Academic literature on the topic 'Maya artists'
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Journal articles on the topic "Maya artists"
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Dewi, Putri Aiysiyah Rachma. "Konstruksi Identitas Kedaerahan oleh Media Massa Lokal." Jurnal ASPIKOM 1, no. 2 (January 19, 2011): 149. http://dx.doi.org/10.24329/aspikom.v1i2.14.
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This article focuses on how the local print media view of regional identity artists involved in the video contained sexual scenes. The author raised the case of video sexual scenes involving Ariel, Luna Maya, and Cut Tari. All three are national artist when the video was circulated in the society. The three newspapers under study are the Bali Post, Serambi Indonesia, and Pikiran Rakyat. The results showed that the three newspapers was to discredit the three artists with the construction of such news. The newspaper did not give chance for artists to express their opinions.
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Solari, Amara, and Linda K. Williams. "Maya Blue and Franciscan Evangelism." Latin American and Latinx Visual Culture 3, no. 4 (October 1, 2021): 49–71. http://dx.doi.org/10.1525/lavc.2021.3.4.49.
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In the first decades of the Franciscan evangelical campaign in Yucatán, Mexico (1540–90), Maya builders and artists directed the construction and pictorial decoration of hundreds of Christian edifices, ranging from small-scale chapels to larger churches and entire monastic complexes, offering a material record of the peninsula’s religious transformation. Strategic color selection and the deployment of Maya blue pigment in particular architectural, iconographic, and liturgical contexts enabled Indigenous catechumens to reconcile post-Tridentine conceptions of divinity with precontact sacred ideologies. By weaving diverse methodologies from the study of visual sources, textual documents, and material characterization techniques, we demonstrate how colonial Maya color theory actively engineered localized Catholicism.
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Aoyama, Kazuo. "Elite Artists and Craft Producers in Classic Maya Society: Lithic Evidence from Aguateca, Guatemala." Latin American Antiquity 18, no. 1 (March 2007): 3–26. http://dx.doi.org/10.2307/25063083.
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This report examines 10,845 lithic artifacts from the rapidly abandoned city of Aguateca, Guatemala, to elucidate elite artistic and craft production in Classic Maya society. The methods used include high-power microwear analysis. The results suggest that significant numbers of Maya elite, both men and women, engaged in artistic creation and craft production, often working in both attached and independent contexts. The royal family and other elite households produced many artistic and craft items, including wood carvings and hide or leather goods. The scribe inhabiting Structure M8-8 carved stelae for the ruler, and the high-status courtier/scribe living in Structure M8-4 emphasized the production of shell and bone objects and other royal regalia in a courtly setting. Clearly, Aguateca was a center of part-time production of both utilitarian and luxury goods as well as of consumption. Classic Maya elite men and women artists/craft producers possessed multiple social identities and roles, which in turn implies a more flexible and integrated system of Classic Maya elite participating in attached and independent craft production more than is usually proposed.
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Chen, Fang Yi, Tian En Chen, Wei Wang, and Xiao Jing Ma. "A Method of Pepper Plant Modeling and Animation Set-Up in Autodesk Maya." Applied Mechanics and Materials 462-463 (November 2013): 1110–17. http://dx.doi.org/10.4028/www.scientific.net/amm.462-463.1110.
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Virtual crop models and animation make great significances to agricultural researches. But to recreate the structure and dynamic is often a hard and laborious task. Most existing plant-modeling systems require the user to have specific biological knowledge about plants, but its often the 3D artists who do the work. This paper discusses a method of plant modeling and rigging in Maya, which has already been familiar to 3D artists and has advantages in industrial production pipelines. The method takes pepper plant for example, dividing the problem into organs and the growth patterns, and using Maya modeling and animating system to simulate the topological structure and growth dynamic. It set up the geometry with controls which are easy to use. The result can be conveniently exported to projects. This approach helps prepare the research of variety plant modeling and animation plug-in for Maya.
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Stone, Andrea J. "KEEPING ABREAST OF THE MAYA: A STUDY OF THE FEMALE BODY IN MAYA ART." Ancient Mesoamerica 22, no. 1 (2011): 167–83. http://dx.doi.org/10.1017/s0956536111000137.
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AbstractThis paper discusses the importance of female breasts in gender construction in Maya art and explains artistic conventions and choices in their deployment. The visual analysis focuses on Late Classic pictorial vases and ceramic figurines. Rather than reflecting a natural body, the female breast was filtered through a cultural lens that drove its highly conceptual rendering in Maya art, mirrored in a breast hieroglyph. Through the principle of contrast, including morphology and absence vs. presence of breasts in specific pictorial contexts, Maya artists constructed female personae varying in age, class, supernatural status, and gender ambiguity. In order to flesh out the layered meaning of the breast, the paper turns to ethnographic studies of modern Maya medicine concerning the hot-cold system. It is argued that ethnographic data on women's bodies in medical discourse shed light on how the breast served as an index of age-based female stereotypes.
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Aoyama, Kazuo. "CLASSIC MAYA WARFARE AND WEAPONS: Spear, dart, and arrow points of Aguateca and Copan." Ancient Mesoamerica 16, no. 2 (July 2005): 291–304. http://dx.doi.org/10.1017/s0956536105050248.
