). The second part of the editorial explores a small selection of examples and approaches to queer art, curation and collaboration that we identify as significant. Again, this is not a full list of queer practice ongoing globally, but a small selection of case studies that act as examples that are pertinent to us. The final section of the editorial functions as a question and answer/interview between academic Dr Chris Green and project producer Dominic Bilton about Bilton’s recent curatorial project (Un)Defining Queer, an exhibition held at the Whitworth Art Gallery, Manchester throughout 2023.
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Rousell, David, and Fiona Fell. "‘Becoming a work of art’ revisited: Ecologies of collaboration in tertiary visual arts education1." International Journal of Education Through Art 20, no. 1 (2024): 27–49. http://dx.doi.org/10.1386/eta_00150_1.

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Collaboration continues to be a growing focus of teaching, learning and research in university art departments. We are also witnessing a turn towards ecological and multispecies approaches in contemporary arts practice and education across the university sector and creative industries. In this revisitation of our earlier work, we ask how the transition into ecological understandings of collaboration might disrupt and reorientate humanist ontologies of visual arts education in the university. We draw on posthumanist and new materialist theories to reconceptualize collaboration in ways that are responsive to the ecological entanglements that comprise a work of art under current climatological and biodiversity crises. From there we develop a cartographic analysis of collaborative works of art in the making, drawing on a year-long participatory study with third-year undergraduate art students. In the final section we revisit our proposition for ‘becoming a work of art’ through more-than-human collaboration and explore the implications of this concept for speculative pedagogic practice and curriculum making in arts education.
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Horn, Sheridan. "The Contemporary Art of Collaboration." International Journal of Art & Design Education 27, no. 2 (2008): 144–57. http://dx.doi.org/10.1111/j.1476-8070.2008.00570.x.

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Dunn, Robert. "Collaboration: Ants, Art, and Science." American Scientist 106, no. 3 (2018): 156. http://dx.doi.org/10.1511/2018.106.3.156.

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Dissertations / Theses on the topic "Collaboration in art"

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Apps, Linda K. "Collaborative art, a study of a non-verbal collaboration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65021.pdf.

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Roberts, Teresa L. "Collaboration in Contemporary Artmaking: Practice and Pedagogy." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248880538.

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Tait, Stuart. "Becoming multiple : Collaboration in Contemporary Art Practice." Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527468.

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Mclaren, Beatrice Holly. "Bordering Art : Geography, collaboration and creative practices." Thesis, Queen Mary, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510776.

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Clarke, Nigel. "The art of collaboration (four contrasting compositions)." Thesis, University of Salford, 2007. http://usir.salford.ac.uk/43030/.

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This Doctor of Musical Arts submission comprises of two volumes. Volume 1 is a Critical Commentary entitled The Art of Collaboration (Four Contrasting Compositions). ' Volume 2 contains four contrasting original compositions.
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Rothermel, Barbara Ann. "The university art museum and interdisciplinary faculty collaboration." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/28026.

