Academic literature on the topic 'Makeup artists'
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Journal articles on the topic "Makeup artists"
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Kim, Hae-Yoon, and Sun-Hyoung Kim. "The Influence of Service Factors on Customer Satisfaction in Makeup Salons." Journal of the Korean Society of Cosmetology 27, no. 4 (August 31, 2021): 840–50. http://dx.doi.org/10.52660/jksc.2021.27.4.840.
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This study attempted to investigate the influence of makeup service factors on customer satisfaction empirically to provide basic data that would help makeup salons enhance customer satisfaction and set a proper direction for services. The results found the following: Among makeup service factors, ‘quality of cosmetics,’ ‘makeup artists’ skills,’ and ‘makeup artists’ reputation and kindness’ revealed a positive correlation with customer satisfaction with statistical significance. Also, ‘makeup artists’ reputation and kindness’ and ‘makeup artists’ skills’ positively affected customer satisfaction with statistical significance. The results confirm that ‘makeup artists’ reputation and kindness’ and ‘makeup artists’ skills’ have the greatest influence on customer satisfaction. The study results found that customer satisfaction with makeup services could be enhanced by increases in ‘reasonable service charge,’ ‘makeup artists’ skills,’ and ‘makeup artists’ reputation and kindness,’ thereby increasing revisit rates and making a significant contribution making makeup salons more competitive.
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Batres, Carlota, Aurélie Porcheron, Sandra Courrèges, and Richard Russell. "Professional Versus Self-Applied Makeup: Do Makeup Artists Add Value?" Perception 50, no. 8 (July 2, 2021): 709–19. http://dx.doi.org/10.1177/03010066211029218.
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While a number of studies have investigated the effects of makeup on how people are perceived, the vast majority have used professionally applied makeup. Here, we tested the hypothesis that professional makeup is more effective than self-applied makeup. We photographed the same target women under controlled conditions wearing no makeup, makeup they applied themselves, and makeup applied by professional makeup artists. Participants rated the faces as appearing more attractive, more feminine, and as having higher status when wearing professional makeup than self-applied makeup. Secondarily, we found that participants perceived the professional makeup as appearing heavier and less natural looking than the self-applied makeup. This work shows that professional makeup is more effective than self-applied makeup and begins to elucidate the nature of makeup artistry. We discuss these findings with respect to personal decoration and physical attractiveness, as well as the notion of artists as experts.
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Khairani, Cut, Rahmad, Fitri Ernalis, Iqa Nauli, and Anjasmara. "Social Interaction of Transvestites in Bireuen Regency." Britain International of Humanities and Social Sciences (BIoHS) Journal 3, no. 1 (March 1, 2021): 217–23. http://dx.doi.org/10.33258/biohs.v3i1.394.
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The purpose of the study was to understand the social phenomenon of negative stigma and social exclusion of the existence of transvestite makeup artists through social interaction with the community in Bireuen Regency. This research uses grounded theory with data processing procedure using open coding techniques, coding a stunt and selective coding against data collected through observation, and in-depth interviews. The sample of respondents reached 20 people determined through snowball sampling techniques. The results showed that 53% of makeup artists in Bireuen Regency are transvestites who have experienced a gender identity crisis triggered by imitation actions. This form of social interaction then gets a community response in the form of dissociation, conflict with religious and socio-cultural values that develop in society. Social interaction of cultural accommodation efforts and social structures by transvestite makeup artists was not able to fuse the barriers of negative stigma attached to transgender people in Bireuen Regency.
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Salamova, Zemfira. "Spatial distancing and social closeness: The work of creative professionals during the pandemic." Clothing Cultures 7, no. 2 (September 1, 2020): 215–29. http://dx.doi.org/10.1386/cc_00037_1.
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As a complete recovery from the COVID-19 pandemic crisis does not seem possible in the near future, the survival of many creative professions is under threat in Russia and other countries. Strict anti-pandemic measures were introduced in Moscow at the end of March 2020 and lasted for a little more than two months. One of the main requirements was to work from home and go outside as rarely as possible. Most Russian creative professionals such as photographers, makeup artists, actors, musicians, stand-up comedians and television hosts found themselves in very unfamiliar conditions since their work presumes physical contact with other people. However, even artists who usually work alone like jewellers or designers met with came across practical and psychological difficulties as well and had to adapt to the new order. This research focuses on two examples of creative work during the COVID-19 pandemic: Russian jewellery designer Katia Rabey’s project ‘Quarantine Rings’ and the participation of Russian makeup artist Yulia Rada in virtual commercial photo-shoots. I am interested in how the artists perceived the changes introduced as a result of the pandemic and how these changes emphasized the digital side of contemporary creative labour. Despite the differences in the challenges that the two artists met, both of them stressed the importance of social closeness.
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Desiana, Fauziah Ismi, and Reiza D. Dienaputra. "AKULTURASI BUDAYA SUNDA DAN JEPANG MELALUI PENGGUNAAN IGARI LOOK DALAM TATA RIAS SUNDA SIGER." Patanjala : Jurnal Penelitian Sejarah dan Budaya 11, no. 1 (March 30, 2019): 149. http://dx.doi.org/10.30959/patanjala.v11i1.399.
