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Journal articles on the topic 'Transdisciplinarity and Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Șerbănescu, Monica Valentina, and Mariana Dogaru. "RELIGION LESSON- VECTOR FOR STUDYING ARTS. TRANSDISCIPLINARITY V IEW." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 2, no. 2 (2018): 269–74. http://dx.doi.org/10.26520/mcdsare.2018.2.269-274.

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2

Toš, Igor. "Interdisciplinarity and transdisciplinarity." Collegium antropologicum 45, no. 1 (2021): 67–73. http://dx.doi.org/10.5671/ca.45.1.8.

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The production of new scientific knowledge and practical solutions to complex problems require increasing amounts of interdisciplinary collaboration, while requirements for transdisciplinary cooperation have recently likewise become more frequent. In practice, however, they are rarely implemented adequately; what occurs instead is merely multidisciplinary collaboration. True implementation of inter- and/or transdisciplinary collaboration is often met with certain difficulties and obstacles: problems due to limited disciplinary competence, problems due to protecting knowledge and power, the problem of competence required for inter- and transdisciplinary collaboration, complexity problems, methodological problems and problems caused by differences in cultural traditions. It is necessary to acquire clear general definitions of the concepts of multidisciplinarity, interdisciplinarity and transdisciplinarity, to define and implement general guidelines for the development of multidisciplinary and transdisciplinary practice and to develop a new general culture of collaboration in research and practice of complex problem-solving.

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Classen, Albrecht. "Transdisciplinarity—A Bold Way into the Academic Future, from a European Medievalist Perspective and or the Rediscovery of Philology?" Humanities 10, no. 3 (August 10, 2021): 96. http://dx.doi.org/10.3390/h10030096.

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This essay examines the challenges and opportunities provided by transdisciplinarity from the point of view of medieval literature. This approach is situated within the universal framework of General Education or Liberal Arts, which in turn derives its essential inspiration from medieval and ancient learning. On the one hand, the various recent efforts to work transdisciplinarily are outlined and discussed; on the other, a selection of medieval narratives and one modern German novel plus one eighteenth-century ode are examined to illustrate how a transdisciplinary approach could work productively in order to innovate the principles of the modern university or all academic learning, putting the necessary tools of twenty-first century epistemology into the hands of the new generation. The specific angle pursued here consists of drawing from the world of medieval philosophy and literature as a new launching pad for future endeavors.

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Burnard, Pam, Laura Colucci-Gray, and Pallawi Sinha. "Transdisciplinarity: letting arts and science teach together." Curriculum Perspectives 41, no. 1 (April 2021): 113–18. http://dx.doi.org/10.1007/s41297-020-00128-y.

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Ambole, Amollo. "Embedding Design in Transdisciplinary Research: Perspectives from Urban Africa." Design Issues 36, no. 2 (April 2020): 28–40. http://dx.doi.org/10.1162/desi_a_00588.

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Emergence in the African urban context provides unique opportunities to study novel ways of designing within a transdisciplinary set up, yet little has been written in this regard. In this paper, I reflect on how I have engaged in transdisciplinary research as a designer in Africa's urban contexts over the recent years. These reflections offer African perspectives that are enriched by ongoing global conversations around complex urban challenges. Going forward, design research in Africa's emerging urban contexts is well placed to contribute substantially to global discussions on transdisciplinarity.

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6

Vilsmaier, Ulli. "A Space for Taking a Culturally Sensitive Look at Transdisciplinarity: Report of the ITD Conference 2017." GAIA - Ecological Perspectives for Science and Society 26, no. 4 (January 1, 2017): 352–54. http://dx.doi.org/10.14512/gaia.26.4.13.

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The International Transdisciplinarity Conference 2017 brought together representatives of different world regions, institutions, cultures, and communities. It was co-organized by the td-net of the Swiss Academies of Arts and Sciences and Leuphana University of Lüneburg, Germany.

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7

Cameron, Fiona, and Sarah Mengler. "Complexity, Transdisciplinarity and Museum Collections Documentation." Journal of Material Culture 14, no. 2 (May 27, 2009): 189–218. http://dx.doi.org/10.1177/1359183509103061.

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8

Sehume, Jeffrey. "Transformation of cultural studies into transdisciplinarity." Critical Arts 27, no. 2 (April 2013): 163–81. http://dx.doi.org/10.1080/02560046.2012.744724.

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9

Lapointe, François-Joseph. "Hybrids Are Hubs: Transdisciplinarity, the Two Cultures and the Special Status of Artscientists." Leonardo 47, no. 3 (June 2014): 277. http://dx.doi.org/10.1162/leon_a_00780.

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Much has been said and written about the two-culture paradigm separating the world between artists and scientists. On one side of this debate are those who accept this cultural art/science divide. On the other side are those who reject it altogether to promote a better integration of artscience practices. In this paper, the author presents a network analysis of 40 papers submitted to the SEAD Network for Science, Engineering, Arts and Design and tests the hypothesis that the papers submitted by artists and scientists are disconnected in the corresponding graph, as predicted by the art/science separation. Rejecting this hypothesis will provide support for the alternative artscience integration.

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Songca, Rushiella. "Transdisciplinarity: The dawn of an emerging approach to acquiring knowledge." International Journal of African Renaissance Studies - Multi-, Inter- and Transdisciplinarity 1, no. 2 (January 2006): 221–32. http://dx.doi.org/10.1080/18186870608529718.

