Academic literature on the topic 'Drawing By Individual Artists'
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Journal articles on the topic "Drawing By Individual Artists"
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García, Esteban, and David Whittinghill. "Art and Code: The Aesthetic Legacy of Aldo Giorgini." Leonardo 44, no. 4 (2011): 309–16. http://dx.doi.org/10.1162/leon_a_00207.
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In 1975 Aldo Giorgini developed a software program in FORTRAN called FIELDS, a numerical visual laboratory devoted entirely to art production. Working extensively as both artist and scientist, Giorgini was one of the first computer artists to combine software writing with early printing technologies, leaving an aesthetic legacy in the field of the digital arts. His individual process was innovative in that it consisted of producing pen-plotted drawings embellished by the artist's hand with painting, drawing, and screen-printing. This paper is the product of a multi-year study of Giorgini's primary source materials provided by his estate. The authors examine the methods used by Giorgini during the 1970s that allowed him to create computer-aided art, in the hope that publishing this work will ensure that future generations of digital artists, technologists and scientists can be educated in Giorgini's contribution to the history of the digital arts.
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Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (2020): 116. http://dx.doi.org/10.3390/arts9040116.
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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.
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Paek, Kyong-Mi. "ARTIST’S CREATIVE CONTRIBUTIONS IN THE CONTEXT OF INTERDISCIPLINARY RESEARCH." Creativity Studies 12, no. 1 (2019): 131–45. http://dx.doi.org/10.3846/cs.2019.9141.
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While expectations regarding art’s potential contributions to the interdisciplinary research context continue to grow, the creative endeavors of individual artists remain under-examined, perhaps because of the inter-relational nature of joint research settings. To explore, how artists navigate their contribution to a given research community, this study reviews the art practice of Seung-Hyun Ko, who participated in Science Walden, a Convergent Research Center carrying out an interdis-ciplinary research project that aimed to build an ecologically sustainable community. Drawing on comprehensive views of creativity that emphasize the importance of the social context in which the efforts of individuals emerge and are assessed, the study examines Ko’s recent collaborative practice in Science Walden within the larger context of his long-term practice as a leading artist of Yatoo, a bioregionally conscious artist community. Ko’s responses to the opportunities and challenges of his involvement in these two interrelated contexts disclose the value of the creative dynamics of interdisciplinary research, with implications for the increasingly diverse interdisciplinary research practices emerging within science and technology.
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Sevostyanov, Dmitry A. "Henri Rousseau and Porfiry Fedorin: a Comparative Study of Motor Profiles." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 1 (2024): 102–12. http://dx.doi.org/10.15826/izv1.2024.30.1.009.
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The article discusses the reasons for the similarity of the painting manner of artists, where the works of Henri Rousseau and Porfiry Fedorin are used as an example. This similarity is explained by the coincidence of the motor profiles of the both artists. The structure of motor profiles is described, it is shown how it is displayed in the drawing activity. The resources through which individual differences are realized (and, on the contrary, similarities are formed) in the work of different artists are examined.
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Volkova, Tatiana Vladimirovna, and Irina Mikhailovna Gusakova. "Organization of the study of academic drawing in the artistic and pedagogical training of students." KANT 44, no. 3 (2022): 211–19. http://dx.doi.org/10.24923/2222-243x.2022-44.39.
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The purpose of the study is to reveal the features of the organization of drawing training in the artistic and pedagogical training of students. The article discusses the main ways of using short-term graphic sketches in the study of academic drawing. The main difficulties encountered by students in the learning process are noted, and recommendations for their solution are given. Short-term tasks used by us in the process of working with students in drawing classes stimulate compositional thinking, introduce the means, techniques, rules, laws of graphic composition, enable students to competently combine graphic materials. The exercises that we have developed are based on methodological developments in the field of academic drawing of the twentieth century, when eclecticism appeared in the visual arts and teachers of fine arts began to allow students to combine different graphic materials to a greater extent following individual advanced artists of this era. We worked with students of the Design, DPI orientation from 2013 to 2016. Work with students of the Fine Arts orientation in this field began in 2010 and continues to the present. The scientific novelty lies in the development and experimental verification of methodological recommendations, individual aspects of the organization of the study of drawing by future teachers-artists. As a result, the conditions for the organization of drawing training in the performance of practical work by students have been identified, which make it possible to increase the effectiveness of academic drawing and composition classes.
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Munnelly, Lisa. "Three Turns: A dialogue across disciplines." Drawing: Research, Theory, Practice 7, no. 2 (2022): 299–312. http://dx.doi.org/10.1386/drtp_00097_1.
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On 21 February 2021 at 9.00 p.m., the performance Three Turns was featured as part of a curated series of works in The Performance Arcade (PA2021), a festival that brought together live art, music and performance on Wellington’s Waterfront. In a shipping container transformed into a temporary stage, three artists: a drawer, a dancer and a musician, celebrated the immediacy of their mediums. In an hour-long performance, a dialogue across disciplines was formed, a dialogue that evolved intuitively. Over three turns, each artist took the lead, with a note, a mark and a gesture offered up as provocation – forms, actions, colours and chords followed. The sonic surface, the stage and the page merged into a single space in which the artists explored velocity, rhythm and repetition. This encounter created a place where gravity and levity pushed and pulled, space was devoured and patterns emerged, accumulated and dissipated. The collaborative performance of Three Turns allowed three artists to form a dialogue across disciplines and ask: what new knowledge can emerge from a conversation between drawing, dance and music? This report, written in the first person from the drawer’s perspective, with contributions from The Dancer/Sacha Copland and The Musician/Simon Eastwood, reflects upon the event and posits that whilst on an individual level the performance produced new drawings, new sounds and new movements that individually had value, it was the relation between the three artists and their mediums, that emerged to be the most significant aspect of the work.
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Wango, Kamau. "Exploration of Human Figure Drawings Using Charcoal Pencil - Analysis of Post-Graduate Drawings by Zephania Lukamba." International Journal of Advanced Research 3, no. 1 (2021): 55–71. http://dx.doi.org/10.37284/ijar.3.1.306.