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Akulturasi budaya Jepang dan Sunda dalam bingkai tata rias Sunda Siger membuktikan bahwa tata rias tradisional dapat dikemas modern dalam balutan teknik Igari Look. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskriptif. Pengumpulan data didapatkan dari wawancara dengan make-up artist yang menggunakan teknik make-up Igari Look dalam tata rias Sunda Siger dan aktif mengunggah hasil tata riasnya dalam sebuah portofolio di Instagram. Akulturasi kebudayaan Sunda dan Jepang dalam tata rias Sunda Siger merupakan bukti bahwa masyarakat Sunda terbuka dengan situasi multikultural. Keberadaan Igari Look dalam bingkai tata rias Sunda Siger pada hakikatnya bukan bertujuan untuk memarjinalkan makna filosofis dan historis dalam setiap unsur tata rias Sunda Siger, namun proses inovasi dari make-up artist ini perlu dimaknai sebagai sumbangsih untuk menghidupkan kembali tata rias tradisional agar lebih diminati oleh kaum muda. Acculturation of Japanese and Sundanese culture in frame Sunda Siger cosmetology proves that traditional cosmetology can be filled with modern dressing in the Igari Look technique. This study uses qualitative methods using descriptive. Data collection was obtained from interviews with make-up artists who used the Igari Look make-up technique in the Sunda Siger makeup and actively uploaded the makeup results in a portfolio on Instagram. Acculturation of Sundanese and Japanese culture in Sundanese Siger makeup is proof that Sundanese society is open with multiculturalism. The existence of Igari Look in the Sunda Siger makeup frame in essence is not an agreement to marginalize philosophical and historical meanings in any Sundanese Siger makeup, the innovation process of this make-up artist needs to be interpreted as cleft of young people.
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Suharnanik, Suharnanik. "Women and Make-Up: The Dilemma of Bourdieu's Subjectivism-Objectivism on Social Media." Journal of Society and Media 4, no. 1 (April 20, 2020): 16. http://dx.doi.org/10.26740/jsm.v4n1.p16-30.
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This research refers to the trend of women's makeup in the 2020 era, which is dominated by natural makeup. Influencers and makeup artists have a role in popularizing it. The author is interested in examining the makeup behavior in women with Bourdieu's theory. What behaviors make a woman look natural, prioritize skin health, minimal makeup. What culture is behind it. The findings of this study are all women like makeup, habitus leads to natural makeup. Habitus emphasized freedom in analyzing a practice as an agent and social structure. Women have a habitus in using makeup determined by a dual mechanism not just the dominance of social media factors, but also played by self-freedom as women as influencers in the social media itself. The arena is an environment where strength is at stake in the struggle over capital resources. Social media is an arena, a different social space, more enabling women to compete more dynamically in gaining position and legitimacy. Women use practices in makeup as a strategy in winning a competition. The makeup practice is an accumulation of women's capital and habitus, where every woman is different in her practice. The method used in this research includes in-depth interviews with women who use makeup, as well as literacy studies of the concepts of capital, habitus, and the realm. The results showed that women undergoing their practice experienced "ambiguity" or dilemmas when using make-up strategies in their social arena.
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Widyasari, Ayuningtyas Putri, Faiza Hawa, and Sukma Nur Ardini. "A SEMANTIC ANALYSIS OF BEAUTY TERMS IN MAKE UP BOOKS." ETERNAL (English Teaching Journal) 13, no. 1 (March 19, 2022): 68–88. http://dx.doi.org/10.26877/eternal.v13i1.11042.
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The study aimed to reveal beauty terms used in makeup books, and to find out the kinds of beauty terms found in the makeup books and their meanings. This study used qualitative method based on Miles and Huberman’s theory. The writers used semantics approach based on theory of kind of meaning by Wijana and Rohmadi (2008). In this study, the writers found 69 beauty terms in two makeup books written by international top makeup artists and influencers. Those terms were then clustered into makeup tool, makeup application technique, make up terms, and makeup mistake. The 69 terms belong to primer and secondary meaning. As primer meaning. lexical meaning gained 8 terms, denotative meaning gained 15 terms, and literal meaning gained 6 terms. On the other side, the rest is grammatical meaning, connotative meaning, and figurative meaning. Each of them gained 10 terms, 13 terms, and 17 terms. This study informed that most of the terms in the context of beauty have experienced change in semantics. Denotative meaning was the top among those meanings. In relation to the findings of the beauty terms found in this study, this confirms that beauty enthusiasts, as part of our community, have established their own vocabulary
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Zafar, Amirah, Mehwish Niaz, Saad Kamal Akhtar, Umar Sadiq, and Shakeela Rasheed. "Prevelance of Cervical Pain in Make-up Artist and Hair Dressers of Lahore." Pakistan Journal of Medical and Health Sciences 16, no. 1 (January 30, 2022): 882–84. http://dx.doi.org/10.53350/pjmhs22161882.
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Background: The overall incidence of cervical pain in makeup artists is well known. In our study we attempted to work on the prevalence of cervical pain among make-up artist and hair dressers due to prolong consecutive working hours and awkward body posture. Purpose: The sole purpose of this research was to find the prevalence of cervical pain among make-up artist and hair dressers while performing their make-up and hair cutting for consecutive long working hours. Method.It was a cross-sectional study design. 150 participants were taken and it includes makeup artists, hair dressers.Non-probability Convenient Sampling technique was used and the main target population age lies between 25-40 years.The inclusion criteria were25-40 years age,both genders are included, more than 8-9 consecutive working hours in salon, static posture for long period of time and use of Dominant hand. The Exclusion criteria wastraumatic injury to cervical, Fracture, Tumors,Cervical spondylosis, Recent surgery,Cervical rib, working hours less than inclusion criteria. Results: Out of 150 workers 37.33% of workers were suffering from mild cervical pain, 22% of workers had moderate pain and 0.67% of workers were suffering from very severe pain. In 40% of individuals sleep was occasionally disturbed and 38.6% of workers reported of experiencing numbness in arms. Conclusion: This study demonstrates that make-up artist and hairdressers have cervical pain and numbness in arms due to prolong working hours which ultimately affect their ergonomics and posture of neck and body. These consecutive long working hours and use of dominant hand cause strain in cervical muscles which alsolimit the neck movements. Keywords: Cervical pain, Incidence, Ergonomics, Mechanics, Salon workers, Prevalence.