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To provide some insights into the nature and role of warfare in the rise, development, and decline of Classic Maya civilization, this article discusses spear, dart, and arrow points used by the Classic Maya elites at the rapidly abandoned fortified city of Aguateca, Guatemala, and their temporal and spatial distribution patterns in and around Copan, Honduras. Both the royal family and elite scribes/artists at Aguateca used spear and dart points for intergroup human conflict as well as for artistic and craft production under enemy threat. An important implication is that the ruler and elite scribes/artists were also warriors. The unusually high concentrations of identifiable weaponry at the Early Classic hilltop center of Cerro de las Mesas as well as the Acropolis and other Late Classic locations in the Copan Valley, along with other lines of evidence, indicate that warfare was critical in the development and downfall of Classic Maya civilization at Copan.
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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.
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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.
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Balsach Peig, Maria Josep. "Visions from the Desert. The Metamorphoses of Dorothea Tanning." Barcelona Investigación Arte Creación 7, no. 3 (October 3, 2019): 307. http://dx.doi.org/10.17583/brac.2019.4235.
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This paper offers an overview of the oeuvre of Dorothea Tanning (1910-2012) based on the iconography and hermeneutics of images relating to identity, trauma and violence. Tanning was not only a painter, but also a sculptor, writer, poet and outstanding chess player, who single-handedly pursued her artistic career through the best part of the twentieth century until her death. In addition, reference will be made to artists with links to Surrealism, such as Leonora Carrington, Dora Maar, Maya Deren and Louise Bourgeois, in order to frame the aspects discussed here in a wider context of female artists. Thus, Tanning will serve as a paradigmatic example of a sensitivity tending towards the mysterious, the occult and trauma in general.
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Mohabir, Nalini. "Kala Pani: Aesthetic Deathscapes and the Flow of Water after Indenture." Asian Diasporic Visual Cultures and the Americas 5, no. 3 (December 5, 2019): 293–314. http://dx.doi.org/10.1163/23523085-00503003.
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This article focuses on the kala pani (dark waters) as a deathscape particular to indentured labourers and their descendants. Following a historical discussion of representations of the kala pani, the author turns to contemporary artists Maya Mackrandilal and Andil Gosine to explore how their artistic engagements are rerouting the flows of the kala pani away from discourses of caste stigma or the finality of (social) death to a reckoning of past and future time for those living in the diasporic space of North America.
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Zahrawaan, Amy. "Segregasi Metode dan Kegiatan Berkesenian di Era Pandemi Covid-19." Urban: Jurnal Seni Urban 4, no. 1 (April 15, 2020): 19–28. http://dx.doi.org/10.52969/jsu.v4i1.60.
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The emergence of the Covid-19 pandemic in the world has brought major impacts and significant changes to the fabric of human life, and artists are no exception. This paper will analyze some of the symptoms and phenomena of the segregation of art methods and activities carried out by art activists and lovers during the Covid-19 pandemic. The analysis in this article uses a descriptive analytical review method by describing various symptoms and phenomena observed through case studies according to the focus of the problem being studied. The results show that the survival of artists and works of art during the Covid-19 pandemic is very dependent on the development of digital technology in virtual spaces (virtual world). The positive impact of using digital technology through various virtual spaces, digital platforms, and social media through the internet network has opened a wider willing space for artists to exist and keep the art ecosystem alive, growing, and surviving during the Covid-19 pandemic through new media.Munculnya pandemi Covid-19 di dunia telah membawa dampak besar dan perubahan signifikan terhadap tatanan kehidupan manusia, tidak terkecuali bagi para seniman. Tulisan ini akan menganalisis beberapa gejala dan fenomena segresi metode dan kegiatan berkesenian yang dilakukan para pegiat dan pencinta seni di masa pandemi Covid-19. Analisis dalam artikel ini menggunakan metode tinjauan deskriptif analitis dengan menguraikan berbagai gejala dan fenomena yang diamati melalui studi kasus sesuai dengan fokus permasalahan yang diteliti. Hasil penelitian menunjukkan bahwa keberlangsungan hidup seniman dan karya seni di masa pandemi Covid-19 sangat bergantung pada perkembangan teknologi digital di 19 ruang virtual (dunia maya). Dampak positif penggunaan teknologi digital melalui berbagai ruang virtual, platform digital, dan media sosial melalui jaringan internet telah membuka ruang berkenian yang lebih luas bagi para seniman untuk tetap eksis dan menjaga ekosistem seni tetap hidup, berkembang, dan bertahan di masa pandemi Covid-19 melalui media baru. ki-laki, yang berpengaruh pada cara memproyeksikan hasrat kecintaan terhadap ibu mereka.
Dissertations / Theses on the topic "Maya artists"
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Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.
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Johansson-Evegård, Erik. "Artist Friendly Fracture Modelling." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-74477.
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Destruction is one of the key aspects of visual effects. This report describes the work that was done to create a production ready pre-fracture modelling plug-in for Maya. It provides information on what methods that can be used to create a robust plug-in and various techniques for sampling points to create interesting fracture patterns using the Voronoi diagram. It also discusses how this work can be further built on to create an even better plug-in.