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The university art museum can make a significant contribution to the academic and cultural life of the parent institution. While there are many roles of art museums within institutions of higher education, there is a common thread -- the conviction that interdisciplinary exhibitions and programs expand the relevance of the art museum within the academic community. In this study, I examine interdisciplinary collaborations between the university art museum and faculty from diverse academic disciplines at American institutions of higher education. What relationships, if any, exist between academic programs and art museums at universities? What institutional structures are keys and barriers to successful collaboration between the university art museum and academic programs? What factors determine the success of interdisciplinary collaboration between the university art museum and diverse academic programs? In order to fully explore the possibilities of interdisciplinary collaboration, qualitative analysis of current initiatives at university art museums throughout the United States was necessary. The conceptual framework of interdisciplinary exhibitions and programs is thus established. Secondly, case studies examine the organizational culture of the institutions and challenges of interdisciplinary collaboration at the University of Virginia Art Museum, the Joel and Lila Harnett Museum of Art of Art at the University of Richmond, and the Philip and Muriel Berman Museum of Art at Ursinus College. As well, my professional experience, through a retrospective account of projects at the Daura Gallery at Lynchburg College, provides insights into both the potential and process of interdisciplinary collaboration. While I am mindful that this informs my conviction that interdisciplinarity and collaborative practice is essential to the university art museum, the partiality that existed at the onset of the study was recognized and subjected to a rigorous research and methodology that imparts validity and authenticity to this inquiry. While the “publish or perish” convention of the academy supports discipline-specific research and individual publication, I contend that the university art museum must engage in interdisciplinary dialogue through which perceptions are changed and new meanings are unveiled while respecting the integrity of the disciplines involved. This study of institution-wide interdisciplinary collaboration between university art museums and the academic institutions of which they are part reveals what is being done through innovative exhibitions and programming to promote the interconnectedness of ideas and issues. Collaboration with diverse academic disciplines reaffirms the traditional expectations of the museum of investigation, inquiry, and intellectual challenge. Purposive exhibitions grounded in collaboration between academic disciplines can generate debate, critique, and conversation. In doing so, the university art museum is an indispensable component of the university’s mission and asserts its relevance to the institution and its role in the educational experience through collaboration between the university’s academic programs and the university art museum.
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Harrison, Paul Liam. "Desiqns for Life : Art Science and Collaboration A practice-led study in fine art printmaking." Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521694.

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Miller, Erin. "The art of collaboration : creating bespoke therapy with the client." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1148/.

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Introduction Living with HIV has been described as a process of constant adjustment and re-adjustment as the person attempts to create both a good quantity and quality of life (Pierret, 2000). Most of the literature from the counselling psychology community has focused on the efficacy of cognitive behavioural therapy for this client group however; some of the theory behind this model has been questioned in relation to the needs of the HIV positive community. The current study explored the process between three HIV positive clients and twelve sessions of pluralistic therapy. Method Twelve pluralistic therapy sessions with three HIV positive clients were audio recorded. The participants were recruited from the waiting list of a specialist HIV mental health service in London. Grounded theory strategies were used to analyse the transcriptions of the therapy sessions. Feedback sessions were also conducted with each of the clients in order to gain insight into their experience. The client work and analysis is presented in three pragmatic case studies. Results Goals: These HIV positive clients had specific ‘relational goals’ for therapy. More specifically, the goal was to have the experience of being the ‘expert’ in the room. Tasks: A common theme was ‘self care’ and increasing quality of life. Methods: The therapeutic relationship was found to be a method within the pluralistic framework. A common element for all three clients was the absolute importance placed on ‘creating a shared understanding’ between the client and the therapist.
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Phillips, Julie K. "The Art of Collaboration in the Classroom: Team Teaching Performance." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1451.

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The Art of Collaboration in the Classroom: Team Teaching Performance is a co-written masters thesis which records our research in the field of team teaching as it relates to theatre education at the university level. It is our intent that this text be used as a tool for helping universities and teachers decide if a collaborative teaching model is right for their courses. A portion of the text is research-based, examining the scholarly writings which have preceded our work. In Chapter 1, we compiled a set of definitions, in the hopes of codifying the language used within this document as well as that used within the field. We establish a hierarchy of terms associated with teaching in collaborative forms. We then describe the various models associated with collaborative teaching, specifically the model which we have employed: team teaching.Chapter 2 explores the reasons for and against implementing collaborative teaching structures in higher education. Chapter 3 discusses team teaching specifically, and explores reasons for implementing it at the university level, and in artistic disciplines, specifically acting. We also discuss the practical appropriateness for this model in today's classrooms.The second section of the text is practical in nature. Chapter 4 includes a description of our actual experiences working together in the classroom, including discoveries, failures and successes. Finally, Chapter 5 is a guide for implementing team teaching which covers the basic essentials of starting a team teaching program. This section of the document can be used as a training tool for future co-teachers in the VCU theatre graduate program.
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Neilsen, Jenna M. "The Art of Collaboration in the Classroom: Team Teaching Performance." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/912.