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Mills, Presley. "Alien Beauty: Posthuman Re-Imaginings." Fashion Studies 2, no. 1 (2019): 1–23. http://dx.doi.org/10.38055/fs020105.
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In the fall of 2018 WGSN (World Global Style Network) ran a report on the emerging “alien beauty” trend, which they defined as “an otherworldly aesthetic inspired by extraterrestrial life forms … signifying a new rebellious attitude towards quintessential beauty norms” (Bailey). Instagram is one of the largest platforms to represent the trend of alien beauty, presented by a thriving community of makeup artists pushing the boundaries of conventional beauty practices. These artists are developing otherworldly and exaggerated makeup looks created through the combination of makeup, fashion, technology, and social media. The following research attempts to outline elements of beauty that are engaged with through alien beauty, and through creative practice presents them on conventionally beautiful bodies to demonstrate new, challenging version of beauty. Alien beauty selfies shared via Instagram can be re-contextualized to challenge existing examples of art, nature, and beauty. Through practice-based methodology and theories of posthumanism, this piece explores the changing ideals of beauty manifested with the support of technology and social media as well as how the term “alien beauty” manifests as a current trend. Considering the re-imagined paintings created to explore alien beauty, they reveal how beauty has been traditionally constructed through a colonial, heteronormative, hegemonic gaze and how “alien” is therefore a form of escapism and rebellion.
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Bystritskaya, O. O., M. A. Chashchina, and S. V. Murashova. "Management Strategy for Non-classical Intellectual Property Objects." Economics. Law. Innovaion, no. 1 (February 2022): 61–69. http://dx.doi.org/10.17586/2713-1874-2022-1-61-69.
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The authors present the results of the analysis of Russian and foreign legislative provisions in the field of managing non-classical intellectual property objects, as well as judicial practice in order to determine the current legal status of such intellectual property objects as works of makeup artists and tattoo artists and further develop a strategy for managing non-classical objects. The authors formulated modern solutions for the management and protection of non-classical objects in connection with the constantly appearing similar objects and insufficient legislative regulation in this area.
Dissertations / Theses on the topic "Makeup artists"
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Thomas, Judy. "Why make a case for the artist facilitator?" Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/21435/.
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Socially orientated processes present challenges of relationships, authorship, responsibility, multiple points of view and experience. They involve different understandings, personalities and behaviour. In the context of gallery-based learning, this research suggests the most effective approaches for making or engaging with art requires some form of facilitation. Best practice draws on skills and attributes to unlock the potential of participants. The process is active, experiential and one that scaffolds learning. When effective, the situation becomes a two-way process. Using case studies and personal insights to inform understanding, the research explores the practice of artists who engage with contemporary art from the perspective of the artist, rather than participants. The term ‘artist facilitator’ has been used to define an artist when their role requires them to be facilitator, educator or enabler. Whilst the artist facilitator is not a teacher, the roles are closely aligned. Like any good facilitator (or teacher) the artist facilitator acts as mediator, mentor and catalyst. Studying this role has sought to gain critical understanding of the particular qualities presented by the artist and identify models of good practice, in order to determine what skills and attitudes are required for creative practitioners working collaboratively within participatory settings. Through defining the term, a case is made for the unique nature of creative learning that practicing artists can provide to non – artist audiences. To articulate practice the researcher proposes a paradigm that recognises time and space as influential factors and determinants of artistic practice. Sociolinguistic enquiry has led to the recognition that a community can be constructed through social networks. The relationships between individuals within these groupings can influence interaction, perceptions and impact upon pedagogy. The research contributes to a wider body of work, and discourse that has international significance, through the PHF ArtWorks initiative, the Artist Teacher Scheme, and InSEA.
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Gray, Andrew Franklin. "Makers and Creators: Human and Divine Artistry in Calderón." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11141.
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My dissertation examines concepts of creative agency in early modern thought and baroque poetics, with an emphasis on the theater of Pedro Calderón de la Barca (1600-1681). Calderón and his contemporaries inherited from theology the idea that creative authority and power are concentrated in divinity, while humanity cannot, in a strict sense, create at all. While ancient philosophical and scriptural sources often describe a demiurgic God in anthropomorphic terms, the Christian doctrine of ex nihilo creation separates categorically an omnipotent deity from human "makers," who may refashion pre-given materials but not engender anything radically new. In the sixteenth and seventeenth centuries, however, this hierarchy was challenged by literary, political, and psychological insights that endow humanity with an exalted creative potential and an enhanced efficient power over the world. As paradigmatic of this intellectual-historical movement towards the envisioning of a demiurgic humanity, I analyze the "human dignity" tradition and the literary-psychological discourse surrounding the faculty of the ingenio. The intersection of theological ideas with these currents of thought produces a fruitful tension in baroque literature, particularly in the work of Calderón. I argue that Calderón was deeply troubled by the Faustian undercurrent of his century, and that this concern plays out not only in his explorations of the question of poetic "darkness," but also in his treatment of biblical and mythological creator figures like Solomon, Nimrod, Prometheus, and the craftsmen of holy and idolatrous images. Throughout the thesis, I place Calderón's ideas on creative power and efficient knowledge or ciencias in relation to other early modern figures like Huarte de San Juan, Francis Bacon, and Giambattista Vico. This thesis is a contribution to the study of baroque poetics, of early modern Spanish theater, and of the place of aesthetics in the intellectual landscape of the seventeenth century.Romance Languages and Literatures
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DiStefano, Rachel Anne. "Makers and mongers: Exploring social networks of Vermont artisan cheese." ScholarWorks @ UVM, 2014. http://scholarworks.uvm.edu/graddis/497.