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11

Brenner, Joseph E. "Logic, art and transdisciplinarity: A new logic for the new reality." Technoetic Arts 1, no. 3 (December 1, 2003): 169–80. http://dx.doi.org/10.1386/tear.1.3.169/1.

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12

Rendell, Jane. "Working Between and Across: Some Psychic Dimensions of Architecture's Inter- and Transdisciplinarity." Architecture and Culture 1, no. 1 (November 2013): 128–40. http://dx.doi.org/10.2752/175145213x13756908698685.

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13

Heinrichs, Harald. "Strengthening Sensory Sustainability Science—Theoretical and Methodological Considerations." Sustainability 11, no. 3 (February 1, 2019): 769. http://dx.doi.org/10.3390/su11030769.

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Sustainability science is marked by a quarter century of conceptual and methodological development. Based on innovative approaches, such as transformative transdisciplinarity, sustainability science makes the claim to contribute solution-oriented knowledge to sustainable development. Despite successful expansion and promising experiences, there are limitations to be considered. This article argues that the multisensorial reality of human life in socio-material practices has not been adequately captured in sustainability science. Theoretical approaches addressing the sensoriality and corporality of human existence as well as methodological approaches of ethnography and arts-based research to access relevant human dimensions beyond the cognitive are discussed, and the perspective of sensory sustainability science is sketched.

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Wadada Nabudere, Dani. "Cheikh Anta Diop: The social sciences, humanities, physical and natural sciences and transdisciplinarity." International Journal of African Renaissance Studies - Multi-, Inter- and Transdisciplinarity 2, no. 1 (July 2007): 6–34. http://dx.doi.org/10.1080/18186870701384269.

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Dölling, Irene, and Sabine Hark. "She Who Speaks Shadow Speaks Truth: Transdisciplinarity in Women's and Gender Studies." Signs: Journal of Women in Culture and Society 25, no. 4 (July 2000): 1195–98. http://dx.doi.org/10.1086/495544.

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16

Hugill, Andrew, and Sophy Smith. "Digital creativity and transdisciplinarity at postgraduate level: the design and implementation of a transdisciplinary masters programme and its implications for creative practice." Digital Creativity 24, no. 3 (September 2013): 191–207. http://dx.doi.org/10.1080/14626268.2013.827099.

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17

McMeel, Dermott, and Chris Speed. "Dynamic Sites: Learning to Design in Techno-Social Landscapes." Leonardo 46, no. 1 (February 2013): 61–66. http://dx.doi.org/10.1162/leon_a_00486.

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This paper investigates interdisciplinary research through an urban design project and explores the creation of broader architectural representations of place. It advances the case made by McCarthy and Wright for developing deeper associations between experience and technology. Drawing on artist Janet Cardiff's media representations of space, design students were challenged to represent richer descriptions of place that include factors such as temporal and spatial resistance, experiential laminations, and social linkages and their gaps. Findings support a view of design and transdisciplinarity as potentially compelling modalities for research in these complex contexts, discourage bringing technology to center stage and encourage propositions that recommend looking beyond the functional and attending to personal and social facets of our interaction with technology.

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18

Kostić, Miloš. "Semiotics of architectural: Detail between rationalisation and representation." SAJ - Serbian Architectural Journal 10, no. 1 (2018): 59–70. http://dx.doi.org/10.5937/saj1801059k.

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The aim of this paper is to discuss the realm of values upon which thoughts on architecture have been conceived, through the drawings of architectural detail. Although modernism, which opposes technical detail and ornament, is still regarded as influential theoretical position, it neglects to address a broader meaning of a detail in architecture. The research disputes the opposition between an ornament and a technical detail, claiming that a detail in architecture is the more abstract term, which represents a certain level of design thought besides utility and embellishment. It is argued that both modern and traditional values from different aspects of societal and cultural activities, as for their changes were being referenced to the micro level of architecture, transforming the way of their presence through different visual representations of detail along the history and theory of profession. In this paper, the small-scale drawings are used as a medium a medium which reflects transdisciplinarity of the profession and its entanglement with the knowledge and dynamics of other fields of human activity such as philosophy, economy, religion, engineering, and arts.

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19

Cochrane, Thomas, Kathryn Coleman, Amanda Belton, Emily Fitzgerald, Solange Glasser, Julian Harris, Gene Melzack, Kristal Spreadborough, and Kenna Mactavish. "#DataCreativities." Pacific Journal of Technology Enhanced Learning 3, no. 1 (February 16, 2021): 8–10. http://dx.doi.org/10.24135/pjtel.v3i1.84.