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The Art of Collaboration in the Classroom: Team Teaching Performance is a co-written master's thesis which records our research in the field of team teaching as it relates to theatre education at the university level. It is our intent that this text be used as a tool for helping universities and teachers decide if a collaborative teaching model is right for their courses. A portion of the text is research-based, examining the scholarly writings which have preceded our work. In Chapter 1, we compiled a set of definitions, in the hopes of codifying the language used within this document as well as that used within the field. We establish a hierarchy of terms associated with teaching in collaborative forms. We then describe the various models associated with collaborative teaching, specifically the model which we have employed: team teaching.Chapter 2 explores the reasons for and against implementing collaborative teaching structures in higher education. Chapter 3 discusses team teaching specifically, and explores reasons for implementing it at the university level, and in artistic disciplines, specifically acting. We also discuss the practical appropriateness for this model in today's classrooms.The second section of the text is practical in nature. Chapter 4 includes a description of our actual experiences working together in the classroom, including discoveries, failures and successes. Finally, Chapter 5 is a guide for implementing team teaching which covers the basic essentials of starting a team teaching program. This section of the document can be used as a training tool for future co-teachers in the VCU theatre graduate program.
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Books on the topic "Collaboration in art"

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1949-, Prince Richard, ed. Collaboration. Parkett Verlag, 1992.

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Shepherd, Katharine G., Colby T. Kervick, and Djenne-amal N. Morris. The Art of Collaboration. SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-824-2.

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Jaulin, Germana. Community art collaboration, 2002. Edited by Evens Foundation and Museum van Hedendaagse Kunst Antwerpen. Evens Foundation, 2002.

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Holly, McLaren, ed. Bordering: An art/geography collaboration. Queen Mary, University of London, 2007.

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Holly, McLaren, ed. Bordering: An art/geography collaboration. Queen Mary, University of London, 2007.

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Mróz-Grygierowska, Magdalena, and Torun Ekstrand. Art line: A Baltic collaboration. Blekinge Museum, 2013.

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1937-, Saff Donald, ed. Donald Saff: Art in collaboration. DelMonico Books, an imprint of Prestel Pub., 2010.

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Berry, Rick. Double memory: Art & collaborations. D.M. Grant, 1992.

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Bjone, Christian. Art and architecture: Strategies in collaboration. Birkhäuser, 2009.

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Elliman, Paul. Dutch resource: Exercices de collaboration en graphisme = Dutch resource : collaborative exercises in graphic design. Valiz, 2006.

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Book chapters on the topic "Collaboration in art"

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Taylor, Steven S. "Collaboration." In Leadership Craft, Leadership Art. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012784_5.

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Candy, Linda, and Ernest Edmonds. "Collaboration." In Explorations in Art and Technology. Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_4.

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Malloy, Kaoiṁe E. "Collaboration." In The Art of Theatrical Design, 2nd ed. Routledge, 2022. http://dx.doi.org/10.4324/9781003023142-21.

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Rogers, Katy, and Arianna Paz Chávez. "Art in Collaboration." In Bridging Communities through Socially Engaged Art. Routledge, 2019. http://dx.doi.org/10.4324/9781351175586-6.

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Shepherd, Katharine G., Colby T. Kervick, and Djenne-amal N. Morris. "Enhancing Collaboration." In The Art of Collaboration. SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-824-2_6.

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Navas, Eduardo. "Distributed Collaboration." In Art, Media Design, and Postproduction. Routledge, 2018. http://dx.doi.org/10.4324/9781315453255-20.

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Navas, Eduardo. "Distributed Collaboration." In Art, Media Design, and Postproduction, 2nd ed. Routledge, 2025. https://doi.org/10.4324/9781003402497-20.

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Richards, Greg, and Lian Duif. "The Art of Collaboration." In Small Cities with Big Dreams. Routledge, 2018. http://dx.doi.org/10.4324/9781351201193-4.

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Shepherd, Katharine G., Colby T. Kervick, and Djenne-amal N. Morris. "Building Capacity for Collaboration." In The Art of Collaboration. SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-824-2_8.