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Vermont is widely-regarded as a hub for artisan cheese production, with more cheesemakers per capita than any other US state. Despite significant local and statewide support, out-of-state markets are essential to the long-term success of these small-scale producers. In spatially extended supply chains, retailers occupy a pivotal position. This thesis aims to examine the intermediary role of retailers in building social networks between producers and consumers. Consumers appreciate Vermont artisan cheese, in part, because it is embedded in a complex network of social values and relations related to where and how it is produced. Guided by social theories of consumption, sensory experience, and exchange, a transdisciplinary, mixed-methods study was conducted in order to better understand cheese retailers' role in this network.
First, participant observation and ethnographic interviews at a specialty cheese shop demonstrated how highly specialized cheese retail professionals (known as a cheesemongers) communicate social information about Vermont artisan cheese to consumers in practice. Specialized narratives are transmitted to consumers through in-store signage and social interactions. These stories also involve the cheesemonger as traveler, developing specialized knowledge of Vermont artisan cheese by traveling to the place of production. A second site of participant observation at a national conference for artisan cheese professionals added breadth to the study. While cheesemongers appear to agree that a certain level of intrinsic quality is necessary for consumer acceptance and preference, many also see the importance of, and derive pleasure from, knowing and conveying the social story, and perceive this to be an important part of their professional role and identity.
Second, social network analysis provided a broader examination of relationships between Vermont artisan cheesemakers and retailers in the region. In order to collect data on these relationships, an online survey was distributed to Vermont artisan cheesemakers and follow-up phone calls were conducted. A combination of statistical and network analyses was used to visualize the social structure of the network, identify key actors, and examine qualities of the relationships. The findings suggest that the social network for Vermont artisan cheese is a multiplex system, in which a cheesemaker's relative position in the network is the result of a complex balance--and sometimes compromise--between a cheesemaker's needs, goals, and desires and their various retailers' needs, goals, and desires. Moreover, geographic proximity, time, experience, convenience, cost, history, loyalty, and regard all appear to be important factors in the type of relationship cheesemakers have with retailers, and whether a relationship is established at all.
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Eason, Andrew Clark. "Becoming what the book makes possible : aspects of metaphorisation of identity and practice through artists' books." Thesis, University of the West of England, Bristol, 2010. http://eprints.uwe.ac.uk/18767/.
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Gibson, N. Jade. "Making art to make identity : shifting perceptions of self amongst historically disadvantaged South African artists." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/10508.
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Bibliography: p. 159-177.This study examines how historically disadvantaged artists shift self-identities through artmaking beyond previously racialised, hierarchised and essentialist constructs in a transforming New South Africa. Fieldwork research involved direct observation, working with artists on art projects, and interviews with visual artists and other arts practitioners in Cape Town, 1998-2001. Artworks are examined as events incorporating social change, and thus as a focal point between unconscious praxis and the cognitive coming-to-awareness of self within-the-world. Using a non-essentialist approach to identity construction, I argue for an understanding of, and approach to, studying individual identity that incorporates complexity, multiplicity, materiality and change as integral to identity formation. The reworking of memory materially within artworks is demonstrated through examining how artists re-presented autobiographical and historical referents of identity to affirm and re-present new narratives of self in South Africa's present. How artists respond to, and negotiate, tensions and contradiction between concepts of 'freedom' and externally-derived categories of value within socio-economic limitations in a transforming South African art world is also explored. I also show how artworks act as sites of transcultural encounter for artists, within their awareness of different gazes and contexts of interpretation, to position identities simultaneously both within the local and beyond the local, through different images, styles, techniques and technologies in their work. Finally, I demonstrate how different collaborative art projects, through artistic praxis, enable mutual processes of social and artistic collective identification between artists of different socio-cultural backgrounds, in relation to processes of nation-building and reconciliation for South Africa in the future. The study not only provides insight into art-making in South Africa and material processes of cognitive identity construction, but also how individuals act as agents in shifting self-identities within processes of collective socio-political transformation.
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Birgisdottir, Hrefna, and Smitterberg Alba Rosvall. "Identitetsskapande viamarknadsföring : En kvalitativ undersökning om hur frilansareväljer att marknadsföra sig själv samt sin karriärmed hjälp av sociala medier." Thesis, Södertörns högskola, Institutionen för kommunikation, medier och it, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15368.
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There are those who currently use social networks as a marketing tool that creates the standards that exist. There is no given standard, there are no absolute facts that exist through all time. A constant change is happening and therefore forcing everyone involved to adapt and make the changes needed to be current. What is relevant to consider in this study are the different roles a freelancer creates on the various channels of social media. Based on the results of the interviews that have been conducted the informants create different identities at different forums they reside on. Another important point to address is the brand awereness informants consciously
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Björk, Stiernström Gabriel. "Video tutorials for artists in the entertainment industry : A comparative study of what makes a video tutorial effective." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-14091.
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This research explores video tutorials for concept artists in the entertainment industry. Through websites such as Gumroad tutorials are today being sold and the problem is that there is no guarantee of the quality of the tutorials and people simply have to rely on the description of the product. The research question is: What is an effective video tutorial for concept artists in the entertainment and game industry and what elements contribute to what makes it effective? Five video tutorials were created based on a comparative study, and discussed during qualitative interviews with novice and proficient artists. The results say that parallels can be drawn between a person's proficiency, the content and the structure of the tutorial. If you understand these parallels you are able to create effective tutorials for specific audience groups.