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Transdisciplinarity and collaboration are key capabilities that need to be fostered by authentic higher education learning environments to prepare our graduates for an unknown future (Barnett, 2012). These capabilities need to be modelled through the practice of academics, and even more so during a global pandemic such as COVID19 in response to the changing ways in which professions, and in particular the arts that have traditionally relied upon face-to-face interaction, have rapidly pivoted to online modes of interaction. In response, this project is conceived as a transdisciplinary collaboration between the University of Melbourne Faculty of Fine Arts and Music (FFAM), the Graduate School of Education (MGSE), the Centre for the Study of Higher Education (MCSHE), the Social & Cultural Imformatics Plaform (SCIP) and the Melbourne Data Analytics Platform (MDAP). The #DataCreativities collaboration seeks to learn from the data created by the creative industry communities as they rapidly moved to new forms of online interaction in order to survive in a socially distanced environment (for example (Braus & Morton, 2020)). We use this to develop a new framework for data generation and visualization in the context of higher education as a form of feedback loop that can inform innovative pedagogical practice and research (Ferdig et al., 2020). The project data collection and analysis began by creating visualisations of the teaching and learning activities embodied in the universities learning management system (Canvas) to discover patterns of usage and interaction as the creative arts disciplines switched from studio-based on campus to remote online teaching and learning modes. The analysis of the data visualisations from creative and education domains formed a continuous loop of acting and reacting (Glaveanu et al., 2013) as they rapidly developed new modes of interaction in response to COVID19. In learning from these data as visual patterns, the project is focused upon identifying new modes of teaching and learning that are sustainable beyond an emergency response to COVID19. The data visualization project involves the identification of an Ecology of Resources or EoR (Luckin, 2008) that encompasses social media via a hashtag #Datacreativities (Twitter, TikTok, YouTube) open software publishing (Omeka, Figshare) and Altmetrics (Priem et al., 2010) - creating a feedback loop between the model of a COVID19 rapid pivot from face-to-face Arts community to building an online community, and traditional higher education teaching and learning and research practices and metrics (Williams & Padula, 2015). Early stages visualisations helped turn data into information. Collaborative bringing together of our experience and expertise helped turn information into knowledge. Making visualisations of data formed practice-based research (Candy, 2016) transforming abstract data into observable, malleable digital artefacts (Kallinikos,Aaltonen& Marton, 2010). The presentation will showcase some of the data visualisations produced by the #Datacreativities team and the mapping between the professional arts community and arts education practice on response to COVID19. The presentation will also outline the emergent data visualisation framework and how the ecology of resources facilitates a feedback loop back into informing teaching and learning and research.

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20

Frosh, Stephen. "Psychosocial studies with psychoanalysis." Journal of Psychosocial Studies 12, no. 1 (July 1, 2019): 101–14. http://dx.doi.org/10.1332/147867319x15608718110952.

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Psychosocial studies is methodologically and theoretically diverse, drawing on a wide range of intellectual resources. However, psychoanalysis has often taken a privileged position within this diversity, because of its well-developed conceptual vocabulary that can be put to use to theorise the psychosocial subject. Its practices have become a model for some aspects of psychosocial work, especially in relation to its focus on intense study of individuals, its explicit engagement with ethical relations, and its traversing of disciplinary boundaries across the arts, humanities and social sciences.This article begins with a brief description of some principles of psychosocial thinking, including its transdisciplinarity and criticality and its interest in ethics and in reflexivity. It then explores the place of psychoanalysis in this genealogy, presenting the case for psychoanalysis’ continuing contribution to the development of psychosocial studies. It is argued that this case is a strong one, but that the critique of psychoanalysis from the discursive, postcolonial, feminist and queer perspectives that are also found in psychosocial studies is important. The claim will be made that the engagement between psychoanalysis and its psychosocial critics is fundamentally productive. Even though it generates real tensions, these tensions are necessary and significant, reflecting genuine struggles over how best to understand the socially constructed human subject.

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21

Orr, Nikolas, Benjamin Matthews, Zi Siang See, Andrew Burrell, Jamin Day, and Divya Seengal. "Transdisciplinarity in extended reality (XR) research design: Technological transformation and social good (co-creation session at XR + Creativity Symposium, University of Newcastle, 2020)." Virtual Creativity 11, no. 1 (June 1, 2021): 163–79. http://dx.doi.org/10.1386/vcr_00048_1.

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This article collates and synthesizes the discussion results of a collaborative research exercise, known as a ‘co-creation session’, formed of a multi-disciplinary group of extended reality (XR) researchers and practitioners. The session sought to develop and theorize the concept of ‘transformative technologies for good’ in creative, applied and clinical contexts. Notions of ‘cutting-edge’ practice were visited from a critical standpoint; participants established that innovation, when measured in terms of social good, challenges technological and economic paradigms of progress. Conversation between participants centred on four key areas: skills and knowledge for effective XR research, appropriate methods and sites for diffusion of XR research, the future of the field, and the possible contributions of XR and associated research to problems arising from COVID-19. The session offered further insights into research design related to composition of participant groups in terms of disciplinary knowledge, activity design, and remote digital interfaces.

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Thomas, Paul. "The Transdisciplinary Cloud Curriculum." Leonardo 48, no. 5 (October 2015): 474–75. http://dx.doi.org/10.1162/leon_a_01070.

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In this paper, the author looks at the evidence from the international Leonardo Education and Arts Forum on art/science cloud curriculum workshops he instigated in Copenhagen and Prague in 2012. These workshops discussed the aims of affecting a shift in perception toward a foundational understanding of new paradigms for research and learning that challenge and transcend disciplinary boundaries. The curriculum privileged a metacognitive interrogation of content and (re)visioning of traditional disciplinary research methodologies using a syncretic integration of heuristic and practice-based inquiry.

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23

Yates, Steve. "Avant-Garde Photographics: Multidisciplinary Precedents Advancing Transdisciplinary Arts into the New Century." Fotocinema. Revista científica de cine y fotografía 2, no. 19 (July 22, 2019): 71. http://dx.doi.org/10.24310/fotocinema.2019.v2i19.6646.