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Rowland, Elden R. "Social Creativity: The Geographic, Virtual, and Artistic Communities of Athens, Ohio." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1308313980.
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Roberts, Joshua. "Artist-Centered Technical Direction and Tool Development." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/463.
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This paper details the design and development process for two technical projects, both of which were developed for use in Autodesk Maya to enhance the workflow processes of 3D character animation. The first project is focused on advanced character rigging using mathematical concepts and Maya nodes, while the second project is focused on plugin development in python 2.7, making full use of the PySide2 library which binds to the Qt5 user-interface framework.
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BARRIGA, Cecília Pereira. "Mala sem fundo: processos de criação lúdico – poética da artista Heliana Barriga." Universidade Federal do Pará, 2013. http://repositorio.ufpa.br/jspui/handle/2011/7898.
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Esta dissertação versa sobre a trajetória de criação lúdico-poética da artista Heliana Barriga. Discute, também, o conceito de ludicidade a partir de sua compreensão como um recurso da pessoa humana para se desenvolver e encontrar caminhos para a sua expressão e interatividade social, neste estudo, por meio da arte. A pesquisa tem como base a identificação, a descrição e a análise de um conjunto de experiências de ação com poesia, da artista-educadora, escritora, compositora e acordeonista, em diálogo constante com outros interlocutores no âmbito da arte, ludicidade, educação e poesia.
The thesis is a study about directions the artist Heliana Barriga took in her playfull and poetic creation. This investigation aproaches as well the concept of playfulness regarding the comprehension as a distinctive feature of the human being in order to develop himself and to find new ways of expression and social interaction, through the art. The research is based on identification, representation and analysis of a set of active experiences with the poetry of the artist-educator, writer, composer and accordionist, in continual dialog with the others in the context of art, playfulness, education and poetry.
Cette thèse examine la trajectoire de la création ludique et poétique de l‟artiste Heliana Barriga. Cette étude aborde en outre la notion de jeu d'après la compréhension comme une caractéristique de la personne humaine pour se développer et pour trouver des moyens d'expression et d'interaction sociale, à travers de l'art. La recherche est basée sur l'identification, la description et l'analyse d'un ensemble d'expériences actives avec la poésie de l'artiste-éducateur, écrivain, compositeur et accordéoniste, en dialogue constant avec les autres parties dans le cadre de l'art, du ludisme, de l'éducation et de la poésie.
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Carroll, Patrick. "Reevaluating the Late Classic Lu-bat Glyphic Phrase: The Artist and the Underworld." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5915.
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The study of hieroglyphic texts is vital to the interpretation of the ancient Maya and how their worldview contributed to their daily lives. Hieroglyphic decipherment has been an arduous undertaking and a wide variety of the Late Classic Maya writing styles has also been documented. When specific hieroglyphic phrases are not fully understood it has been necessary to utilize other sources of information to help increase the understanding of these texts. The “lu-bat” glyphic phrase has been utilized in multiple mediums throughout the Late Classic period and is described as an artist's signature. This artist signature is directly related to specific iconographic elements and themes that represent a cosmological view of the ancient Maya. This thesis demonstrates the connection between the lu-bat glyphic phrase and iconographic themes indicative of liminal powers exercised by the social elites in terms of the underworld. This connection is strengthened through the evaluation of the associated texts and iconographic analysis. While interpretations of the lu-bat glyphic phrase have suggested that it represented an artist's signature, a concise articulation of the hieroglyphic values for the lu-bat glyphic phrase has not yet be achieved. The iconographic imagery involved with this glyph demonstrates an interactive level between the conduit being and liminal actions. This interaction depicts the individual involved as a direct medium for the ritual activities of the elites in terms of the underworld.M.A.
Masters
Anthropology
Sciences
Anthropology
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Plessiet, Cédric. "Artiste, ordinateur et spectateur : pour l'émergence d'une création interactive et autonome en art numérique." Paris 8, 2007. http://www.theses.fr/2007PA083098.