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Oxelväg, Karolina. "Skeva Speglar/Crooked Mirrors : An Interactive Master Essay by Karolina Oxelväg." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-328.
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"It's not a mask, it's an appendix". Reflections through text and moving image around the Beauty Community as a representative expression of individuality on the internet. The Essay also contains thoughts around the authors artistical practice.Documentation Photos of the Master Exam Exhibition "The Compliment Machine". The first edition of the essay was used as an appendix, complementary to the artworks. Photographer: Jean Baptiste Béranger
Documentation Photo from the Essay Release organised 12 of april 2018 by fellow master students. The photo illustrates the presentation of the second and final edition of the essay. Photographer: Karolina Oxelväg
The master work includes both a written and a performing part.
Masterarbetet består av en skriftlig och en gestaltande del.
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Casey, Erin E. "The Richmond Maker Museum: The Evolution of Process." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3839.
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The Richmond Maker Museum is a working museum design, offering an inside look at past achievements, juxtaposed with the unlimited future possibilities of an evolving, active maker culture. It is a dynamic place designed to allow makers to showcase skills, take risks, engage the public, and grow their craft in real time. The museum displays finished pieces, introduces makers, demonstrates the processes they employ in their work, and invites the community to meet the artisans who, through skill, ingenuity, and hard work, make the artifacts on display. This type of educational museum experience does not currently exist on this scale in Richmond. While other local museums invite visiting artists and offer lectures, the Richmond Maker Museum takes interaction to a new level, introducing visitors to the routines and procedures of each artisan’s daily practice.
Maker culture is a tightly woven network of craftsmen—woodworkers, metalworkers, glassblowers, etc. It celebrates traditional fabrication techniques, while also introducing modern technologies such as laser cutting and three-dimensional printing. The social and educational aspects of the maker movement have created a revolution, revitalizing public appreciation for the role of the maker and the importance of craftsmanship.
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Ginn, William Thomas. "Philosophers and artisans : the relationship between men of science and instrument makers in London 1820-1860." Thesis, University of Kent, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281045.
Full textBooks on the topic "Makeup artists"
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Creations, Xangelle. Makeup Artist: A Notebook for Makeup Artists. Independently published, 2019.
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Judy, Lee. Makeup Artist Face Charts: A Blank Makeup Portfolio Workbook for Makeup Artists. Independently Published, 2019.
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Publishing, Petite. Makeup Face Charts- Makeup Artist Workbook: Blank Face Charts for Makeup Artists. Independently Published, 2019.
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Lovers, Note. Makeup Artist Squad - Makeup Artist Face Charts Workbook: Blank Makeup Face Charts for Professional Makeup Artists - Makeup Artist Gifts for Women. Independently Published, 2019.
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Lovers, Note. Future Makeup Artist - Makeup Artist Face Charts Workbook: Blank Makeup Face Charts for Professional Makeup Artists - Makeup Artist Gifts for Women. Independently Published, 2019.
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BOOKS, Happy. Makeup Artist Face Charts: Female Face Charts for Makeup Artists. Independently Published, 2020.
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Makeup Artist Face Charts: Female Face Charts for Makeup Artists. Independently Published, 2020.
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Lovers, Note. Makeup Junkie- Makeup Artist Face Charts Workbook: Blank Makeup Face Charts for Professional Makeup Artists Makeup Artist Gifts for Women. Independently Published, 2019.
Find full textBook chapters on the topic "Makeup artists"
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Hall, David, and Tiago de Sousa Araújo. "Digital Fashion Communication: The Influence of Instagram-Queer-Makeup Artists and Their Future Developments on the Industry." In Fashion Communication in the Digital Age, 21–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15436-3_3.
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Sciortino, Christine. "HD “No-Makeup” Makeup." In Makeup Artistry for Film and Television, 172–83. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-13.
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Sciortino, Christine. "Beauty Makeup." In Makeup Artistry for Film and Television, 198–215. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-15.
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Uribe-Davila, Rochelle, Dina Cimarusti, Christopher Payne, and Christine Sciortino. "Age Makeup." In Makeup Artistry for Film and Television, 248–57. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-19.
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Gandhi, Sonia, and Hadi Manji. "A Makeup Artist with Crohn’s Disease." In Neuromuscular Disease, 19–23. London: Springer London, 2016. http://dx.doi.org/10.1007/978-1-4471-2389-7_5.
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Sciortino, Christine. "Anatomy." In Makeup Artistry for Film and Television, 132–45. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-10.
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Sciortino, Christine. "Skin." In Makeup Artistry for Film and Television, 146–68. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-11.
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Sciortino, Christine. "Grooming." In Makeup Artistry for Film and Television, 184–97. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-14.
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Sciortino, Christine. "“Out-of-Kit” Special Effects." In Makeup Artistry for Film and Television, 216–25. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-16.
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Sciortino, Christine, and Christopher Payne. "Burns." In Makeup Artistry for Film and Television, 226–37. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429262104-17.
Full textConference papers on the topic "Makeup artists"
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Wright, Dr Angela. "Artist Graduates: Are they ready to do Business?" In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2493.
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Businesses must expose their products and services to customers so as to make sales and be heard. The world of the artist[1] is no different, and, in the words of the late Luciano Pavarotti, the artist must ‘be heard and be seen’. The aim of this paper is to examine if there is a need to ensure that our artistic graduates are ‘market ready’. The paper specifically examines this concept in the context of an Irish Institute of Technology (IT). Artists generally do not view the world in terms of business & commerce, only as a creative space. This research study investigates if there is a need for a special purpose award that would allow already qualified or working artists who have missed out on business education to take business modules at any stage in their careers. The findings in this study are rich and the attitudes to the business world by participating artists are interesting. Having established that artists need some business education, this paper then proceeds to outline what may be needed now, and in the future. Keywords: Artist, Musicians, Business Education, Business World. [1] For the purpose of this paper, the term ‘artist’ is deemed to refer to both performing and visual artists.