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Human figure drawing is undertaken and ultimately used for a number of purposes. Artists use it to continually sharpen their skills in order to apply it in the execution of their work in artistic disciplines that pertain to self-expression. Students and other groups as well as individuals embark on human figure drawing in order to acquire and horn their skills for purposes of artistic development that is then applied ultimately to their respective artistic endeavours. However, the drawing and acquisition of skills is a process and people render their human figure drawings to different levels of success and finesse at any given stage. In this process, one draws human figures using certain prescribed guidelines. It is expected that as one works within this process, particularly in a formal learning environment like studio-based work, following these guidelines become essential and helpful in attaining a proportional and accurate human figure drawing. In analysing the featured work executed on toned paper, this paper seeks to determine the extent to which the artist applies the basic tenets of human figure drawing and whether the drawings themselves attain this threshold. The analytical framework includes the depiction of correct proportions, the study of gestures, the suggestion of movement and application of value. Within the development of personal style, the artist specifically explores the effect of charcoal pencil on toned paper as his medium of choice. His methodology includes the application of a variety of tones and the use of focused illumination upon pertinent areas in the drawings to create deliberate effects that highlight the drawings, enhance gestures, suggest movement and add dynamism to the drawings. The drawings include photograph referenced male and female figures as well as separate studies of hands and feet
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Dashchenko, Nataliia L. "Presentation of the artist in the regional journal periodical." Communications and Communicative Technologies, no. 24 (March 28, 2024): 22–29. http://dx.doi.org/10.15421/292403.
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The artistic component of the literary-artistic and public-political magazine Literary Ternopil» (2008–2019) was formed by publications that show the current state of painting in the region through familiarization with the personalities of artists and their creative work. The article highlights and analyzes typical textual means of presenting the artist in the specialized section «Artist of the Number». As a result of the research, it was found that the text presentation is based on the involvement of elements of drawing, which are manifested in the depiction of heroes in action, retelling of life situations, depiction of the area, interiors, etc. The plot-compositional organization of the texts includes biographical, everyday, socio-political, historical, psychological contexts, to reflect which the authors provide data on education, places of creative work, participation in exhibitions, obtaining titles, cooperation with various artists, describe external signs, worldview and inner qualities of artists. Expressions of art critics, connoisseurs of painting, and artists themselves are used compositionally. The presenters of the artists are the titles of the publications in which the starting point of the image is formed. It remains constant or changes: it can be individual / collective, synchronous / diachronic, shift in space (natural environment, premises, native land, abroad), have an emotional / intellectual dimension, focus on a situation or involve a whole range of information. An important component of the presentation is the art history characteristic in combination with evaluative and figurative expressions. For this purpose, artistic means of speech and stylistically marked vocabulary (names of subjects of professional activity, artistic directions, styles, and techniques), names of famous Ukrainian artists, names of iconic paintings, their cycles, names of exhibitions, etc., are involved. All these aspects are aimed at reflecting the spiritual, intellectual, creative development of the artist.
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Blair, Bonnie, and Jared Bok. "The refracted portrait of the artist: The cultural reproduction of artist attributes through the Venice Film Festival." International Journal of Media & Cultural Politics 19, no. 1 (2023): 41–60. http://dx.doi.org/10.1386/macp_00072_1.
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Research has shown how ‘cultural consecration’ grants economic and symbolic benefits to cultural producers and their creations. Yet few studies adopting this approach have explored the content of these creations themselves. Consecration is a contagious process, and culturally consecrated objects also consecrate the representations contained within. Drawing on insights from the sociology of culture and art history, this study qualitatively analyses and illustrates the reproduction of three social roles of ‘the artist’ in biopics nominated for the Venice Film Festival’s Golden Lion Award since the year 2000. Focusing on representations of prominent artists who themselves are consecrated in both popular and artistic circles, this article shows how social characteristics of artists – individual exceptionalism, social separation and artistic autonomy – are reproduced through the medium of consecrated film. It concludes by considering the practical implications of such reproductions and avenues for future research on the consecration of cultural content.
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Petrov, Arseniy S. "A Travel Book by an Artist-Pensioner: The Russian Artistic Community in Italy and the Disadvantages of Academic Education." Observatory of Culture 20, no. 3 (2023): 258–69. http://dx.doi.org/10.25281/2072-3156-2023-20-3-258-269.
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The article is devoted to an album of drawings by an unknown Russian artist-pensioner of the mid-1850s from the circle of A.P. Bogolyubov. The young draughtsman, who had an excellent academic education, traveled around Italy, drawing typical views and genre scenes, while to a greater extent trying on the role of S. Shchedrin and K. Bryullov in his search for creative identity. The album is set within the broad context of the work in Italy of young Russian artists. Similar stylistic and iconographic analogies are drawn from similar sources — the travel sketches of A.P.Bogolubov and F.A. Bronnikov, as well as the album of F.A. Klages. A careful comparison of the works by the novice masters allows us to draw conclusions about the common problems experienced by the young graduates of the Imperial Academy of Arts who had excellent technical skills and, at the same time, a poor readiness for individual artistic exploration. The drawings examined in the article significantly expand the circle of visual sources on the Russian artistic community in Italy. In some cases there are portraits and caricature, as well as the development of the iconography of typical scenes (for example, “Interrupted rendezvous” by Karl Bryullov or “Temptation” by N. Shilder). The album contains many inscriptions, which are also published alongside to facilitate the identification of the author by subsequent researchers.
Dissertations / Theses on the topic "Drawing By Individual Artists"
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Elen, Albert J. "Italian late-medieval and Renaissance drawing-books from Giovannino de'Grassi to Palma Giovane : a codicological approach /." Leiden : A.J. Elen, 1995. http://catalog.hathitrust.org/api/volumes/oclc/33228704.html.
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Alaluusua, Elisa. "Sketchbooks : a comparative analysis of the use of sketchbooks by contemporary artists." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12167/.