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Dans la présente thèse, après avoir remarqué que les deux caractéristiques majeures de l'image numérique sont les facultés à être programmable et à être interactive, nous émettons l'hypothèse que l'interactivité pouvait dépasser le simple schéma action / réaction "presse-bouton", pour atteindre une forme de dialogue entre le créateur, l'ordinateur, et le spectateur. Ceci crée un "nouveau triangle créatif" fruit de leur collaboration, et ainsi faire émerger une nouvelle œuvre artistique. Cette thèse à la fois théorique et pratique est divisée en trois chapitres, deux chapitres "théoriques" ("1. L'ordinateur, un outil d'expression artistique" et "2. Simuler la vie, simuler une réalité"), et un chapitre "3. Réalisation" qui décrit un certain nombre de nos installations, film en image de synthèses et programmes. Le premier chapitre, intitulé "L'ordinateur dans le processus créatif" procède à un état de l'art de la question de la position de l'ordinateur dans le processus créatif. Le second chapitre, "Simuler la vie, simuler une réalité", s'intéresse aux capacités de simulation et d'immersion de l'ordinateur. Le dernier chapitre "Réalisations", traite de l'ensemble de notre pratique autour des trois axes qui la structurent : l'interaction, l'autonomie et la collaboration entre le créateur, le public et le programmeIn the present thesis, after having noticed that the two major characteristics of the digital image are faculties with being programmable and being interactive, we put forth the assumption that the interactivity could exceed the diagram the simple diagram action/reaction, to reach a form of dialogue between the creator, the computer, and the spectator. This creates a "new creative triangle"fruit of their collaboration, and thus to make emerge a new artistic work. This thesis at the same time theoretical and practical is divided into three chapters, two theorical chapters ("1. The computer, an artistic tool of expression" and "2. To simulate the life, to simulate a reality"), and a chapter "3. Work" which describes a certain number of our installations, film in synthesized image and programs. The first chapter, heading "the computer in the creative process" proceeds in a state of the art of the question of the position of the computer in the creative process. In the second chapter, "To simulate the life, to simulate a reality", we are interested in the simulation and immersion capacities of the computer. The final chapter of this thesis of research, "Work", dealt with the whole of our practice around the three axes which structure it: the interaction, autonomy and collaboration between the creator, the public and the program
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Williamston, Shabria A. "On Being and Becoming: Re-thinking Identity Through Female Indigenous Artisans in Guatemala." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535636928044626.
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Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.
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This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.
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Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Electronic Thesis or Diss., Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370.
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Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art,études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes maori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation maori. En effet, suite à la colonisation britannique du XIX e siècle, les Maori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde maori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les MaoriAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
Books on the topic "Maya artists"
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1968-, Galens Judy, and Swartz Mark, eds. Artists: From Michelangelo to Maya Lin. New York: UXL, 1995.
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Red de Artistas, Comunicadores Comunitarios y Antropólogas de Chiapas, ed. Sjalel kibeltik: Sts'isjel ja kechtiki' = Tejiendo nuestras raices. Mexico: RACCACH, 2010.
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Red de Artistas, Comunicadores Comunitarios y Antropólogas de Chiapas, ed. Sjalel kibeltik: Sts'isjel ja kechtiki' = Tejiendo nuestras raices. Mexico: RACCACH, 2010.
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editor, Philippot Émilia, Widmaier Picasso Diana editor, and Musée Picasso (Paris France), eds. Maya Ruiz-Picasso, fille de Pablo. Paris: Skira, 2022.
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García, Paola. La pintura del Lago Atitlán. San Pedro La Laguna, Sololá: Casa de Estudios de los Pueblos del Lago Atitlán, 1999.
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1952-2019, Ak'abal Humberto, Arzú Quioto, Santos, 1963- illustrator, Toral Tabo 1950 illustrator, Arte Dos Gráfico (Firm : Bogotá, Colombia), and Organización de Estados Iberoamericanos para la Educación, la Ciencia y la Cultura, eds. Cinco puntos cardinales. Santafé de Bogotá, Colombia: Organización de Estados Iberoamericanos para la Educación, la Ciencia y la Cultura, 1998.
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1971-, Malz Isabelle, ed. Nicht nur Körper: Künstlerinnen im Gespräch : Miriam Cahn, Hannah Villiger, Muda Mathis, Pipilotti Rist, Maya Rikli, Daniela Keiser, Pia Gisler. Baden: Lars Müller, 1997.
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Malone, Mary. Maya Lin: Architect and artist. Springfield, N.J., U.S.A: Enslow Publishers, 1995.
Find full textBook chapters on the topic "Maya artists"
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Violeau, Jean-Louis. "Artists and Architects in May 1968: An Aesthetics of Disappearance." In May 68, 263–78. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230319561_19.
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Jroundi, Fadwa, Maria Teresa Gonzalez-Muñoz, and Carlos Rodriguez-Navarro. "Protection and Consolidation of Stone Heritage by Bacterial Carbonatogenesis." In Microorganisms in the Deterioration and Preservation of Cultural Heritage, 281–99. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_13.
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AbstractFor millennia, artists and architects around the world used natural stone for the carving of sculptures and the construction of monuments, such as Roman, Greek, and Maya temples, the European cathedrals, and the Taj Mahal, just to name a few. Currently, the survival of these irreplaceable cultural and historical assets is under threat due to their continued degradation caused by various biotic and abiotic weathering processes that affect not only the aesthetic appearance of these structures, but also their durability and survival. The natural precipitation of calcium carbonate minerals by bacteria has been proposed for conservative interventions in monument restoration. This chapter reviews the application of biomineralization by (indigenous) bacterial carbonatogenesis as a novel technology for the protection and consolidation of altered ornamental materials. Carbonatogenesis is based on the ability of some bacteria to induce calcium carbonate precipitation. Laboratory and in situ results support the efficacy of bacterial carbonatogenesis, since remarkable protection and consolidation are achieved on the surface and in depth, without alterations in color or porosity, and without fostering the development of microbiota that could be harmful to the stone material. A discussion on the advantages of this novel biotechnology is provided. Challenges and future work on bioconsolidation of stone artifacts are also outlined.