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La aparición de la vanguardia fotográfica a comienzos del siglo XX tuvo un carácter multidisciplinar, buscando nuevas direcciones en las que avanzar. Dichas transformaciones supusieron una era proto-moderna estrechamente relacionada con las vanguardias europeas. Nuevas formas de expresión fotográfica con una diversidad sin precedentes, al tiempo que establecía las bases para una práctica y estrategia artísticas transdisciplinares que continúan siendo hoy día un revulsivo para las tradiciones, limitaciones y fronteras del medio.Las aportaciones de los diferentes artistas contribuyeron a la aparición de nuevas formas de fotografía proto-moderna, tanto en el ámbito de la cámara y el cuarto oscuro como yendo más allá de sus límites. Las tecnologías emergentes en la época, los nuevos materiales y soportes posibilitaron la evolución del arte moderno más allá de las disciplinas tradicionales. Algunas de las aportaciones de la fotografía proto-moderna, como el fotomontaje, los fotogramas, algunos avances en el ámbito del cine, el diseño de las exposiciones y el color, publicitados a través de los medios impresos, permitieron explorar las influencias mutuas entre soportes y medios.La fotografía de vanguardia coexistió con el sistema de las artes, que separaba las prácticas tradicionales al tiempo que señalaba sus límites. El abandono del arte convencional supuso un impulso para la exploración de las posibilidades de la fotografía.La transdisciplinariedad del arte contemporáneo ha acabado con las tradicionales diferencias de géneros y temas. El pasado multimedia ha dado paso a ideas fotográficas en las que ya no existen las categorías, los relatos pertenecientes a la tradición de la historia del arte o sus divisiones. La dicotomía entre real y abstracción, subjetivo y objetivo, veracidad construida y documentalismo, la eliminación de la diferencia entre original y copia, nos permiten llevar las ideas de las vanguardias al siglo XXI, más allá de la era moderna.

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Keifer-Boyd, Karen. "Arts-based Research as Social Justice Activism." International Review of Qualitative Research 4, no. 1 (May 2011): 3–19. http://dx.doi.org/10.1525/irqr.2011.4.1.3.

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A social justice approach to arts-based research, as presented in this article through examples from five different perspectives on what constitutes arts-based research, involves continual critical reflexivity in response to injustice. At the First International Congress of Qualitative Inquiry, I identified five distinctly different perspectives on what constitutes arts-based research. The variations seemed to emphasize contiguous relationships such as: arts-insight, arts-inquiry, arts-imagination, arts-embodiment, and arts-relationality. Starting from a study of arts-based research, I construct historical and theoretical traces to and from these five facets of a social justice approach to arts-based inquiry. My analysis offers potentialities for an intermingling of these five faces of arts-based research in the interest of social justice. The examples of arts-based research as social justice activism presented here are intended to inspire transdisciplinary researchers to imagine ways to conjoin arts-based processes, subjects, and forms with social justice enactments of research.

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Martín Ezpeleta, Antonio, and Yolanda Echegoyen-Sanz. "Travelling with Darwin and Humboldt. A Transdisciplinary Educational Experience." Journal of Education Culture and Society 10, no. 2 (September 2, 2019): 111–25. http://dx.doi.org/10.15503/jecs20192.111.125.

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Aim. This research aims to confirm that transdisciplinary projects can be very adequate to develop content and competencies traditionally assigned to Sciences and Arts in higher education, exploring the possibilities of outdoor education. Methods. The subjects of the study were one hundred alumni of two different courses “Natural Sciences for Teachers” and “Literary Training for Teachers” at a Spanish university. An educational experience around the phenomenon of scientific travelers was developed, focusing on Charles Darwin and Alexander von Humboldt and the literary genres of travel journals and letters. The main activity contained three phases, including indoor and outdoor education, in which both subjects tackled the same 6 educational topics from a different perspective. After different individual and group activities around those topics, alumni from both subjects merged at a natural environment where a scientific-literary tour took place. At the end of the academic year, an assessment questionnaire with open and closed questions was filled out by all participants. Results and conclusion. After the analysis of all the collected data, we can deduce that the experience was a success. The students appreciated aspects like the setting in which the experience took place, the possibility of interacting with alumni from different courses and the integration of Sciences and Arts. Thus, we have demonstrated that the same activities can be implemented in prototypical subjects of Sciences and Arts and that outdoor education is an ideal resource to achieve a holistic pedagogy engaging the sensory and emotional facets of learning.

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Contreras, Paulo, Javiera Jiménez, Rodrigo Browne, and Iván Oliva-Figueroa. "Interfaces universidad - sociedad en la prospectiva transdisciplinaria: Comunicación Social y Discurso Institucional-web asociado a la organización del conocimiento en Universidades en Chile." ALPHA: Revista de Artes, Letras y Filosofía 1, no. 50 (July 10, 2020): 195–208. http://dx.doi.org/10.32735/s0718-2201202000050791.