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This qualitative research project aims to gain a theoretical and practical understanding of what role sketchbooks play in the creative practice of contemporary artists, and what their shared and individual sketchbook methods are. A comparative analysis of thirteen contemporary artists’ sketchbook practices is offered. During the course of the research the private and public nature of sketchbooks emerged as an important and engaging area of inquiry that helped narrow the focus of the research process and offered an entry point for the analysis. The methodology used was fundamentally that of artistic research that drew heavily upon the characteristics of artistic practice in the field of drawing; as well as from hermeneutics, (auto)ethnography, and phenomenological analysis, each of which informed my practice and processes. This research aims to be useful for those conducting research into sketchbooks, drawing, drawing and writing, the nature of artistic process, creativity and pedagogy. The outcomes of this research are presented in two parts, in the thesis text and the documentation of an exhibition. In the final analysis the outcome is a multi - layered and multi - voiced story that identifies individual and shared practices used by contemporary artists during the compilation of their sketchbooks. Both the research and resultant artwork aim to bring to the foreground the largely overlooked public aspect of the sketchbook and contribute to knowledge in the fields of drawing research, video installation art, archival research and interviewing in the context of artistic research. Throughout the project I used drawing and video practices as methods of investigating, interrogating and disseminating knowledge. Thirteen contemporary artists’ interviews were recorded as a core element of the primary research, then reconfigured as an artwork / video installation called Thirteen Narratives By Thirteen Artists About Their Sketchbooks.
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Michel, Karl Frederick. "Drawing on experience a study of eighteen artists from the National Vietnam Veterans Art Museum collection /." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Michel.pdf.
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English, Merle Russell. "The effects of using computer graphics on preschool children." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26810.
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This study was designed to investigate the ability of young children to use a particular computer graphics program Colorpaint and its effects on their artwork. It was conducted in two parts : the pilot study in which five children participated and the main study which involved two children. Four predictions were made. Prediction one stated that of the total number of children's interactions with the program, more would be in the category of independent use than in the category of teacher-assisted use. The second prediction was that children would use goal-oriented behavior in aesthetic decision-making and problem-solving when using the program. Prediction three stated artwork, done with computer media would be rated higher in each of the categories of "Variety within Shapes", "Variety between Shapes", "Complexity", and "Texture" than would images made with other media. The fourth prediction was that computer-generated artwork, would be rated lower in the category of "Image Autonomy" than the artwork done in other media. For both parts of the study, anecdotal data in the form of field notes, transcribed conversations, and videotapes were kept and analysed to provide insight into the children's behavior when using the computer. During the main study the children's interactions with the computer program were recorded on a checklist indicating whether they were able to use the program independently or if they needed help. Artwork made by the subjects in the main study using the computer and other media were saved for analysis and were rated by three independent judges. The judges used five criteria derived from the literature on children's art to rate each image on a five point Likert scale. Results indicated that prediction one, which stated that more interactions with the computer would be in the category of independent use, was supported as there were more independent interactions than teacher-assisted interactions with the computer for each subject. Prediction two, which indicated that children would use goal-oriented behavior in aesthetic decision-making and problem-solving when using the computer, was supported by the descriptive data collected. Prediction three, that the computer images would be rated higher in each of the categories of Variety within Shapes, Variety between Shapes, Complexity, and Texture, was supported in the two categories Variety between Shapes and Variety within Shapes. The fourth outcome predicted was that the computer artwork would be rated lower in the category Image Autonomy than artwork done in other media. This outcome was supported by the results of the analysis of the artwork.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Oshima, Hiroko. "Artists' groups in Japan and the UK and their impact on the creative individual." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3340/.
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The aim of this thesis is to give an alternative insight to the existing concept of individuality in visual art through an examination of the meaning of being individual for visual art practitioners, particularly for those who operate in an artists’ group setting. This research project is a critique of the seemingly unchallenged emphasis on the individuality and its strong association with creativity in the current British art schools. Cultivating individuality is one of the most important aims in both British and Japanese institutions where I have trained as an artist. Nevertheless, my group-oriented cultural background and my membership of an artists’ group studying in an individually-oriented environment raise questions challenging the meaning of being an individual itself. This thesis has no methodology set up at the beginning, which would usually be the case in a conventional academic thesis. Instead, the thesis develops thought experiments to examine what ‘individual’ means in order to arrive at methodology towards the end. Moreover, this piece of practiceled research is not about the contents of my practice but about the group feeling underlying my practice as an individual fine art practitioner. The investigation into the relational idea of the self of Zen, followed by Charles Sanders Peirce’s semiotics of the Universe of Three Categories, provide the research with a useful visual thinking tool: the triadic diagram. The investigation into the meaning of the individual develops further through an exploration of the concept of ‘groupness’. Definitions of the term are carefully unfolded until the terminology allows us to contemplate different senses of the individual: singularity- and groupness- oriented individual. As a result of the thought experiments examining different ideas of one’s individuality, there emerge several action research practice-led methodologies for the fine art practitioner working in a group situation. One methodology brings groupness into my individual practice, and another introduces groupness situations to other practitioners. The contribution of this thesis is to provide a basis for fine art practitioners like myself to revalue their individuality in harmony with their group membership.
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Gattringer, Christa. "17th-Century Antwerp artists' studio practice : Rubens and his circle : an interdisciplinary approach in technical art history." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5135/.
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Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).
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Kinsella, Sharon. "Editors, artists and the changing status of manga in Japanese society, 1986-1995." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:4c437028-f0e3-4c00-915a-1e151d7e89db.
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The contemporary Japanese manga industry began in 1959 when the first weekly manga magazines were published. Throughout the 1960s publishing companies attracted a large adult readership by incorporating radical political themes and realistic drawing styles in manga magazines. The readership continued to expand throughout the 1970s and 1980s and manga became a mass medium on a similar scale to television or pop-music. This thesis identifies two distinct trends in the cultural status of manga which were developing from the mid-1980s onwards. On the one hand, what had previously been seen as 'commercial' manga became respected as an 'art' form and highbrow communication medium. On the other, manga was vilified as pornography and as the extreme expression of an increasingly fragmented society. In the former trend, prestigious corporations sponsored a new category of 'information' manga, whilst in the latter, 'girls' and 'otaku' manga genres were censured by a quasi-governmental censorship movement. The amateur manga subculture in particular became the focus of a 'moral panic' where those involved were characterised as isolated and socially dysfunctional. This thesis, based on ten months' participant observation and intensive interviews in 'Morning' manga magazine editorial office in 1994, examines how this editorial was influenced by the changing status of manga in Japanese society in the formulation of its editorial policy and production methods. Editors felt that in the 1990s social changes presented the manga industry with serious production problems - in particular, a dearth of 'good' artists who could produce social themes, and a shrinking readership. Morning editorial attempted to overcome these problems by pioneering a new form of artistic, high-quality and respectable adult manga, aimed at older and more socially-elite readers. By creating a new proactive intellectual role for manga editors at the same time as sponsoring experimental graphic styles, Morning editorial produced a distinctive new form of conservative, state-supporting social and political adult manga. The re-definition of specific genres of manga as 'art' by Japanese institutions was paralleled by changes in commercial manga production which privileged the social and intellectual interests of editors over those of readers and artists. This study concludes that editors have become increasingly impo7tant in manga production between 1986 and 1995, and that there is a tight interrelationship between commercial cultural production and broader cultural and social discourses generally.