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Bosoni, Giampiero. "For a Novel and Transversal Narration of Extemporaneous Places of Artistic and Design Thinking." In Springer Series in Design and Innovation, 595–602. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_56.
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AbstractMany public places in our cities, such as cafés, restaurants, dairies, theatre foyers, wine bars, brothels, bookshops, discos, art galleries, street corners and squares, have been historic and ritual points of reference for artists communities. Such environments whose particular “atmospheres” have created ideal places where these authors have met, known, admired, fought, and enjoyed themselves. Places in which they may also have shared fundamental moments as well as artistic and design intuitions. For different eras, yesterday as today, we pinpoint historical maps of the various cities with all the design studios together with the residences of the artists and architects themselves. If we draw the lines connecting these points, folding them along the different streets and squares these personalities might encountered, we then have created an intricate network of paths full of exciting twists and turns. It is easy to discover that some of these intersections correspond to public places where these personalities, more or less consciously, shared their lives, their passions and at the same time their projects and artistic researches.
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Salazar, Diana, and Christina Guillaumier. "7. The Global Conservatoire." In Classical Music Futures, 127–52. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.07.
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This chapter looks beyond surface evaluations of online teaching during the pandemic and considers a new model for online teaching in the conservatoire. We start by recognising recent and significant changes in the external environment for all artists, notably the focus on generating a more sustainable future, the importance (and fragility) of global communities and the role of technology in the arts. While the significance of these aspects for the musician-in-training may not be immediately obvious, we argue that deep engagement with these issues is vital to develop global artistic citizens for the 21st Century. We propose that online teaching in the conservatoire has the potential to become an important vehicle for equipping students to respond to these changes in society. In recognising the possibilities for online teaching, we move from a position of online ‘replacing’ or ‘replicating’ traditional conservatoire teaching to ‘complementing’ practice-led experiences. We examine how core learning and teaching values can be embedded in the online environment to promote synergy between different learning experiences in the conservatoire. Furthermore, we propose that a transnational model of design and delivery could be most effective in developing culturally responsive artists.
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Stanfield-Mazzi, Maya. "Artists as Activists." In Collective Creativity and Artistic Agency in Colonial Latin America, 18–52. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9781683403524.003.0002.
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This chapter is an analysis of the impact of artist corporations in the evolution of Indigenous rights in New Spain and Peru. Maya Stanfield-Mazzi used European treatises on Indigenous rights but also the Indigenous archive. She centered the experience of Indigenous people’s fighting against forced labor by studying Indigenous artists’ complaints. Through their trade corporations, Indigenous artisans had a significant role in the success of the struggle. However, their successes also shed light on the heterogeneity of circumstances and the conflicting relationships between different segments of the Indigenous population.
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"Central Mexican Artists Under The Influence?" In Stone Trees Transplanted? Central Mexican Stelae of the Epiclassic and Early Postclassic and the Question of Maya ‘Influence’, 77–93. Archaeopress Publishing Ltd, 2014. http://dx.doi.org/10.2307/j.ctvqmp1pp.9.
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"Semillas." In Visual Disobedience, 35–77. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059608-002.
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During the Guatemalan civil war, the military labeled a generation of Maya Indigenous children as “bad seeds” to justify their elimination. Some grew anyway, and some became artists. These Maya artists now use their bodies in public spaces to expose hidden sounds, language, and memories of the disappeared and turn them into decolonial gestures of healing. They create object-based works to expose the hidden underside of modernity, revealing Maya views and experiences of history, time, and space that precede art historical labels. Some artists bring light to the hidden function of coloniality in contemporary religion and in impeding justice for Indigenous peoples. Others reveal an ongoing defiance through self-preservation and safeguarding the spiritual. They address an array of experiences from rural violence, forced assimilation, migration, and the importance of language and ancestral memories. As defiance to the state and visual coloniality, their visual disobedience also indigenizes Central American art.
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Rubén B., Morante López. "Los seres alados y solares del arte maya en el Norte de Yucatán." In Memoria y patrimonio. Imágenes y representaciones desde México y El Caribe, 121–36. Universidad Autónoma Metropolitana, 2023. http://dx.doi.org/10.24275/uama.7051.10036.
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In our field work in northern Yucatán we studied the iconography of sites such as Chichén Itzá, Ek Balam, and Mayapán. There we saw great artistic quality sculptures of human beings that carry wings, and because of that we think that represented celestial beings related to deities of the Mayan pantheon of Late Classic, Terminal Classic and Early Postclassic periods. In our research we started with reviews of ethnohistorical, geographical and archaeological contexts in other Mayan sites, from central and eastern Mexico, including images from codices and paintings that tell us about the possible meaning of feathers, wings and birds in Mesoamerica. We proceeded analyze winged figures presented in relation to important buildings in northern Yucatán sites. Solar evocation suggested probably was common in this area and, sculptures not only speak about belief systems that could emanate from very early Mayan traditions, but also speak about great artists, that in 9th century AD. clearly manifested it through a refined style, technical mastery and high aesthetic sensitivity.
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"Aztec Red and Maya Blue: Secrets of the New World." In March of the Pigments, 295–316. The Royal Society of Chemistry, 2022. http://dx.doi.org/10.1039/9781837671403-00295.