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La presente investigación tuvo por objetivo analizar los usos del discurso institucional de universidades chilenas autodefinidas como complejas en relación a la organización del conocimiento e iniciativas inter-transdisciplinarias relevantes informadas a nivel de estructuras estáticas y noticias en sitios web oficiales de cada una de ellas. En este contexto y a través de un Análisis Crítico del Discurso, se indaga en el despliegue de estrategias comunicativas, la producción y difusión del discurso institucional, como asimismo, su exposición y disposición en las páginas web. Desde esta base, se contribuye con información cualitativa a la discusión en torno a los formatos y dispositivos de comunicación social referidos a las nociones de inter y transdisciplina en el contexto de la educación superior en el país. Los resultados dan cuenta de la emergencia, centralidad y valor comunicacional de la prospectiva inter y transdisciplinaria en el contexto universitario chileno, no obstante, también evidencian las condicionantes epistemológicas y metodológicas para su despliegue organizacional crítico y sostenible.

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Tobias-Green, Karen. "Challenging the cult of normalcy: Arts education and transdisciplinary practices." Visual Inquiry 6, no. 3 (December 1, 2017): 335–46. http://dx.doi.org/10.1386/vi.6.3.335_1.

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Laduca, Brian, Adrienne Ausdenmoore, Jen Katz-Buonincontro, Kevin Patrick Hallinan, and Karlos Marshall. "An Arts-Based Instructional Model for Student Creativity in Engineering Design." International Journal of Engineering Pedagogy (iJEP) 7, no. 1 (February 28, 2017): 34. http://dx.doi.org/10.3991/ijep.v7i1.6335.

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Over the past twenty years, nearly all job growth in the United States has emerged from new companies and organizations with assumedly innovative products, services, and practices. Yet, the nurturing of student creative thinking and problem solving is infrequent in engineering education. Inherent to developing these creativity skills and attributes is the need to be exposed to difference — in people and environment. Engineering education rarely offers such opportunities. Additionally, engineering students are rarely presented opportunities to develop designs responding to real human problems. This paper puts forth a new instructional model to address these needs by utilizing arts processes and practices as catalysts for both creativity development in students and transdisciplinary collaboration on problems addressing deep human needs. This model is premised on the substantiated role of the arts in developing creativity and growing understanding of the human condition. This art-based instructional model was piloted as exploratory pedagogical research during the summers of 2015 and 2016 as a partnership between the Arts Nexus (IAN) and the School of Engineering at the University of Dayton. In each year, this program supported twelve student interns from engineering, business, science, the arts, and the humanities to develop innovative technologies and services meeting client needs. Student growth in creative problem-solving and transdisciplinary collaboration, as well as the success of the completed innovation technology prototype were assessed by the project mentors and participating students via survey evaluations and narrative responses. The assessment results revealed substantial student growth in student creativity and transdisciplinary collaboration and a remarkably strong evaluation of the success of the students’ innovations. Also realized for all students was a transformation in their perception of their place in the world as professionals post-graduation.

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Kim, Youngmoo E., Brandon G. Morton, Jeff Gregorio, David S. Rosen, Kareem Edouard, and Richard Vallett. "Enabling creative collaboration for all levels of learning." Proceedings of the National Academy of Sciences 116, no. 6 (February 4, 2019): 1878–85. http://dx.doi.org/10.1073/pnas.1808678115.

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A potential path for enabling greater creativity and collaboration is through increased arts and science, technology, engineering, and mathematics (STEM) integration in education and research. This approach has been a growing discussion in US national forums and is the foundation of the science, technology, engineering, and mathematics plus arts and design (STEAM) education movement. Developing authentic artistic integrations with STEM fields (or vice versa) is challenging, particularly in higher education, where traditional disciplinary structures and incentives can impede the creation of integrated programs. Measuring and assessing the outcomes of such integration efforts can be even more challenging, since traditional metrics do not necessarily capture new opportunities created for students and faculty, and the greatest impact may occur over a long period (a career). At Drexel University, we created the Expressive & Creative Interaction Technologies (ExCITe) Center as a standalone institute to pursue and enable such transdisciplinary arts–STEM collaborations, particularly with external arts and education partners. In this perspectives paper, we highlight a range of projects and outcomes resulting from such external collaborations, including graduate research with professional artists, undergraduate student work experiences, and STEAM-based education programs for kindergarten through 12th-grade (K-12) students. While each project has its own specific objectives and outcomes, we believe that they collectively demonstrate this integrated transdisciplinary approach to be impactful and potentially transformative for all levels of learning.

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Clark, Sarah E., Eric Magrane, Thomas Baumgartner, Scott E. K. Bennett, Michael Bogan, Taylor Edwards, Mark A. Dimmitt, et al. "6&6: A Transdisciplinary Approach to Art–Science Collaboration." BioScience 70, no. 9 (July 29, 2020): 821–29. http://dx.doi.org/10.1093/biosci/biaa076.

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Abstract Despite an historical connection between the arts and sciences, in the past century, the two disciplines have been greatly siloed. However, there is a renewed interest in collaboration across the arts and sciences to support conservation practice by understanding and communicating complex environmental, social, and cultural challenges in novel ways. 6&6 was created as a transdisciplinary art–science initiative to promote a deeper appreciation of the Sonoran Desert. Six artists and six scientists were paired to create work that explored conservation issues in the Sonoran Desert and the Gulf of California. In-depth interviews were conducted with the artists and scientists throughout the 4-year initiative to understand the impact of 6&6 on their personal and professional behaviors and outlook. The findings from this case study reveal the role that intensive, place-based, and transdisciplinary art–science programs can play in shaping narratives to better communicate the patterns and processes of nature and human–environment interactions.