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Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.
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This PhD addresses approaches to art practice that are
simultaneously individual and participatory. It comprises a
research-based dissertation that sets out to understand why
combined practices are so prevalent among contemporary Indonesian
artists (66.66 ̇%), and a practice-led body of work that
investigates the nexus between individual and participatory modes
in my own art practice, accompanied by an exegesis (33.33 ̇%) .
The arguments set out in the dissertation are the result of
research into primary and secondary written resources,
translations, field observations, interviews with artists and
with other experts in Indonesia. This is the first body of
research to address combined individual and participatory art in
Indonesia. Sanento Yuliman described the “artistic ideology”
of Indonesian modernism as simultaneously autonomous and
independent, and heteronomously tied to tradition and society’s
needs. This formed the foundations from which modern art
discourse in Indonesia involved artists in the lives of the
people (rakyat) while also defending artists’ individual
expression: a binding knot of the kind that Jacques Rancière
describes as the “aesthetic regime”. I draw attention to the
way participation consistently features alongside individuality
in discourses from those early artists; during art’s
instrumentalisation in development discourses; and when
contemporary artists begin involving the rakyat in participatory
art. Case studies addressing the work of five contemporary
artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan
“Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how
contemporary artists have extended this continuum to involve
people in the making of art, while still maintaining significant
individual practices. I demonstrate how particular contexts and
networks of production have continued to engage with the early
modernist concepts of autonomy and heteronomy, as well as
exogenous and originary endogenous discourses, to create
conditions which mandate the practice of both participatory and
individual art for many artists. In responding to these
conditions, the work by contemporary artists presented in this
research consciously engages with and reconstructs discourses
from Indonesian and global art histories.
The body of work experiments with variations on participatory and
individual art within community, institutional, educational and
public spaces. I became interested in these spaces in between the
one and the many while observing art and cultural practices in
Indonesia, and working in museum education in Australia.
Consequently, both fields – contemporary art in Indonesia and
my own art practice – are inextricably linked. The mediums used
are responsive to the contexts of those sites and diverse
conversations I seek to generate through the works. They include
fabric remnants, diverse printmaking techniques, wax resist on
paper and a two-channel video installation. The exegesis
addresses the conceptual background, intentions, research
methodologies and results of this practice-led research into the
nexus between individual and participatory modes of practice. In
responding to the different sites (referred to above) and
artistic modes, I examine both links and points of difference,
and demonstrate the continuing role of art as a liminal space of
expression and criticality.
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Inwald, Minerva. "“Drawing on Each Other’s Strengths to Overcome Each Other’s Weaknesses”: Professional Artists, the Masses, and the Artistic Culture of the People’s Republic, 1962–1974." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20794.
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Through a historical study of national art exhibitions held in Beijing at the National Art Museum of China, which first opened to the public in 1962, this thesis explores how the concepts of the professional artist and the masses were used to successively define and redefine the purpose and practice of socialist art during the 1960s and 1970s. During the Mao era, all professional fields were confronted with the party-state’s attempt to secure technical expertise while simultaneously characterising professionals as ideologically deficient. Denying that professional artists could access the ideological sentiments of the masses produced specific tensions, as the party-state required that artists apply their creative abilities to express and arouse the emotional energies of the masses. The characterisation of the professional artist and their role in socialist society was inherently paradoxical; the party-state entrusted professional artists with the important political task of giving visual expression to the “thoughts and feelings” of the masses, while asserting that professional artists lacked these thoughts and feelings themselves. This thesis examines attempts to resolve this paradox, exploring how cultural bureaucrats developed and promoted methods of productive cooperation between professional artists and the masses. In order both to ensure that the creative facilities of professional artists found full expression and also to address their ideological deficiencies, cultural bureaucrats often turned to the methods of artmaking itself, prescribing forms of creative practice that involved greater party control over subject matter and inserting the masses into professional art practice as agents of ideological transformation. This thesis argues that these prescriptive methods were more than simply a means of exercising control over artists; they were also used to generate meaning in artistic practice. As a result of the party-state’s obsession with the role of the professional artist, their ideological transformation, their relationship to the masses, and the reception of their work amongst audiences, the meaning of artworks resided as much in the processes of creation and reception as in the form and content of the image itself. For the most part, cultural bureaucrats demanded that professional artists and the masses build the new socialist artistic culture cooperatively, through both professional artistic work and amateur art projects. But during the early period of the Cultural Revolution, the inherent paradox of entrusting the creation of a socialist culture to a group that was deemed to be ideologically problematic erupted into violence. Accompanied as they were by an outpouring of written commentary, national art exhibitions were valuable occasions for illustrating how professional artists and the masses were each to contribute to the socialist cultural project. Through a detailed analysis of the rhetoric captured in sources such as theoretical treatises, artists’ statements and exhibition reviews published in professional journals, newspapers, and Cultural Revolution periodicals, as well as the recollections of artists, both professional and amateur, who participated in national art exhibitions, this thesis contributes to our historical understanding of how the culture of the Mao era was moulded by deliberations over the value of professional expertise and creativity, the needs of the masses as audiences, the potential role of the workers, peasants, and soldiers in cultural production, and the viability of productive cooperation between professionals and the masses.
Books on the topic "Drawing By Individual Artists"
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Kort, Pamela. Jorg Immendorff: Zeichnungen = drawings : 1964-1993. Gachnang und Springer, 1994.
