Bibliographies thématiques / Transdisciplinarity and Arts

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Littérature scientifique sur le sujet « Transdisciplinarity and Arts »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 7 février 2022

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Articles de revues sur le sujet "Transdisciplinarity and Arts"

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Șerbănescu, Monica Valentina, et 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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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 (10 août 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 et Pallawi Sinha. « Transdisciplinarity : letting arts and science teach together ». Curriculum Perspectives 41, no 1 (avril 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 (avril 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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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 (1 janvier 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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Cameron, Fiona, et Sarah Mengler. « Complexity, Transdisciplinarity and Museum Collections Documentation ». Journal of Material Culture 14, no 2 (27 mai 2009) : 189–218. http://dx.doi.org/10.1177/1359183509103061.

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

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Lapointe, François-Joseph. « Hybrids Are Hubs : Transdisciplinarity, the Two Cultures and the Special Status of Artscientists ». Leonardo 47, no 3 (juin 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 (janvier 2006) : 221–32. http://dx.doi.org/10.1080/18186870608529718.

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Thèses sur le sujet "Transdisciplinarity and Arts"

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Cachao, Rita. « An ontology of space : methodological recursiveness and the diagram ». Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3411.

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Current debates on space reveal a dichotomy between two apparently conflicting understandings of space: on the one hand, space is understood as a physical, tangible entity that has an impact on how we perceive, feel and emotionally inhabit the world, and on the other hand, space is conceived as an abstract entity, suggesting that space has no active role (a productivity) within everyday life, being solely a conceptual product of intellectual reasoning. As a result, the commonly used word: ‘space’, will be discussed as an ontologically paradoxical, ambiguous and elusive concept; a concept that cannot be captured within a single definition. This thesis consequently researches the ontology of space by informing a framework that embraces the complexity of space as an ambiguous and unrepresentable entity. It aims to reconcile the multiple understandings of space, liberating it from the binary thinking that opposes the abstract to the physical, disclosing its potential productivity. This thesis thus proposes a methodology departing from a transdisciplinary approach that addresses the variability, multiplicity, paradoxicality and ambiguity of space through a ‘bastard’ epistemology that defies binary logic by considering what falls out of order and norm. To research an ontology through a bastard epistemology is to work outside of (but in combination with) the intelligible and sensible realms, through a framework that is non-representational, but instead enactive and performative, driven by experience, affect and aesthetics; thus allowing access to an entity that is both ambiguous and also unrepresentable. In doing so, this thesis argues that space is diversely implicated in the constitution of research methodologies through its interactions with order and structures, as well as agential in the constitution of understandings of human interactions with the world; and therefore, it will be argued, space has methodological purchase. The consequence of this methodological purchase is that space can reveal itself if a research strategy is implemented that works through the multiple dimensions of space. Within this context the diagram will be introduced as a productive path because enables a bastard epistemology to work through the multiplicity of space, since the diagram, is a performed, materialised outcome of multiple experiences of the making of order through the interaction between physical and conceptual dimensions. In synthesis, the diagram is used to recursively research an ontology of space, showing the main contribution of this thesis: of how without negating its complexity and multiplicity, space can be useful, constructive and productive within contemporary contexts of research methodologies.
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Abderhalden, Cortés Rolf. « Mapamundi : Plurivers poïétique : (Mapa Teatro 1984-2014) ». Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080019/document.