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Sy, Anahi. "¿Lo piensa realmente? Al menos así lo escribe." Physis: Revista de Saúde Coletiva 26, no. 4 (October 2016): 1161–70. http://dx.doi.org/10.1590/s0103-73312016000400005.

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Resumen Este escrito propone reflexionar en torno a la producción de conocimiento científico y la necesidad de desarrollar nuevas formas de comunicar los resultados de nuestras investigaciones, especialmente en el campo de la Salud Colectiva, necesariamente inter o transdisciplinaria. Para ello analiza los principales obstáculos para la producción de un conocimiento novedoso: las dificultades inherentes al trabajo inter o transdisciplinario, en paralelo a la hiper especialización al interior de cada disciplina; la exigencia de producción por la cual serán evaluados los investigadores, que coadyuva a la mercantilización del conocimiento científico, a la alienación en el trabajo de investigación y al empobrecimiento cada vez mayor de la calidad de los textos que se produce. A partir de la exploración sobre las modalidades expresivas del arte contemporáneo, proponemos una escritura “transgénero" como modo de atravesar disciplinas, lenguajes y géneros discursivos a favor del desarrollo de modalidades expresivas que habiliten la creación de nuevos objetos, para superar la arbitrariedad de las clasificaciones, formas de nombrar y describir tradicionales, para establecer formas de comunicar e investigar que respondan a la complejidad de los problemas que afectan a la salud hoy, antes que a objetos delimitados disciplinariamente.

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Massó Guijarro, Belén, Ramón Montes-Rodríguez, and Purificacion Perez-Garcia. "Dialogical Renewal of Education through the Performing Arts: A Transdisciplinary Approach." International Journal of Interdisciplinary Social and Community Studies 15, no. 2 (2020): 67–80. http://dx.doi.org/10.18848/2324-7576/cgp/v15i02/67-80.

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Clark, Barbara, and Charles Button. "Sustainability transdisciplinary education model: interface of arts, science, and community (STEM)." International Journal of Sustainability in Higher Education 12, no. 1 (January 11, 2011): 41–54. http://dx.doi.org/10.1108/14676371111098294.

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Liao, Christine. "From Interdisciplinary to Transdisciplinary: An Arts-Integrated Approach to STEAM Education." Art Education 69, no. 6 (October 18, 2016): 44–49. http://dx.doi.org/10.1080/00043125.2016.1224873.

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Burnham, Brian. "Three Dimensional Visualization of Complex Environmental Data Sets of Variable Resolution." Leonardo 46, no. 3 (June 2013): 290–91. http://dx.doi.org/10.1162/leon_a_00580.

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Three dimensional visualization of complex, variable resolution data sets is an inherent problem with the increase in data retrieval and processing methods. This problem translates across many disciplines in the sciences and engineering, but also in the arts, new media and social networking. In this paper the authors report on a project to integrate terrestrial and aerial based terrain data with variable degrees of resolution. Future implications of big data set visualization and the development of transdisciplinary approaches that can be used in both the sciences and the arts are discussed.

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Côme, Tony. "Les monstres de la transdisciplinarité postmodeme : fertilisations croisées entre architecture, design et arts." Histoire de l'art 69, no. 1 (2011): 115–23. http://dx.doi.org/10.3406/hista.2011.3385.

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Seo, Jae-Hee. "Action Research on Potentiality of Arts based Research as a Transdisciplinary Studies." Journal of Research in Art Education 20, no. 2 (April 30, 2019): 93–107. http://dx.doi.org/10.20977/kkosea.2019.20.2.93.

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Maurides, Patricia, and Marlene Behrmann. "The Brain as Muse: Bridging Art and Neuroscience." Leonardo 50, no. 2 (April 2017): 190–91. http://dx.doi.org/10.1162/leon_a_01387.

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This article describes a partnership between an artist and neuroscientist who share common interests. The authors discuss bridging the fine arts and neurosciences through the development of transdisciplinary courses and public engagement through an art and science exhibition. Their NeuroArt partnership promotes dialogue and creates community among students and faculty by sharing access, tools and probing questions common to both disciplines.

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McGarry, Karen. "Multitextual Literacy in Educational Settings: Contextual Analysis and the Dab." Art/Research International: A Transdisciplinary Journal 4, no. 2 (August 30, 2019): 480–504. http://dx.doi.org/10.18432/ari29450.

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Literacy is more directly linked to language arts than the visual arts even though both disciplines demand a high level of proficiency knowledge. This article examines how Feldman’s (1970) art criticism model, applied in visual arts and aesthetics, and Fairclough’s (2015) critical discourse analysis (CDA), used predominantly in literacy research, imbricate to reveal a multitextual literacy approach to gesture as an extension of utterance. Transdisciplinary textual analysis, supported by Bakhtin’s theories on addressivity and social language construction (1986), critique both cultural appropriation and media literacy. Gesture, as an extension of utterance, transpired from witnessing a random gestural act, blurring textual boundaries in a decoding process to suggest multiliterate awareness in learning ecologies. Art criticism reflection and CDA reveal methods for examining communication processes within cultural contexts and, as a result, suggest integration into educational settings as vital tools for conscientious textual decoding praxis.

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Kolesnikova, I. A. "Transdisciplinary strategy of lifelong education research." Lifelong education: the XXI century 8, no. 4 (December 2014): 14–36. http://dx.doi.org/10.15393/j5.art.2014.2642.