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Paul, Joanna Margaret. Joanna Margaret Paul drawing. Auckland University Press and Mahara Gallery, 2006.
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Paine, Sheila. Artists emerging: Sustaining expression through drawing. Ashgate, 2000.
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Luckhardt, Ulrich. David Hockney: A drawing retrospective. Thames and Hudson, 1995.
Find full textBook chapters on the topic "Drawing By Individual Artists"
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McIvor, Charlotte, and Ian R. Walsh. "Body." In Contemporary Irish Theatre. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_9.
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AbstractThis chapter explores how bodies work and signify as individuals but also as stand-ins for a greater whole (both materially and representationally) within the contemporary Irish theatre and by extension, Irish society. The participation and presence of bodies in theatrical and extra-theatrical events connected to the contemporary Irish theatre as a network of individuals, practices and institutions indexes not only the aesthetic but the political and social status of the body within Irish society at any given time. Understanding the limits of theatrical representation and participation by individuals and/or communities as artists in the Irish theatre gives us deeper insight into the rights accorded to individual bodies and/or those grouped according to a shared identity such as gender, sexuality, religion, class, race/ethnicity and/or disability, as well as drawing attention to how theatre and performance as live and embodied art forms can sometimes push productively at the limits of what is legally or socially possible at the scale of the body. This chapter proposes the following frameworks for studying the body as a key vehicle towards utopian performatives in contemporary Irish theatre: Acting Bodies (Olwen Fouréré), Bodies as Tools (Panti Bliss/Rory O’Neill and the “Noble Call”), Intersectional Bodies (Christian O’Reilly’s Sanctuary with Blue Teapot Theatre and No Magic Pill).
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Manninger, Sandra, and Matias del Campo. "Deep Mining Authorship." In Computational Design and Robotic Fabrication. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-8405-3_1.
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AbstractConsidering the emerging field of architecture and artificial intelligence, it might be necessary to contemplate the remodeling of the concept of authorship entirely. The invention of authorship is a complex historical process that can be traced back to the emergence of print culture in Europe in the 15th century. Prior to this period, most literary and artistic works were created anonymously or attributed to collective or anonymous sources, such as folklore or religious traditions. However, with the rise of printing, texts became more easily reproducible and marketable, and there emerged a need for individual authors to take credit for their works. The notion of authorship was closely tied to the idea of originality and ownership, as authors sought to assert their exclusive rights to their works and to distinguish themselves from other writers. This was supported by the development of copyright law, which granted legal protection to authors and their works, and helped to establish a market for literary and artistic works. The idea of the author as a singular, autonomous figure gained further prominence in the 18th and 19th centuries, with the emergence of romanticism and the cult of the individual. This period saw the rise of the idea of the artist as a genius, whose works were the product of their own unique creativity and imagination. This idea was further reinforced by the rise of literary criticism, which focused on the interpretation and analysis of individual works and their authors. However, as Michel Foucault and other scholars have argued, the notion of authorship is not a universal or timeless concept, but rather a historically contingent and culturally specific one. Different societies ad cultures have different understandings of authorship, and these have shifted over time in response to changes in technology, culture, and social values. As it stands now, authorship in its traditional form can hardly be applied in a context where automated collaborations provide more than 50% of the generated material. This is true for multiple art fields. Visual Arts (Mario Klingemann, Sofia Crespo, Memo Atken, Ooouch, etc.), Music (Dadabots, YACHT, Holly Herndon), Literature, etc. Very soon this will also be true for Architecture. The consequence is also an entire rethinking of the concept of the sole genius. This notion, developed by German Romanticists in the early 19th century, is, in the current context of AI-assisted creativity, completely obsolete, as we are drawing from the genius of hundreds of thousands of artists and artworks in order to interrogate the latent space for unseen artistic opportunities. More akin to an archeological dig leading to the discovery of a next-generation jet fighter plane.
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Pinnock, Andrew. "Grants for individual artists." In Funding the Arts. Routledge, 2023. http://dx.doi.org/10.4324/9780429021947-14.
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Becker-Weidman, Arthur. "House-Tree-Person Projective Drawing Test." In Encyclopedia of Personality and Individual Differences. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-24612-3_38.
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Becker-Weidman, Arthur. "House-Tree-Person Projective Drawing Test." In Encyclopedia of Personality and Individual Differences. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-28099-8_38-1.
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Tang, Ling-Yun. "Post-70s Artists and the Search for the Self in China." In Chinese Modernity and the Individual Psyche. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137268969_2.
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Hirsch, Dennis, Timothy Bartley, Aravind Chandrasekaran, Davon Norris, Srinivasan Parthasarathy, and Piers Norris Turner. "Drawing Substantive Lines." In SpringerBriefs in Law. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21491-2_6.
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AbstractThis chapter discusses the benchmarks and standards companies use to distinguish between ethical and unethical uses of advanced analytics and AI. In recent years scholars, governmental bodies, multi-stakeholder groups, industry think tanks, and even individual companies have issued model sets of data ethics and AI ethics principles. These model principles provide an initial reference point for setting substantive standards. However, the breath and ambiguity of these principles, and the conflicts among them, make it difficult for companies to operationalize them in all-things-considered decisions. In our study, most companies accordingly grounded their data ethics decisions, not on abstract ethical principles, but on intuitive benchmarks such as the Golden Rule or what “feels right.” Such gut-level standards, while potentially useful for approximating public expectations, are difficult to teach or apply consistently. Companies need substantive standards that are more actionable than high-level principles, and more standardized than intuitive judgment calls. They need generalizable policies that draw the line between ethical and unethical applications of advanced analytics and AI. How best to generate such company-specific policies remains an open question. One company said they did this by capturing past data ethics decisions and using them as “precedents” to guide future such decisions.
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Erel, Umut. "Collaborations Between Academics, Artists and Activists: Transforming Public Understandings and Representations of Migration Issues." In IMISCOE Research Series. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-39900-8_10.