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Hullfish, Steve. "Collaboration with the Director." In Art of the Cut. Focal Press, 2024. http://dx.doi.org/10.4324/9781003410805-27.

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Conference papers on the topic "Collaboration in art"

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N, Shamanth, Sagar T R, Sanjana Ballal, Khushi Etagi, and Priyanga P. "The Intersection of Art and AI: Innovations in Creative Collaboration." In 2024 International Conference on IoT, Communication and Automation Technology (ICICAT). IEEE, 2024. https://doi.org/10.1109/icicat62666.2024.10923276.

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Corda, Dijana Nazor, Jana Ziljak Grsic, and Helena Bacinger Skrlec. "CREATING AN ARTISTIC WOOL RUG WITH A DOUBLE IMAGE IN THE VISUAL AND NEAR-INFRARED SPECTRA." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs10.19.

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Years of research (since 2014) of the properties of colour twins based on InfraredArt theory the recording in the visible (V) and near-infrared (NIR) spectra, allowed the image to be depicted in two spectral ranges. Continued work in the field of InfraredArt painting led to the idea in 2022 of applying this artistic method to creating an artistic wool rug with a double (dual) image. This was made possible through collaboration with designers and technologists at the company reGalerija in Zabok. After numerous attempts, black pigments were found that allowed a hidden image to be created in the rug or tapestry in the NIR range. This discovery revealed the possibilities of light absorption response in wool material and in the NIR spectrum, as is visible in the IR reflectography (IRR) images. The colour pigment research, conducted using the InfraredArt method, resulted in the discovery of a new method of making rugs with double images that respected the colours/dyes/pigments in NIR. This type of rug with a hidden image in the IR range, made based on a double IR image template, is unique and the first such known work in the world. It hides a riddle or secret, or hidden information in the strands of wool, because apart from the abstract image, visible to the naked eye, it also contains an invisible, achromatic woven image with a figurative motif in the same layer.
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Wood, Kurt, Vince Casmirri, and Tami Lasseter Clare. "Restoration of Historic Architectural Tiffany Metalwork Relies on High-Performance, Environmentally Safe Coating System for Long-Lasting Protection." In SSPC 2014 Greencoat. SSPC, 2014. https://doi.org/10.5006/s2014-00068.

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Abstract Caretakers of outdoor monuments, sculptures and high-value architectural metalwork face formidable preservation challenges. Durable, low-maintenance coatings are needed that provide longer-lasting protection against corrosion and degradation, while being safe for the environment. We describe work done in collaboration with conservators at the Philadelphia Museum of Art, and Portland State University, to develop water-based fluoropolymer coatings that meet the critical needs of the conservation and architectural communities.
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"Cover Art." In 2014 National Wireless Research Collaboration Symposium (NWRCS). IEEE, 2014. http://dx.doi.org/10.1109/nwrcs.2014.34.

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Hwang, Jie-Eun. "Open collaboration becomes art." In the companion publication of the 17th ACM conference. ACM Press, 2014. http://dx.doi.org/10.1145/2556420.2556488.

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"Cover Art." In 2016 International Conference on Collaboration Technologies and Systems (CTS). IEEE, 2016. http://dx.doi.org/10.1109/cts.2016.0001.

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Efremenko, Tatiana, Marita Canina, Eva Monestier, and Maria Ida Fiore. "Beyond Boundaries: Art-Tech Collaboration Driving Future-Oriented Innovation." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004729.