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Wu, Yufei, Jiaming Cheng, and Tiffany A. Koszalka. "Transdisciplinary Approach in Middle School: A Case Study of Co-teaching Practices in STEAM Teams." International Journal of Education in Mathematics, Science and Technology 9, no. 1 (December 13, 2020): 138–62. http://dx.doi.org/10.46328/ijemst.1017.

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A call for educational reform motivated this school system to devise an enhanced version of STEM in their middle school. This case provides rich descriptions of how eighth grade middle school teachers, from multiple disciplines, enacted a STEAM team model that integrated Language Arts into STEM. These STEAM team teachers were systematically studied during field observations of 100+ class sessions using what they referred to as transdisciplinary co-teaching, flexible scheduling, and multiple types of physical spaces to further engage students. Different dimensions of co-teaching were observed. The most frequently observed was reconstructed, followed by predisciplinary, correlated, and shared. Types of instruction other than reconstructed, did not fit the school’s proposed definitions of transdisciplinary co-teaching. Thoughts are shared on lessons learned.

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Wu, Yufei, Jiaming Cheng, and Tiffany A. Koszalka. "Transdisciplinary Approach in Middle School: A Case Study of Co-teaching Practices in STEAM Teams." International Journal of Education in Mathematics, Science and Technology 9, no. 1 (December 13, 2020): 138–62. http://dx.doi.org/10.46328/ijemst.1017.

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A call for educational reform motivated this school system to devise an enhanced version of STEM in their middle school. This case provides rich descriptions of how eighth grade middle school teachers, from multiple disciplines, enacted a STEAM team model that integrated Language Arts into STEM. These STEAM team teachers were systematically studied during field observations of 100+ class sessions using what they referred to as transdisciplinary co-teaching, flexible scheduling, and multiple types of physical spaces to further engage students. Different dimensions of co-teaching were observed. The most frequently observed was reconstructed, followed by predisciplinary, correlated, and shared. Types of instruction other than reconstructed, did not fit the school’s proposed definitions of transdisciplinary co-teaching. Thoughts are shared on lessons learned.

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Katayama Omura, Roberto Juan, and Donicia Lizbeth Pedrosa Velasco. "¿Qué es eso llamado “Arte”?" Aula y Ciencia 7, no. 11 (November 19, 2016): 99–110. http://dx.doi.org/10.31381/aula_ciencia.v7i11.170.

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El presente artículo es un estudio transdisciplinario que partiendo de las reflexiones de Heidegger y Wittgenstein acerca de la naturaleza de la obra de arte y la Estética como disciplina filosófica, así como de las tesis de Nietzsche sobre el carácter metafórico de la verdad, busca determinar la que sería la naturaleza del arte. Para ello se recurre al instrumental de la filosofía del lenguaje contemporánea y la hermenéutica filosófica así como a las neurociencias, la semiótica, la historia del arte y la sociología de la comunicación.

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Kaplan, Daniel, and Gary Glazner. "Poetry Brings Out the Best in Us: Structured Poetry-Based Group Activity in Long-Term Care." Innovation in Aging 4, Supplement_1 (December 1, 2020): 692. http://dx.doi.org/10.1093/geroni/igaa057.2423.

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Abstract The Alzheimer’s Poetry Project has a proven track record at over 500 facilities in 35 states and six countries, serving over 50,000 people worldwide, and has the ability to bring high-quality creative arts programming to people living with dementia in long-term care. We describe how volunteers and recreation and care staff can be trained to deliver the intervention, offering direct benefits for participants and indirect benefits when modeled in the presence of providers and family members. Basic validation techniques are easily learned and incorporated into diverse dementia care strategies. As activity programs based in creative arts help to support self-expression among participants and serve as a vehicle for generating feelings of self-efficacy, we explain how such activities are well suited to fostering the person-centered goals of dementia care programming. Clinicians and other transdisciplinary care providers are encouraged to use and teach validation-focused arts interventions with persons living with dementia.

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Roncaglia, Irina. "THE ROLE OF THE PERFORMING ARTS IN IMPROVING AND MAINTAINING OUR WELL-BEING DURING & POST-COVID PANDEMIC." Psychological Thought 14, no. 1 (April 30, 2021): 1–8. http://dx.doi.org/10.37708/psyct.v14i1.606.

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This editorial presents some key domains with explorations of the benefits of the Performing Arts and how these can be practically applied globally across our current COVID pandemic landscape and beyond. More than ever before there is a need to acknowledge that, despite complex logistics and ethical and economic issues in delivering effective performing arts programs for health and well-being, its evidence-based benefits cover a range of disciplines, from psychology to anthropology, sociology to medicine making the approaches transdisciplinary, and enriching end-users lives throughout, but not exclusively, in their coproduction. Performing arts programs may also offer the way for alternative solutions and pathways where conventional approaches may have reached the end of the road and helping to embed biopsychosocial models of wellbeing promotion through social prescribing. The COVID pandemic has offered the opportunity to revisit how we look at prevention, promotion, management, and treatment of ill-health in unprecedented adversity. This editorial hopes to start this important conversation.

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Heredia, Carlos. "Talō Arte Contemporáneo." Index, revista de arte contemporáneo, no. 11 (May 31, 2021): 197–206. http://dx.doi.org/10.26807/cav.vi11.428.