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AbstractThis chapter reflects on collaborations between academics, artists and activists in order to explore the complexity of issues of migration and to engage with diverse audiences. It positions these collaborations within an ethical framework drawing on participatory action research values. While in recent years, migration has been a constant topic of public debate, the terms of this debate often ignore the voices and viewpoints of the migrants themselves. One way to honour migrants’ self-representations in public debates is collaboration with artists and activists, which can help to side-step dominant discourses that draw strict boundaries between “society” and “migrants” and, instead, enable dialogic exchanges. This chapter, therefore, draws on public engagement work to make suggestions and recommendations for migration researchers collaborating with artists and activists. Drawing on my work in the UK, I think it is important to provide the context in which this public engagement took place, although I hope that this will be useful for researchers in other national contexts, as well. The ethos and values of participatory action research approaches can be useful for migration researchers seeking to problematise public understandings of migration. Arts-based methods, in particular, offer the possibility to constitute a transformative sphere for understanding issues around migration outside of established polarised discourses. Drawing on a public engagement project, the chapter presents the ways in which concrete examples and reflections on how alternative spaces and formats can allow for transformative ways of intervening in public understandings of migration that challenge racialised and exclusionary practices of research, representation and knowing.
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Lindauer, Martin S. "Creative Productivity, Gender, and Individual Differences for Long-Lived Artists of Renown." In The Plenum Series in Adult Development and Aging. Springer US, 2003. http://dx.doi.org/10.1007/978-1-4419-9202-4_8.
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Kurz, Katharina. "The Power Balance in the Contemporary Art Market: Artists, Dealers and Collectors." In Looking Forward, Looking Back: Drawing on the Past to Shape the Future of Marketing. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24184-5_137.
Full textConference papers on the topic "Drawing By Individual Artists"
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Correia, Nuno N., Debora Souza, Inês Nêves, and Jaime Lobato. "Bio Elektron - A Multisensory Approach to Augmenting Dance, Combining: Biosignals, Drawing, Sound and Electrical Feedback." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-49-full-correia-et-al-bio-elektron.
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In this paper, we investigate how to augment a dance performance using a multisensory approach in a way that communicates the dancing process as an embodied experience. We collaborated with a dancer and a media artist over an 8-week residency to prepare and present a multisensory dance performance and a spin-off installation. We present related work regarding key areas for this research: dance and technology in general; biosignal sensors; multisensory media (sound, drawing and haptics); and the relation between dance and installation. We also report on the artistic process, which was documented through seven interviews with the artists. Finally, we discuss strategies for drawing and sonification leading to heightened embodiment; approaches for drawing and haptics triggering impressions from the performance; while highlighting the importance of space as a unifying concept in embodied multisensory work. These strategies and approaches can be useful for artists interested in conducting related embodied multisensory work.
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Sato, Shinji, Yukiko Watanabe, and Emi Ishita. "Evaluating Individual Artists' Use of SNS as a Method for Providing Information." In 2015 IIAI 4th International Congress on Advanced Applied Informatics (IIAI-AAI). IEEE, 2015. http://dx.doi.org/10.1109/iiai-aai.2015.211.
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Paora, Tangaroa. "Applying a kaupapa Māori paradigm to researching takatāpui identities." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.179.
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In this practice-led doctoral thesis I adopt a Kaupapa Māori paradigm, where rangahau (gathering, grouping and forming, to create new knowledge and understanding), is grounded in a cultural perspective and Māori holistic worldview that is respectful of tikanga Māori (customs) and āhuatanga Māori (cultural practices). The case study that forms the focus of the presentation asks, “How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression”. In addressing this, the researcher is guided and upheld by five mātāpono (principles): He kanohi kitea (a face seen, is appreciated) Titiro, whakarongo, kōrero (looking, listening and speaking) Manaakitangata (sharing and hosting people, being generous) Kia tūpato (being cautious) Kāua e takahi i te mana o te tangata (avoiding trampling on the mana of participants). In connecting these principles and values that are innate within te ao Māori (Māori people and culture) the paper unpacks a distinctive approach taken to interviewing and photographing nine takatāpui tāne (Māori males whose sexuality and gender identification are non-heteronormative). These men’s narratives of experience form the cornerstone of the inquiry that has a research focus on tuakiritanga (identity) where performative expression and connectivity to Māori way of being, causes individuals to carry themselves in distinctive ways. The lived experience of being takatāpui within systems that are built to be exclusive and discriminatory is significant for such individuals as they struggle to reclaim a place of belonging within te ao Māori, re-Indigenise whakaaro (understanding), and tangatatanga (being the self). In discussing a specifically Māori approach to drawing the poetics of lived experience forward in images and text, the presentation considers cultural practices like kaitahi (sharing of food and space), kanohi ki te kanohi kōrero (face to face interviewing), and manaakitangata (hosting with respect and care). The paper then considers the implications of working with an artistic collaborator (photographer), who is not Māori and does not identify as takatāpui yet becomes part of an environment of trust and vulnerable expression. Finally, the paper discusses images surfacing from a series of photoshoots and interviews conducted between August 2021 and February 2023. Here my concern was with how a participant’s identitiy and perfomativity might be discussed when preparing for a photoshoot, and then reviewing images that had been taken. The process involved an initial interview about each person’s identitiy, then a reflection on images emanating from studio session. For the shoot, the participant initially dressed themseleves as the takatāpui tāne who ‘passed’ in the world and later as the takatāpui tāne who dwelt inside. For the researcher, the process of titiro, whakarongo, kōrero (observing, listening and recording what was spoken), resourced a subsequent creative writing exercise where works were composed from fragments of interviews. These poems along with the photographs and interviews, constituted portraits of how each person understood themself as a self-realising, proud, fluid and distinctive Māori individual.
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Jia You, Xianfeng Jiang, Ning Wang, Zhipeng Shen, Qian Ma, and Wei Peng. "Study of without blankholder drawing for individual titanium implant forming." In 2010 International Conference on Mechanic Automation and Control Engineering (MACE). IEEE, 2010. http://dx.doi.org/10.1109/mace.2010.5535626.
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Lin, Jinwei. "Multi-area Target Individual Detection with Free Drawing on Video." In 2022 IEEE 22nd International Conference on Communication Technology (ICCT). IEEE, 2022. http://dx.doi.org/10.1109/icct56141.2022.10072943.