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Salgado Cofré, Daniela, and Álvaro Mercado Jara. "Going to the Clay: Exploring Conflicts and Values of the Soil in Valparaiso." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.60.
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This proposition presents a design and artistic research focused on the soil that aims to generate active and poetic forms of reflection around the fragile interdependence of human and non-human lives in an increasingly precarious urban environment, emphasised by the current ecological crisis. In order to engage in such reflections, this practice-oriented research —led by designers, architects, artists and educators— collects relational modes of material interdependence in the region of Valparaíso, Chile, by exploring veins and clay pits for pottery making that are relevant and known by artisans and artists of this area. These spaces are threatened by the increasingly precarious environmental conditions that are exacerbated by the monoculture of the land, the reconstitution of the soil by massive urbanisation projects, and the inaccessibility to clay pits due to the replacement of the commons by the privatisation and exploitation of the land. These urban conflicts generate deterritorialisation that contrasts with the significant relevance and values that these spaces hold for artists, artisans, and other groups, that promote their protection and the respectful interaction with the soil. Against this background, this practice-oriented research explores and expects to make visible the transformation of these lands by following the uses of the soil, identifying conflicts and values that emerge around these extraction sites through immersive sensitive experiences. These immersions into different clay pits consist of walking around, observing the ground, sensing the space, collecting clay from the soil together, sensing and manipulating the material to explore its properties. Thus, by examining the materials, voices and artistic expressions —in the form of poems, sound compositions, images, drawings, photos, cartographies and clay objects— co-produced during four immersions into diverse veins of the Valparaíso Region, we expect to bring back to the fore alternative modes of reflexivity around these sites. This sum of collective experiences for exploration and creation in the veins and clay pits of Valparaíso serves to trace other relational ways of inhabiting, valuing and working with the soil. Therefore, we envisage this practice-oriented research project as a poetic alternative to critically question the modern technocratic logics of urbanisation that operate in the region through the commodification and overexploitation of the land.
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Bacon, Terryl, Martin Rieser, Constance Fleuriot, Priscilla Heard, and Glenn Easy. "Do engineers and artists make good love objects ? (panel session)." In the third conference. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/317561.317568.
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Mancebo, Juan. "[Re]readings of the perfect. Mysticism of James Lee Byars." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-21.
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The complex contextualization of the work of James Lee Byars (1932–1997) in contemporary artistic practices was determined by its timelessness in both form and concept. Considered by Kevin Power as one of the key artists of the second half of the twentieth century alongside figures such as Joseph Beuys and Andy Warhol, his legacy seems to have declined probably because of the discomfort caused by the approach to his work, since any previous consideration and attempt at cataloging, escapes through the loopholes on which they are based. Byars’ performances and pieces were mostly structured around the cryptic concept of perfection. The artist’s mission, in this case, takes on the roles of a shaman and a magician who questions the illegibility of a world whose materialism seems to have expelled any consideration of the sacred, thus articulating a work that, far from providing answers, raises questions about the ultimate meaning of life. Gold, geometry, time (and its transience), space (re-signified by his cultural heritage), language and the body expressed a proposal in which installations and actions are the instruments he uses primarily to question us about the big questions. Byars in this sense has been considered a mystic, since he places us at the doors of a new perception to make us uncomfortable and provoke us, to transmit us the questions about being in the world. This article is modulated on the poetics of the work, thought and actions of James Lee Byars, one of the few contemporary artists who can be defined as mystic in the broad sense of the word and for whom the sacred, contrary to the current of unidirectional thought, is inherent to the contemporary subject.
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Laurentiz, Silvia. "Art-technology: contributions to future intertwining of creative actions." In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001034.
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The main interest of this paper is to present how art can contribute to the process and development of computational algorithms - in particular, for artificial intelligence. The rationale for this work is that we can no longer underestimate technology as a mere instrumental manifestation; much less believe in its supposed neutrality, since technology brings the dominant discourses embedded in it; and a critical posture is necessary to think about future creative actions with the use of technology. This makes the artist and the art fundamental pieces of this puzzle of representational systems, modeling, and creative cognitive procedures. The premise is that understanding these representational systems and their procedures opens a field of possibilities both for the artist's experiences and for the computer scientist in the development of their programs, in intertwining of creative actions.
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San Cristóbal, Úrsula. "Cuerpo, límites y autobiografía: Una aproximación a lo sonoro en la obra de Marina Abramović." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.12845.