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Talō, en la ciudad de Cuenca, es un espacio que se enfoca en la promoción, difusión y divulgación de la producción cultural contemporánea ecuatoriana, que, en su amplia gama, se centra concretamente en áreas específicas de las artes, en dos espacios físicos conjuntos; por un lado, el espacio expositivo se encuentra destinado a eventos orientados a las Artes Visuales, a las vinculadas a las Artes Escénicas, Dramáticas y Sonoras, pretendiendo siempre un enfoque hacia lo transdisciplinario; en tanto que, de otro lado, en nuestro segundo espacio, denominado Antesala, es el espacio expositivo a manera de trastienda, se lo ha destinado a las artes literarias, poesía y experimentales así como a productos editoriales. El trabajo de Talō se encuentra dirigido tanto a la comercialización como a la promoción e impulso de los diversos productos culturales.

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Cerrón Rojas, Waldemar José. "Concienciarte en la comproducción lectora virtual." Horizonte de la Ciencia 5, no. 9 (December 16, 2015): 201. http://dx.doi.org/10.26490/uncp.horizonteciencia.2015.9.175.

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<p style="text-align: justify;">Se propone la interacción de conciencia, ciencia y arte en la comproducción lectora virtual. Formas de conocer la visualización, simulación, realitivización de conocimientos transdisciplinarios. Sensibilización necesaria para superar limitaciones históricas.</p>

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Silva, Carla Regina, Isadora Cardinalli, Marina Sanches Silvestrini, Ana Carolina Silva Almeida Prado, Jaime Daniel Leite Junior, Leticia Ambrosio, and Paula Marcondes Schmidt-Hebbel. ""Agora eu também tenho uma luta, assim como vocês" / “Now I have a struggle, just like you”." Revista Interinstitucional Brasileira de Terapia Ocupacional - REVISBRATO 1, no. 3 (July 31, 2017): 260–68. http://dx.doi.org/10.47222/2526-3544.rbto8185.

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Esta criação foi inspirada no Programa de Extensão Direitos Humanos para a Diversidade: construindo espaços de arte, cultura e educação que implementou espaços integrados de educação, arte e cultura em serviços públicos da saúde e da assistência social, com populações marcadas por estigmas sociais. Através de ações voltadas para a defesa dos direitos humanos, buscou-se promover formação e experimentações sensibilizadoras pelo contato com recursos artísticos e culturais. A equipe transdisciplinar pode aperfeiçoar suas ações a partir da opção teórico metodológica da arte engajada em prol do reconhecimento das potencialidades dos participantes, produzindo ações com foco no respeito, empoderamento, cidadania ativa e autonomia. Como resultados obtivemos maior apropriação e criticidade acerca de temáticas dos direitos humanos, sua diversidade e a produção de deslocamentos sensíveis. Os processos criativos que compõem este trabalho foram gestados por membros da equipe ativos no processo, a partir dessa experiência formadora e transformadora. This creation was inspired by the Extension Program “Human Rights for Diversity: building spaces for art, culture and education”, which implemented integrated areas of education, art and culture in public services of health and social assistance, with populations marked by social stigmas. Through actions for the defense of human rights, the project sought to promote training and to sensibilize experiments by contact with artistic and cultural resources. The transdisciplinary team can improve its actions, from the theoretical and methodological option of the art engaged in favor of the recognition of the potentialities of the participants, producing respect, empowerment, active citizenship and autonomy. As results, it was obtained greater ownership and criticality on human rights, its diversity and production of sensitive actions. The creative processes that make up this work were developed by team members active in the process, from this formative and transformative experience.Key words: Art, Culture, Rights human, Formative, Transdisciplinarity Esta creación fue inspirada en el Programa de Extensión “Derechos Humanos de la Diversidad: construyendo espacios de arte, cultura y educación” que implementó espacios integrados de educación, arte y cultura en servicios públicos de salud y asistencia social, con poblaciones estigmatizadas socialmente. A través de las acciones enfocadas en la defensa de los derechos humanos, se buscó promover la formación y los experimentos de sensibilización, usando recursos artísticos y culturales. El equipo transdisciplinar puede refinar sus acciones a partir de la opción teórico metodológica del arte comprometida en favor del reconocimiento de las potencialidades de los participantes, generando respeto, empoderamiento, ciudadanía activa y autonomía. Como resultados obtuvimos mayor apropiación y criticidad de los derechos humanos, la diversidad y la producción de acciones sensibles. Los procesos creativos que componen este trabajo fueron gestados por miembros del equipo activos en el proceso, a partir de esa experiencia formadora y transformadora.Palabras claves: Arte, Cultura, Derechos humanos, Formación, Transdisciplinariedad

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Frayssinhes, Jean. "Mathetics: transdisciplinary concept of learning in digital networks." Lifelong education: the XXI century 13, no. 1 (March 2016): 118–41. http://dx.doi.org/10.15393/j5.art.2016.3074.

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Olynyk, Patricia. "Creature Comforts and the Ties that Bind." Public 31, no. 59 (June 1, 2019): 14–25. http://dx.doi.org/10.1386/public.31.59.14_7.

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This essay is a meditation on the ways in which the scientific community and the arts community alike are feeling their way through the transdisciplinary subject of interspecies communication and how, in the absence of a single systematic program, both art and science can provide their own platforms to challenge how humans habitually think about communicating with animals.Creature Comforts begins with an exploration oflaboratory animals and their relationshipswith their handlers, and ends with a probing look at the use and inclusion of lab animals in contemporary art.

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