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Modesitt, Adam, and Carrie Norman. "OPEN HOUSE: Large-Scale Architectural Drawing as a Medium for Engaging Public Space." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.41.
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There exists ample precedent for artists engaging architectural subject matter in public work, often at the scale of buildings. The artist Richard Haas, for example, executed a series of large-scale murals illustrating architectural facades and interiors. [1] It is far less common however, for architects to deploy drawing as a medium for engaging public space. Since the era of Leon Battista Alberti, in which architectural labor divorced from con¬struction labor, the dissemination of drawings by architects has been primarily restricted to private commissions or internal trade publications. As Robin Evans famously noted, architects’ drawings are not a direct medium, but instruments in service of another medium to be executed by others. [2] Despite renewed attention to drawing among architects recently, architectural drawing still rarely engages the public realm directly. [3, 4, 5]
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Yabuki, Kouhei, Katsuyoshi Tsujita, Miki Goan, Susumu Kihara, and Kenjiro Okazaki. "Point contact and relative motion of drawing can identify individual traits." In 2014 IEEE International Conference on Systems, Man and Cybernetics - SMC. IEEE, 2014. http://dx.doi.org/10.1109/smc.2014.6974083.
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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "THE CRISIS OF THE EGO IN THE PAINTINGS AND DRAWINGS OF GIAN CARLO RICCARDI: BRIEF PSYCHOLOGICAL REFLECTIONS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.10.
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The main purpose of this study is to analyse and examine some of the paintings of the Italian avant-garde artist Gian Carlo Riccardi. Our work will focus in particular on a psychological study of the paintings and drawings realised by the artist. Our study basically focuses on the compositions created between the 1980s and 1990s and the graphic works executed in the 2000s. The first category examines certain works characterised by intense abstractionism. The pictorial material used by Gian Carlo Riccardi is manipulated, contaminated and destroyed, leaving only �relics�, symbolising a crisis of the ego. The second category analyses the drawings that make up the �Bestiary� collection. Gian Carlo Riccardi imprints on the blank sheets, the deformity and physical and moral decadence of the humanity represented, a bestiary humanity. This research aims to show how, through the works examined, Gian Carlo Riccardi synthesises individual and collective anguish through heterogeneous pictorial interventions, within which the gesture lacerates and lays bare the underlying �cutaneous� tissue, and illustrations where the sign traces the outlines of naked bodies revealing the scabrous reality of the commodification of flesh.
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ČADA, Radek, and Antonín HIKADE. "INFLUENCE OF INDIVIDUAL FACTORS ON THE RESULTS OF THE CYLINDRICAL CUP DRAWING TEST." In METAL 2023. TANGER Ltd., 2023. http://dx.doi.org/10.37904/metal.2023.4697.
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Kravcenko, Vladimir. "Bookplates from the archives of the National Library of Romania and the National Library of the Republic of Moldova: some profiles from the big collections." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.06.
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The paper is focused on the bookplates in original and in reproductions kept in the large collections of the Romanian cultural space. Data on the stylistic elements of the signs of possession from the old books and from the engraving and drawing collections are provided. Important data is offered on the ex-libris types, on the creative traditions and rules of making, on the origin of the signed books and of the artworks made in Romania, Republic of Moldova and other states in different years. Also, there are highlighted original bookplates made by Leonid Nikitin and Valeriu Herţa, the well-known artists and engravers of the Republic of Moldova. The author has described and analyzed graphic works, stressing their technical and decorative account, and evidencing common features of bookplates – general somber appearance, free and also refined grotesque drawing, sophisticated play with the text and images.
Reports on the topic "Drawing By Individual Artists"
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.
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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.
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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Howard, Jo. Practical Guides for Participatory Methods: Rivers of Life. Institute of Development Studies, 2023. http://dx.doi.org/10.19088/ids.2023.001.
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Through drawing of a river, this method helps to access and communicate personal experiences, and facilitate group dialogue around the issues that the groups themselves identify. The expectation is that, through staged group activities moving from individual activity to group discussion, trust and rapport can be built with the researcher, and between the participants.
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Devereux, Stephen, and Anna Wolkenhauer. Agents, Coercive Learning, and Social Protection Policy Diffusion in Africa. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/ids.2021.068.
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This paper makes theoretical, empirical, and methodological contributions to the study of social policy diffusion, drawing on the case of social protection in Africa, and Zambia in particular. We examine a range of tactics deployed by transnational agencies (TAs) to encourage the adoption of cash transfers by African governments, at the intersection between learning and coercion, which we term ‘coercive learning’, to draw attention to the important role played by TA-commissioned policy drafting, evidence generation, advocacy, and capacity-building activities. Next, we argue for making individual agents central in the analysis of policy diffusion, because of their ability to reflect, learn, and interpret policy ideas. We substantiate this claim theoretically by drawing on practice theories, and empirically by telling the story of social protection policy diffusion in Zambia through three individual agents. This is complemented by two instances of self-reflexivity in which the authors draw on their personal engagements in the policy process in Zambia, to refine our conclusions about the interplay of structure and agency.
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El Asmar, Francesca. Claiming and Reclaiming the Digital World as a Public Space: Experiences and insights from feminists in the Middle East and North Africa. Oxfam, 2020. http://dx.doi.org/10.21201/2020.6874.
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This paper seeks to highlight the experiences and aspirations of young women and feminist activists in the MENA region around digital spaces, safety and rights. It explores individual women’s experiences engaging with the digital world, the opportunities and challenges that women’s rights and feminist organizations find in these platforms, and the digital world as a space of resistance, despite restrictions on civic space. Drawing on interviews with feminist activists from the region, the paper sheds light on women’s online experiences and related offline risks, illustrates patterns and behaviours that prevailed during the COVID-19 pandemic.
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Flandreau, Marc. Pari Passu Lost and Found: The Origins of Sovereign Bankruptcy 1798-1873. Institute for New Economic Thinking Working Paper Series, 2022. http://dx.doi.org/10.36687/inetwp186.