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Los elementos sonoros son una constante en el trabajo de Marina Abramović. No obstante, su presencia ha sido objeto de escuetos comentarios en la bibliografía especializada. Los pocos textos que se refieren al tema, abordan principalmente su obra temprana de la década de 1970. Autoras como Iles (1995) y Biesenbach (2010), solo se refieren al sonido como temporalidad en las instalaciones y performances realizadas en Belgrado. LaBelle (2006-2014) y Hegarty por su parte, se refieren de manera muy breve al uso de la voz en piezas de video performance como Freeing The Voice y Art Must Be Beautiful, sin aportar mayor información contextual al respecto. Pocos escritos abordan obras posteriores. Richards (2010) menciona la presencia de canciones populares en las obras de la década de 1990, pero las referencias suelen ser tan imprecisas que en ocasiones resulta imposible determinar qué músicas fueron empleadas. A la fecha no se ha realizado ningún estudio en profundidad sobre lo sonoro en la obra de Abramović. Cómo se relacionan el sonido, la escucha y el cuerpo, y qué rol cumple la música en el desarrollo conceptual de sus acciones, constituyen interrogantes aún por explorar. En esta ponencia intento ofrecer una panorámica general sobre el rol de lo sonoro en la obra en solitario de Marina Abramović. A través de un análisis comparado entre la serie Rhythm (1973-74) y las performances Delusional (1994) y Balkan Baroque (1997), intento poner en evidencia el paso del sonido a la música que opera en la artista y cómo ello llega a influir en su concepción de la performance. Bibliografía básica: Biesenbach, Klaus. 2010. «Marina Abramović. The Artist is present. The artist was present. The artist will be present». En Marina Abramović: The Artist is Present, 12-21. New York: Museum of Modern Art. ———. 2016. «The Fundamentals of Endurance: Marina Abramović on How She Learned to Refuse the Body’s Limits and Make Immortal Art». Artspace. 2016. Hegarty, Paul. 2015. Rumour and Radiation: Sound in Video Art. London & New York: Bloomsbury Publishing. Iles, Chrissie. 1995. «Cleaning The Mirror». En Marina Abramović: Objects, Performance, Video, Sound, 21-34. Oxford: Museum of Modern Art Oxford. LaBelle, Brandon. 2006. Background noise : perspectives on sound art. Continuum International. ———. 2014. Lexicon of the mouth : poetics and politics of voice and the oral imaginary. New York & London: Bloomsbury. Richards, Mary. 2010. Marina Abramović. New York: Rouletdge.
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Martínez Gutiérrez, Raquel, and Raquel Sardá Sánchez. "El Libro de Artista como vehículo de la Emoción del Proyecto Arquitectónico." In Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11535.
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The choice of the artist/s book as a communication tool seeks to make visible the relationship between architecture and other disciplines and to redefine the student’s view of his or her process. The connections with a multidisciplinary field that incorporates contributions from sculpture, photography and literature allows us to investigate communicative practices that connect with the emotion of built space and matter. The format of the book, where the container is as relevant as the content, introduces the material variable as an instrument of communication that enhances the message of the project. In this practice, the teacher becomes a facilitator; its mission is to assist the students during the process of defining their language, guiding their decisions and pointing out possible territories for exploration. La elección del libro de artista como herramienta de comunicación busca visibilizar la relación entre la arquitectura y otras disciplinas y redefinir la mirada del estudiantado sobre su propio proceso. Las conexiones con un ámbito multidisciplinar en el que se incorporan aportaciones desde la escultura, la fotografía o la literatura, permiten indagar en prácticas comunicativas que conectan con la emoción del espacio construido y de la materia. El formato del libro, donde el contenedor cobra tanta relevancia como el contenido, introduce la variable del material como instrumento de comunicación que potencia el mensaje del proyecto. En esta práctica, el docente se convierte en guía; su misión es acompañar al alumnado durante el proceso de definición de su propio lenguaje, orientando sus decisiones y señalándole posibles territorios de exploración.
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YANG, QIN. "AN EMPIRICAL STUDY ON THE USE OF FOUR IMAGERY THINKING ACTIVITIES IN NOVEL TRANSLATION." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35963.
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Abstract. Both literary translation and creation use language to shape artistic images, and artistic images are the crystallization of artistic thinking. Translation is not only cross-lingual transfer, but also conversion of thought. In novel translation, the translator's image thinking plays a vital role because of the characteristics of literary works. By the translation of Charles Frazier’s novel Nightwoods as an example, this paper illustrates how to make full use of four activities of imagery thinking (perception, association and imagination, emotion and harmony) during the translation process. By using of imagery thinking, the translation shows the charm and beauty of original works, and achieves images reproduction of novel character.
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Zaykova, Dilyana, Mihail Konchev, Iliya Yanev, and Leyla Dimitrova. "EPIDEMIOLOGY PROFILE OF INJURIES OF ELITE AND SUB-ELITE MALE ARTISTIC GYMNASTS IN SOFIA, BULGARIA." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/77.
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ABSTRACT Introduction: Artistic gymnastics is an Olympic sport in which male artistic gymnasts perform on six apparatuses. The number of weekly training sessions can reach to 12, with 36 hours overall load. Methodology: The research was conducted among 15 elite and 16 sub-elite gymnasts on international and national level from Sofia, Bulgaria. The participants filled in a questionnaire about the type, severity, location, and reasons for the appearance of injuries. Results: We calculated injury incidence at 93.33% for elite and 87.50% for sub-elite male artistic gymnasts. The injury rate for elite gymnasts was 2.19/1000 gymnastic exposures and 2.87 injuries per gymnast for the year. The injury rate for sub-elite gymnasts was 3.78/1000 gymnastic exposures and 2.13 injuries per gymnast for the year. The acute injuries dominated in all participants. Shoulder is the most often injured anatomical location as a result of the exercises performed on rings and horizontal bar. Ankle is the next often traumatized location because of the exercises done on floor and vault (landing phase). Conclusions: Literature describing injuries in male artistic gymnasts is scarce, which makes it relatively difficult to compare gender data. Injury rates in the male artistic gymnasts we studied fall within the range described in the sports literature.
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Chooi, Don. "Bear Bodies in Motion: A creative approach in telling a story of bigger, gay male bodies of colour through artistic means as practice-led research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.80.