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Spain's conquest of the New World brought many exotic products to the European market. None was more spectacular than the deep luscious red color that they called grana cochinilla. Once its superb qualities were recognized, this so-called Aztec Red quickly eclipsed its Old World counterparts both in the dye bath and on the artists' palette. Its mysterious origin and recognized value, jealously guarded by the Spanish regime, was the object of both piracy and espionage. No less mysterious was the virtually indestructible ubiquitous blue pigment that graced ancient murals of the indigenous peoples of Mesoamerica. This is the tale of how this color, forever bearing the misnomer of Maya Blue, became the nexus of modern scientific research. As the first hybrid nanomaterial, its discovery borders on science fiction.
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Turner, Andrew D. "The Murals of Cacaxtla." In Migrations in Late Mesoamerica, 205–40. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813066103.003.0008.
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The sudden appearance of Maya-style characteristics in the art of Epiclassic sites in Central Mexico has sparked debate regarding the relationship between the polity of Cacaxtla and the distant Maya Lowlands. Early studies linked these developments, described in ethnohistoric sources, to migrations of the Olmeca-Xicalanca of the southern Gulf Coast. Recent studies assert that Cacaxtla’s artists adopted an “eclectic” assortment of foreign stylistic elements in order to proclaim ties to distant sources of wealth and power that were not necessarily rooted in historic reality. This study argues that Cacaxtla’s artists deployed stylistic, technical, and iconographic conventions in a manner that reflects deep and sustained engagement with specific Maya cities rather than superficial claims of aggrandizement. Evaluation through current anthropological understandings of how and why people migrate and how group identity is expressed in the midst of population movements suggests that Cacaxtla’s monumental art programs constitute an additional line of evidence in support of Epiclassic migration from the southern Gulf Coast, or western Maya Lowlands, to Central Mexico.
Conference papers on the topic "Maya 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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Karabchevsky, Vitaly Vladislavovich, and Andrey Sergeevich Mazurov. "Geometric modeling of emotions of virtual characters." In 31th International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/graphicon-2021-1-63-74.
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Methods and tools for modeling emotions of virtual computer characters are considered. Particular attention is paid to 3D modeling of the cranial vault, mandible and teeth, as well as facial muscles and tongue. Modeling was performed using the ZBrush program using information about the anatomical structure of the skull and facial muscles, such as the occipital and temporal muscles, the arrogant muscle, the depressor, the masseter muscle, the small zygomatic muscle, the zygomaticus major muscle and the muscle lifting the angle of the mouth, the muscle lowering the angle of the mouth, the muscle that lifts the upper lip and the wing of the nose, the chin muscle and the muscle that lowers the lower lip. The resulting high-poly model was then retopologized with a decrease in the number of polygons. An example of modeling the character's head is given. Animation is made in Autodesk Maya, which is adopted by many large film and animation studios and is used more often among professional 3D artists. The principles of rigging (adding a digital skeleton and its controls to the model) and skinning (attaching the vertices of the surface that simulate the skin to the corresponding areas of the digital skeleton) are described. The anatomical signs of the manifestation of basic emotions are given and the control of the obtained model for the manifestation of some emotions is described.
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Tamas, Borbala, Liviu A. Fodor, Bernadette Galfi, Andrea Barta, and Istvan Szamoskozi. "VISUAL ART, AS DOMAIN SPECIFIC KNOWLEDGE IN VISUAL STIMULI COMPREHENSION: A META-ANALYTICAL REVIEW OF ART AND NON-ART EXPERTS' EYE FIXATION DURATION." In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s06.064.
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Previously published studies show a clear difference between the eye movement patterns of artists and non-artists. However, the findings of some studies show that the duration of eye fixation increases as a result of artistic expertise, while other studies show the opposite. In this meta-analysis, we included the findings from 14 studies in which the effect of artistic expertise on the duration of eye fixation was examined. We also examined the potential moderating effect of task type, level of expertise, the type of stimulus presentation, the task time limit, the sampling rate and gender influence on the effect size. Results from 14 studies were pooled, resulting in a medium effect size (ES) of g = 0.63, 95% CI: 0.24 to 1.03, meaning that eye fixation duration was longer for artists than nonartists. We identified substantial heterogeneity (I2 = 75%, 95% CI: 59 to 85) among studies, but very little evidence for publication bias. None of the investigated study variables were significant moderators of the effect size. These findings suggest that artistic expertise has a significant effect on eye fixation duration. Although the differences are clear between artists and non-artists, other factors that may have influence on the duration of eye fixation remain unclear.
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Yusuf, Hudi, and Suparno Suparno. "New Model Money Laundering Through Famous Artists." In Proceedings of the 3rd International Conference on Law, Social Science, Economics, and Education, ICLSSEE 2023, 6 May 2023, Salatiga, Central Java, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.6-5-2023.2333544.
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Dias, Mariana, Pedro Coelho, Rui Figueiredo, Rita Carvalho, Veronica Orvalho, and Alexis Roche. "Creating Infinite Characters From a Single Template: How Automation May Give Super Powers to 3D Artists." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641233.3664339.