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The current innovation landscape, shaped by digital transformation and increasing complexity, force businesses and creators not only to enhance their technological and innovation capacity, but also address sustainable and societal challenges. To do so, it becomes paramount to rethink creative approaches for innovation to move beyond traditional human-centred frameworks that often lack a future-oriented and inclusive visions (Canina et. al, 2021) in favour of a more holistic conception of innovation for planetary well-being. Art and Technology collaboration emerges as a promising avenue, enabling artists and companies to design sustainable solutions and contribute to societal and environmental impact. While such collaboration offers significant opportunities, challenges hinder its potential. A key obstacle is the absence of a strategic, vision-led process, often implemented ad hoc. Futures Thinking is proposed as an approach to provide artists and companies a common ground for collaboration. This article explores the potential of Art-Tech collaboration for innovation, grounded in the Horizon Europe MUSAE project. The project aims to overcome collaboration challenges by defining a novel collaborative model, exploring the role of futures thinking in facilitating cross-disciplinary dialogue between art and technology. This approach enhances the Art-Tech collaboration process, driving innovation in a future-oriented and responsible manner. The conclusion underscores the potential of this cross-disciplinary approach to foster sustainable innovation through equal collaboration, emotional exploration, strategic tools, and anticipation of technological advancements' impact on people and the planet.
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Gorbet, Matt, Susan Lk Gorbet, and Banny Banerjee. "Collaboration with the future." In ACM SIGGRAPH 2011 Art Gallery. ACM Press, 2011. http://dx.doi.org/10.1145/2019342.2019348.

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Hui, Keung, and Jason Mou. "The art of sampling reduction." In 2013 e-Manufacturing & Design Collaboration Symposium (eMDC). IEEE, 2013. http://dx.doi.org/10.1109/emdc.2013.6756047.

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D’Agostino, Fernanda, Harry D. Dawson, and Bret W. Tobalske. "Motion Studies: an art and science collaboration." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.44.

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Reports on the topic "Collaboration in art"

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Pound, Grant. Aldo and Leonardo: A wilderness science and art collaboration. U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 2019. http://dx.doi.org/10.2737/rmrs-gtr-397.

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Pound, Grant. Aldo and Leonardo: A wilderness science and art collaboration. U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 2019. http://dx.doi.org/10.2737/rmrs-gtr-397.

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Gattenhof, Sandra, Ulvund Marit, and Cecilie Haagensen. #YoungArt and Future Skills Report. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244541.

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#Youngart & Future Skills research project had two main foci. One was to develop and investigate models for collaboration between the art and education sectors, and the second to inquire whether the art programs and teacher/artist collaboration promotes the future skills of Creativity, Collaboration, Critical Thinking, and Communication. Two art programs were carried out in Norwegian secondary schools in 2022 and 2023. Art program A was developed by a theater company in collaboration with a teacher and four artists in a large secondary school class with 45 students in Trondheim. Art program B was developed by a filmmaker in collaboration with a teacher in a small secondary school class with 18 students in Sunnmøre. One of the aims of #Youngart & Future Skills was to investigate how different class and school sizes functioned in different art programs. The art programs were documented through observation, interviews, questionnaires, and the students feedback on post-it notes and drawings, and the material was analysed by the research team. The research finds that of the four future skills Creativity, Collaboration, Communication, and Critical Thinking, the first three were strengthened through the art program, and Critical thinking to some extent. The collaboration between classroom teachers and teaching artist was appreciated by both parties. At the same time, there seems to be potential in a closer collaboration and a clarification of roles in relation to the implementation of the art program. It is important that both parties can use their expertise in the implementation, and that the school’s needs and the teaching artists goals and proficiency meet in a good way. There is a need for more research to explore and make choices in relation to the diversity of possibilities in scope, length, timetable, and forms of collaboration between teachers and artists.
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Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.
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Nyman, Matt, Nancy Staus, and Martin Storksdieck. Science and Art Teaching Practices for Oregon Elementary Teachers: Results of a Landscape Survey. Oregon State University, 2023. http://dx.doi.org/10.5399/osu/1163.