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In 2020, I created a body of work that paid attention to the concerns of body image representation of the gay male. The work was shown in a local exhibition in Auckland, called ‘Bear Bodies in Motion’, and it aimed as a critique on the anxieties of body image, especially in the gay bear subculture where there are considerable levels of stigma and shaming of bigger male bodies – made more profound towards bodies of colour. In an attempt at subversion, the creative work, portrayed the bigger body as energetic and aesthetically potent. It combined photography with digital painting and the result was an expression of body acceptance and authorship. Thematically, the image of the gay bear builds on a rich history of homo-oriented art. It plays on the tapestry of the gay identity which determines how it is being represented, negotiated and remixed continually in the gay mainstream. Discourse emanating from gay communities of colour, speaks of attempts to remove colonised attitudes, and in reimagining their heritage and sexual identities authentically. This artistic body of work sought to add to the dialogue that surrounds issues of race, queerness and ‘otherness’. The subsequent conversations which followed the exhibition, unpacked concerns of cultural identity, masculinity and belonging – in which seem to be heavily burdened by western-influenced and racialised notions of performativity. Through research, and taking in the ephemera that surrounds the discourse of the colonised body image, I begun to create work that seeks to further add to the discourse. This heavily illustrated paper reflects on the creative process in the art making of ‘Bear Bodies in Motion’. The methodology underpinning this artistic body of work is ‘reflection-in-action’, and it draws inspiration from research in the ‘lived experience’. Additionally it also consider its move from traditional mediums to the consideration of technology as a platform for storytelling, from the print medium to digital spaces – in this instance, the inclusion of Augmented Reality (AR). With this extension, AR provides the viewer the opportunity to take a more active role in reading the text. The experience moves the work into a more participatory space, where the narrative becomes more palpable and appreciated. The making journey is outlined from conceptual stage to the finalised artistic work from my personal lens who is both artist-maker and design practitioner. This paper also discusses the challenges and conflicts in creating a body of work of this nature. Especially of concern is its need for sensitivity in the representation of non-euro cultures – with greater emphasis given to the consideration for its homosexual themes, and to the identities of my participants as they were from the community itself. This paper also includes my reflections and personal insights in how this approach to a practice-led research has contributed to my own learning and teaching approach. Being an educator myself, this process has given me greater empathy and understanding in the student journey within today’s higher education environment.
Reports on the topic "Makeup artists"
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Bellwood-Howard, Imogen, Peter Taylor, Julie Doyle, Aminata Niang, Haoussa Ndiaye, Fatoumata Sow, and Lansine Sountoura. Citizen Voice and the Arts: Opportunities and Challenges for Citizen–Policy Engagement on Environmental Issues in Sahelian West Africa. Institute of Development Studies, December 2022. http://dx.doi.org/10.19088/ids.2022.088.
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Citizen and policy groups address environmental challenges in the Sahel, but rarely together. In Sahelian West Africa, including in Mauritania, Senegal, and Mali, artists and citizens have used protest art to make their voices heard, in contexts where this can carry risks of conflict with authorities. Artists sometimes act as engaged citizens, who can draw on their artistic talents to communicate a message. This paper explores how far art may be used as a tool for dialogue between different groups on environmental concerns in the Western Sahel.
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Журба, С. С. Інтертекстуальні перегуки та збіжності у прозі М. Хвильового та Ф. Кафки. Акцент, 2007. http://dx.doi.org/10.31812/123456789/6037.
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The purpose o f the article is to research the intertextual literary accordance in the prose o f the Ukrainian and the Austrian artists. The main attention is paid to the problems o f sense o f human existence, reasons o f reincarnation and the way in their literary works. Interlace o f descriptions, episodes open the opportunity to show the accordance, parallels in the literary works o f the writers. Intertextual connections o f M.Khvylovyj’s and F.KaJka's prose extend the content field o f literary works, make the artistic world-image more distinct, and enter the context of modern paradigm o f artistic creation.
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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003188.
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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, February 2022. http://dx.doi.org/10.51163/creative-gen009.
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Introduction to Case-making and Systems Change in Arts & Cultural Education is an overview of a collaborative project between Creative Generation and ElevateArtsEd undertaken to better understand how practitioners - such as artists, educators, community leaders, and more - can make the case for and also advocate through arts and culture to drive systemic change and address complex challenges. The project seeks to expand the knowledge base of case-making and systems change in the field of arts and cultural education and provide resources to support effective actions for practitioners and young creatives. Investigating both the theory and the practice of case-making, the introductory article draws on research from three distinct sectors: cultural, education, and social justice. The approach represents both the science of advocacy-- building blocks for understanding what effective advocacy looks like-- and the art of advocacy with calls for improvisation, adaptability, and generative thinking, all characteristics of art making. The article describes six key learning themes and an expanded model for advocacy focused on self, field, and sector through an overarching lens of social justice.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Evidence Update for Clinicians: Narrow- versus Broad-Spectrum Antibiotics for Common Infections in Children. Patient-Centered Outcomes Research Institute (PCORI), October 2018. http://dx.doi.org/10.25302/eu5.2018.10.
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Comparing Narrow- vs. Broad-Spectrum Antibiotics for Common Infections in Children. The choice of antibiotic to treat acute bacterial upper respiratory tract infections in children can affect both symptom resolution and the risk of side effects such as diarrhea and vomiting. The findings of a PCORI-funded study published in JAMA can help clinicians treating children for acute respiratory tract infections (ARTIs)—including acute otitis media, Group A streptococcal pharyngitis, and acute sinusitis—make decisions with parents about the medicine that is best for the child. The study, led by Jeffrey Gerber, a pediatrician and researcher at the Children’s Hospital of Philadelphia, included 30,086 children ages 6 months to 12 years taking narrow- and broad-spectrum antibiotics to treat ARTIs.