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Pereira, Amanda Martins, Alline Martins Pereira, Iara Desiree Vizotto, and Juliana da Cruz. "CÂNCER DE MAMA EM MULHERES JOVENS." In I Congresso Brasileiro de Saúde Pública On-line: Uma abordagem Multiprofissional. Revista Multidisciplinar em Saúde, 2021. http://dx.doi.org/10.51161/rems/2878.
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Introdução: O câncer de mama (CM), acomete mais frequentemente mulheres acima de 50 anos que tenham entrado na menopausa, esse número representa uma pequena parcela dentre todos os casos. De 2 a 5% dos casos ocorrem antes dos 35 anos. Os estudos ainda divergem, porém, a maioria das vezes em mulheres jovens o CM está associado a um pior prognóstico, pois podem apresentar em associação clínica e patológica uma doença mais agressiva biologicamente. Tendem a ser hereditário, com mutações com os genes BRCA 1 e 2. O prognóstico menos favorável, os tratamentos tendem a ser agressivos. Objetivo: Revisão de literatura cientifica em relação ao Câncer de Mama em Mulheres Jovens. Material e métodos: US National Library of Medicine (PubMed) e Scientific Eletronic Library Online (SciELO) descritores: Breast Neoplasms, Young Adult, Adolescent e Immunophenotyping, com os Descritores em Ciências da Saúde (DeCS). Encontrados 235 artigos e após critérios de inclusão e exclusão, 6 artigos foram utilizados. Os utilizados para a inclusão: artigos em inglês, português ou espanhol, entre 2009 a 2021, disponíveis na íntegra para acesso online grátis. Resultado: Características clínicas de neoplasias mamárias em mulheres mais jovens diferem daquelas que surgiram mais tarde, a idade no diagnóstico do câncer de mama continua uma variável importante na determinação do prognóstico. Pacientes com menos de 40 anos, apresentam grau histológico alto, perfil imunoistoquímico desfavorável, taxa de mortalidade elevada em comparação as mulheres mais velhas, e são frequentemente classificados como câncer de mama triplo- negativo (TNBC, sigla em inglês), receptor de estrogênio (RE), receptor de progesterona (PR) e receptor-2 do fator de crescimento epidérmico humano (HER2-) negativos. Mulheres jovens são mais propensas a ter recorrências locais, diagnosticadas em um estágio avançado e terem sobrevida de 5 anos pior em comparado com suas contrapartes mais velhas na pré-menopausa. Conclusão: Carcinomas mamários de mulheres jovens possuem características clínicas, patológicas e moleculares mais agressivas, quando comparadas às mulheres de 50 anos. A sinalização oncogênica, é caracterizada por menor sensibilidade hormonal e maior expressão de HER-2 / receptor do fator de crescimento epidérmico (EGFR), e justifica estudos adicionais para oferecer este grupo de mulheres melhores prognósticos e opções preventivas e terapêuticas.
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Crossey, E., F. Kan, M. Leung, and T. Narimasu. "Pulmonary Actinomycosis: The Diagnostic Con-Artist." In American Thoracic Society 2019 International Conference, May 17-22, 2019 - Dallas, TX. American Thoracic Society, 2019. http://dx.doi.org/10.1164/ajrccm-conference.2019.199.1_meetingabstracts.a6823.
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Narayanan, Vasanth. "The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-24.
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Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.
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Cunha, Juliana Nogueira da, Isabela Hartmann Santhiago Lopes, Gabriela Gribel de Almeida, Milena de Souza Fernandes, Victoria Guimarães Lopes da Costa, Maria Clara Pinheiro Rubio Carrasco, and Luciana do Nascimento Silva. "Revisão sistematizada dos fatores de risco para câncer de mama em mulheres." In 47º Congresso da SGORJ e Trocando Ideias XXVI. Zeppelini Editorial e Comunicação, 2023. http://dx.doi.org/10.5327/jbg-2965-3711-2023133s1040.