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Verdicts returned by modern courts of justice in the context of sovereign debt lawsuits have upheld a ratable (proportional) interpretation of so-called “pari passu” clauses in debt contracts which, literally, promise creditors they will be dealt with equitably. Such verdicts have given individual creditors the right to interfere with payments to others, in situation where the sovereign had failed to make proportional payments. Contract originalists argue that this interpretation of pari passu clauses has no historical foundation. Historically, they claim, pari passu clauses never granted individual creditors a unilateral right to block payments to other bondholders assenting to a government debt restructuring proposal. This article shows this claim is incorrect. Drawing on novel archival research, it argues that pari passu clauses find one potent historical origin in the operation of a now forgotten sovereign bankruptcy tribunal, the London stock exchange. Under the law of the stock exchange, departure from ratable payments did create a unilateral right for individual creditors to interfere with sovereign debt discharges. In fact, ratable distributions provided the touchstone for the stock exchange sanctioned sovereign debt discharge system. What is more, sophisticated contract drafters availed themselves of the logic. The result was a weaponization of pari passu clauses, and their inscription into sovereign debt covenants in the 19th century. The article concludes that the modern debate on the role of clauses in sovereign debt contracts cannot be held without thorough reconsideration of the history of sovereign bankruptcy.
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Soare, Sorina. Romanian populism and transnational political mobilization. European Center for Populism Studies (ECPS), 2023. http://dx.doi.org/10.55271/rp0027.
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Once considered a partial exception to the recent diffusion of populism worldwide, Romania saw Radical Right populism return to Parliament in 2020. The Alliance for the Union of Romanians (AUR) successfully campaigned on a platform of defending the Christian faith, freedom, the traditional family, and the nation. Although the party was initially considered the result of individual entrepreneurship linked to its founding leaders, it has successfully built on diffused networks of societal activism whose origins could be traced back to the early 2000s. However, the AUR’s track record of discourse aligned with Kremlin rhetoric calling for Western economic, political and cultural hegemony to be resisted and rolled back saw a temporary decline in voters’ support for the party. However, the party managed to rebuild consensus strategically by drawing on voters’ increased anxiety regarding the economic effects of the war. This report offers a cogent analysis of the political performance of the AUR, examining the party’s formative phase as well as its evolution since 2020, alongside a discussion of the impact of the war in Ukraine on Romanian party politics.
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Tafere, Yisak, Louise Yorke, Pauline Rose, and Alula Pankhurst. Understanding the Influences on Girls' Primary Education in Ethiopia from the Perspectives of Girls and Their Caregivers. Research on Improving Systems of Education (RISE), 2022. http://dx.doi.org/10.35489/bsg-rise-wp_2022/097.
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Over the past two and a half decades, significant progress has been made in relation to girls’ education in Ethiopia. However, challenges remain, particularly in terms of girls’ progression, completion, and learning, with girls in more rural and remote areas facing the greatest difficulties. Drawing on data from the RISE Ethiopia qualitative study, we explore the factors at the individual, family, school, and community levels that impact girls’ education and learning from the perspectives of girls themselves. Specifically, we include the views of 15 female students enrolled in Grades 4 and 5 of primary school and of their parents/caregivers from five different regional states in Ethiopia, and across both rural and urban locations. We situate our analysis within the context of the government’s large-scale quality education reform programme (GEQIP-E) that has a specific focus on girls’ education. Our findings highlight the importance of taking account of the heterogeneity of girls’ experiences, including the varied challenges that diverse groups of girls face, and the different challenges they may encounter at distinct stages of their educational journeys. Our findings also highlight the importance of including the perspectives of girls and their families, within the context in which they are located.
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Corlin Christensen, Rasmus, Martin Hearson, and Tovony Randriamanalina. At the Table, Off the Menu? Assessing the Participation of Lower-Income Countries in Global Tax Negotiations. Institute of Development Studies (IDS), 2020. http://dx.doi.org/10.19088/ictd.2020.004.
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Since 2013, the formal structure of global corporate tax policymaking at the OECD has changed. Decisions are no longer made by 37 OECD members, but by 137 countries from all regions and levels of development through the ‘Inclusive Framework’ (IF). Official documentation emphasises that all countries participate on an ‘equal footing’, but some participants and observers have emphasised that developing countries in particular face practical obstacles that lead to unequal participation in practice. In this paper, we assess these claims, drawing primarily on 48 interviews with negotiators, policymakers and stakeholders involved in global tax discussions. We find that the explosion in formal membership has not in itself led to the step-change in developing country influence that the raw numbers imply. This is because of a combination of structural obstacles that are not unique to the IF, and some challenging aspects of the OECD’s way of working. Yet, lower-income countries have made some modest achievements to date, and there are signs of incremental progress towards a more effective presence. We develop a typology of mechanisms through which successes have been achieved: association with the efforts of more powerful states, anticipation of lower-income countries’ needs by the OECD secretariat and others, collaboration to form more powerful coalitions, and the emergence of expert negotiators with individual authority.
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Coleman, Katharina. Optimising national staff contributions in UN peacekeeping operations. Folke Bernadotte Academy, 2023. http://dx.doi.org/10.61880/nulo7273.
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How can the UN optimise the contributions that locally recruited ‘national staff’ make to peacekeeping operations? Especially given intense pressure to reduce costs through ‘lighter footprints’, peacekeeping operations need to mobilise the full potential of all their personnel to accomplish mandated tasks. This includes civilian staff, of whom 61% are national staff. Missions depend on national staff both for cost savings (since national staff typically earn less than international staff) and for local expertise and access. Yet tensions arising from status inequalities between national and international staff pose significant risks to individual staff performance and to unit effectiveness. Hostile mission environments and downsizing trends exacerbate these tensions. Drawing on extensive interviews in four UN peacekeeping operations, this brief recommends that missions: Counter the culture of inequality between national and international staff by upholding formal rank equivalents, reconsidering restrictions on some unit leadership positions, avoiding generalisations about individuals based on their staff category, and revisiting differential administrative policies. Visibly invest in national staff security by reviewing safety and security protocols for national staff, improving communication about protection policies, and improving mechanisms for national staff to report protection concerns. Carefully manage downsizing by instituting a transparent downsizing process, ensuring fairness across staff categories, working to retain relevant existing staff throughout mission drawdown, and placing greater emphasis on career management and employment transitions.