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An Evaluation Report for the Oregon Department of Education. In collaboration with classroom teachers and WRAP personnel we developed and implemented a survey to collect baseline data on the science and arts teaching practices for ALL elementary teachers. This included “regular” classroom teachers (those teachers with an assigned physical classroom and set of students), art teachers, music teachers, PE teachers and other educators or administrators. In December 2022 we recruited three (3) elementary teachers to assist us in survey development, in particular framing questions around frequency of teaching time for both arts and science instruction. One important outcome was that we formulated questions around “dedicated” teaching time where instruction was only focused on science or art content and “integrated” teaching when teachers combine science or art with other instructional areas (such as math or literacy). We also learned that there was a lot of nuances in trying to capture the science and art teaching data; for example, some schools have large blocks of time when they have a particular focus on a science content area and then equally large blocks when science teaching is replaced by instruction in other fields, such as social science. It can be difficult to reduce this instructional framework to a weekly allotment of science teaching.
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Berger, Thor, and Erik Prawitz. Collaboration and Connectivity: Historical Evidence from Patent Records. Department of Economics and Statistics, Linnaeus University, 2023. http://dx.doi.org/10.15626/ns.wp.2023.02.

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Why has collaboration become increasingly central to technological progress? We document the role of lowered travel costs by combining patent data with the rollout of the Swedish railroad network in the 19th and early-20th century. Inventors that gain access to the network are more likely to produce collaborative patents, which is partly driven by long-distance collaborations with other inventors residing along the emerging railroad network. These results suggest that the declining costs of interacting with others is fundamental to account for the long-term increase in inventive collaboration.
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Brison, Jeffrey, Sarah Smith, Elyse Bell, et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.
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Niang, Aminata, Lansine Sountoura, Kaderi Bukari, Imogen Bellwood-Howard, and Peter Taylor. Collaborative Art-Making for Deliberation in Africa. Institute of Development Studies, 2023. http://dx.doi.org/10.19088/ids.2023.036.

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Across West Africa and East Africa, policy actors and citizens have tended to discuss socio-environmental issues in ways that recognise emotional, subjective viewpoints, but can be antagonistic. Although deliberation literature suggests that collaborative arts-based activities can encourage consideration of affective dimensions, their major value in these emotive, hierarchical and antagonistic contexts is to promote more convivial working relationships.
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Pritychenko, Boris, Stephan Oberstedt, Oscar Cabellos, et al. Summary Report of the 1st RCM of the CRP on the Updating Fission Yield Data for Applications. IAEA Nuclear Data Section, 2021. http://dx.doi.org/10.61092/iaea.zrsf-1z0f.

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The First Research Coordination Meeting of the CRP on “Updating Fission Yield Data for Applications” was held by video conference from 31 August to 4 September 2020 with more than 50 international experts from 16 countries attending the meeting. The CRP is devoted to evaluation efforts of cumulative and independent fission yields for incident ener-gies from the thermal point up to 14 MeV on actinide targets. Produced fission yield evalu-ations should include full uncertainty quantification and are expected to combine available experimental data and state-of-art model information. Four working groups were created within the collaboration: 1) Availability of experimental fission product yield data for eval-uations; 2) New fission product yield experimental data; 3) Fission product yield evalua-tion; and 4) Fission product yield validation. Technical discussions and the resulting work plan of the Coordinated Research Programme are summarized in this report. The meeting presentations are available at: https://nds.iaea.org/index-meeting-crp/FissionYields2020/.
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Pritychenko, B., S. Oberstedt, O. Cabellos, et al. Summary Report of the 1st RCM of the CRP on the Updating Fission Yield Data for Applications. IAEA Nuclear Data Section, 2021. http://dx.doi.org/10.61092/iaea.qwbr-a6z9.

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Abstract:
The First Research Coordination Meeting of the CRP on “Updating Fission Yield Data for Applications” was held by video conference from 31 August to 4 September 2020 with more than 50 international experts from 16 countries attending the meeting. The CRP is devoted to evaluation efforts of cumulative and independent fission yields for incident energies from the thermal point up to 14 MeV on actinide targets. Produced fission yield evaluations should include full uncertainty quantification and are expected to combine available experimental data and state-of-art model information. Four working groups were created within the collaboration: 1) Availability of experimental fission product yield data for evaluations; 2) New fission product yield experimental data; 3) Fission product yield evaluation; and 4) Fission product yield validation. Technical discussions and the resulting work plan of the Coordinated Research Programme are summarized in this report. The meeting presentations are available at: https://nds.iaea.org/index-meeting-crp/FissionYields2020/.
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