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Objetivos: Avaliar os fatores que podem modificar o risco de câncer de mama em mulheres. Fonte de dados: Realizou-se revisão sistemática de artigos publicados nas plataformas eletrônicas Scientific Electronic Library Online (SciELO), Ebsco e UpToDate. A busca abrangeu o período de 2007 a 2019. Seleção de estudos: Selecionaram-se artigos originais e completos que abordavam o câncer de mama em mulheres e forneciam informações relevantes sobre fatores de risco. Os critérios de inclusão consideraram artigos nas línguas portuguesa e inglesa, sem restrições quanto ao período de realização dos estudos. A estratégia de busca utilizou descritores como câncer de mama, fatores de risco, fatores protetores, estilo de vida e neoplasias mamárias. Com base nessa estratégia, Selecionaram-se oito artigos que atendiam aos critérios de inclusão. Coleta de dados: A qualidade dos estudos foi avaliada de acordo com critérios estabelecidos, e apenas os estudos classificados como bons foram incluídos na análise. Os dados foram extraídos dos artigos selecionados e resumidos por meio de meta-análise. Resultados: Os estudos identificaram diversos fatores de risco associados ao desenvolvimento de câncer de mama em mulheres, incluindo características pessoais, histórico familiar e hábitos individuais. Um estudo destacou como fatores de risco o baixo nível educacional, a renda per capita reduzida e a residência em áreas rurais, que podem resultar em menor acesso à assistência de saúde e informações sobre prevenção. Além disso, observou-se relação de risco com histórico familiar de câncer de mama, idade avançada (acima de 50 anos) e fatores genéticos. O consumo de álcool foi apontado como fator de risco em dois estudos, enquanto três estudos analisaram o tabagismo como contribuinte para a doença. Perfis de mulheres pós-menopáusicas e o uso prolongado de contraceptivos orais também foram identificados como mais suscetíveis ao câncer de mama em um estudo. O sedentarismo e a obesidade foram apontados como fatores de risco em três estudos. A alimentação rica em alimentos gordurosos foi associada ao surgimento da doença em dois estudos. Por fim, um estudo indicou que histórico de abortos e amamentação por menos de um ano podem ser fatores de risco para o câncer de mama. Conclusão: Pode-se concluir que o risco de câncer de mama em mulheres pode ser modificado por uma variedade de fatores, isoladamente ou em combinação. Portanto, é evidente a importância de as mulheres realizarem o rastreamento recomendado pela Sociedade Brasileira de Mastologia, por meio de mamografias anuais a partir dos 40 anos de idade e rastreamento personalizado em mulheres com risco aumentado. A conscientização e a intervenção em fatores modificáveis podem potencialmente melhorar a evolução natural dessa doença.
Reports on the topic "Maya 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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De Tolentino, Marianne, and Sara Hermann. Inside and Out: Recent Trends in the Arts of the Dominican Republic. Inter-American Development Bank, November 2008. http://dx.doi.org/10.18235/0006413.
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For many years the artistic movement in the Dominican Republic was a -best-kept secret. Their growing international contributions to contemporary visual arts have been changing that picture, but may also be characterized by even greater drive, selectivity, and regularity. We could say that of all the islands of the Caribbean, the Dominican Republic is, along with Cuba, Puerto Rico, and Haiti, the country most prolific in regard to modern and contemporary artists.
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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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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, July 2024. http://dx.doi.org/10.23889/sureport.66346.
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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
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De Jesús, Dyanis, Alejandra Luzardo, and Michelle Pérez. Orange Economy: Innovations you may not know were from Latin America and the Caribbean. Inter-American Development Bank, June 2017. http://dx.doi.org/10.18235/0006354.
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Who would have said that in the hands of creatives, designers, artists and entrepreneurs would be part of the response to the development challenges of Latin America and the Caribbean? This report is part of the Inter-American Development Bank's (IDB) Demand Solutions: Ideas for Improving Lives, which aims to give visibility to the region's creatives and to position creativity as an integral element of economic and social development. In 2015 the cultural and creative industries (CCI), which are part of what the IDB calls the Orange Economy, generated 1.9 million jobs in Latin America and the Caribbean, and revenues of $124 billion. It is estimated that by 2020 creativity will be the third most demanded skill by companies when selecting their employees. It should be noted that most startups in the region, although little known, have a high social and economic impact in traditional sectors such as health, education and transportation. This report discusses how creativity continues to be the main protagonist to face challenges upon the changes in the way of working and producing goods and services, as well as the indispensable convergence between the analogue and digital. This report highlights 50 of the 300 innovative projects with the greatest social impact in the region, grouped according to 8 sectors of the CCI’s: Architecture, Handcrafts, Design, Media, Fashion, Music, Creative Services and Software / Digital Platforms, in 12 Countries: Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, El Salvador, Guatemala, Jamaica, Mexico, Peru and the Dominican Republic. At the same time it also describes the most important trends in these 8 sectors.
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Stumpo, Sergio. The Sustainability of Urban Heritage Preservation: The Case of Siracusa, Italia. Inter-American Development Bank, August 2010. http://dx.doi.org/10.18235/0006914.
Full textAbstract:
This paper analyzes the city of Siracusa, Italy, and in particular the Historic Center of Ortigia. Siracusa and the rocky Necropolis of Pantalica (in the Cassaro, Ferla, and Sortino areas) were inscribed on UNESCO's World Heritage List in 2005, an event that may be considered the official recognition of the beauty and uniqueness of their historical, artistic, architectonic, and natural patrimony.
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Patton, Desmond, and Catalina Vallejo. Examining Violence and Black Grief on Social Media: An Interview with Desmond Upton Patton. Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3020.d.2022.
Full textAbstract:
As part of our “What Is Just Tech?” series, we invited several social researchers—scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Desmond Upton Patton, Professor of Social Work at Columbia University and Just Tech Advisory Board member. Patton (he/him) studies how gang-involved youth conceptualize threats on social media and the extent to which social media may shape or facilitate youth and gang violence. He is the founding director of SAFElab, which centers young people’s perspectives in computational and social work research on violence, trains future social work scholars, and actively engages in violence prevention and intervention. In their conversation, Vallejo and Patton spoke about social media as an amplifier of violence, the importance of lived experience informing computational research, and misunderstandings about Black grief.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.
Full textAbstract:
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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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
Full textAbstract:
Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.