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Mapamundi (du latin mappa mundi, « carte du monde », représentation de toute la superficie de la planète.)La Mapamundi, que je présente dans le cadre de cette thèse doctorale, est un essai de configuration poétique de l’étendue du « plurivers » artistique de Mapa Teatro pendant ses trente ans d’existence (1984-2014). Elle est imprimée sur papier et en même temps sur ma peau, inscrite dans la mémoire du corps. Trace physique d’une histoire, marque géographique d’un affect : à la fois pensée du corps et corps d’une pensée.Les cartes qui représentent la superficie de la Terre utilisent une « projection », une manière de traduire la superficie réelle tridimensionnelle d’un géoïde en un dessin bidimensionnel. Une Mapamundi « projetée » en une forme sensible, réflexive, pluriaxiale, qui se distinguerait d’un type d’analyse taxonomique purement « extérieur », mais aussi de tout catalogue intimiste, exclusivement « intérieur », et même de toute archive supposée intégrale, tel est le défi que je tenterai à présent dans la forme Atlas, « projection » conceptuelle et affective, théorique et poétique, de la Mapamundi de Mapa Teatro.L’Atlas est une forme visuelle du savoir, une forme savante du voir (Didi-Huberman).Une cartographie autant chronographique que chronogénétique, parce qu’elle trace un devenir, parce qu’elle ouvre des possibles. La carte (un espace, un dispositif), le témoin (un point de vue, une subjectivité) et le triptyque (un temps, un événement) constituent les trois axes de projection et d’analyse réflexive choisis pour la configuration de cet Atlas : carte (chapitre I), témoin (chapitre II) et triptyque (chapitre III) réunissent et problématisent un ensemble de figures qui traversent la cartographie poïétique de Mapa Teatro depuis sa création jusqu’à ce jour. Une forme de pensée-montage
Mapamundi (from latin mappa mundi, « world’s map» a representation (a map) of the entire surface of the planet). The Mapamundi, that I here present, under the frame of this doctoral research, is an attempt to draw a poetical configuration of Mapa Teatro’s artistic «plurivers», built up during its thirty years of existence (1984-2014). It is printed on paper, and at the same time on my skin, engraved in my body’s memory. Physical trace of a history, geographical affectionate token: both the thinking of a body and a body of thought. Maps that represent the surface of the earth make use of a « projection », as a way of translating the real three-dimensional surface of a geoids into a two-dimensional basin. This is a «projected» Mapamundi in a sensible, reflective, pluriaxial form, that distinguishes itself not only from a taxonomic analysis, but also from any type of intimate catalogue, exclusively interior, or of any kind of a presumably overall archive. This is the challenge that I have risked in this Atlas form, a conceptual and affective « projection », both theoretical and poetic, of Mapa Teatro’s Mapamundi. An Atlas is a visual form of knowledge, a savant form of seeing (Didi-Huberman).A cartography in as much as it is both chronographic and chronogenetic, because it draws a becoming, because it opens to the possibles. The map (a space, a device), the witness ( a point of view, a subjectivity ) and the triptych ( a time, an event ) have been the three axis of projection and of reflective analysis chosen to shape this Atlas. Map (Chapter I), Witness (Chapter II) and Tryptique (Chapter III) gather and problematize a group of figures that traverse Mapa Teatro’s since its creation to our days. A form of montage-thought
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Trey, Flavie. « "Homo Fugiens" via les arts de la fugue : trajectoires du sujet, espaces de fugue. Vers une théorie musicale du sujet ». Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31522.

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L’hypothèse d’une théorie musicale du sujet postule que l’on peut éclairer certaines problématiques de l’existence humaine à la lumière de la fugue musicale, et inversement. A partir du sens technique et musical du «sujet» de fugue, nous opérons dans la première partie une relecture (étymologique, sémantique et historique) de la fugue et du fait musical en lien avec l’émergence de la conscience européenne moderne, au tournant du 16ème siècle. En retour, les enjeux culturels, psychologiques et sociaux de la fugue s’éclairent grâce à l’injonction éthique de faire de sa vie une œuvre d’art – une fugue, dans la vie comme dans l’art. Cette hypothèse, énoncée au terme de la première partie, est explorée dans la troisième partie. La deuxième partie est consacrée à une esthétique comparée des arts de la fugue visant à faire apparaître la transversalité des enjeux et des principes de cette forme particulière. La prégnance de ces manifestations artistiques renforce l’hypothèse selon laquelle la subjectivité de fugue peut fonctionner comme un modèle de compréhension du sujet humain. La troisième partie s’ouvre sur une analyse de la psychopathologie de fugue. Ainsi la description de l’Homo Fugiens, figure anthropologique de l’homme en fugue, s’adosse in fine à une axiologie du sujet : le sujet humain, aux sens psychologique, social et éthique, évolue entre le sens positif (esthétique) de la fugue (œuvre d’un sujet absolu, créateur, en quête de lui-même) et le sens passif (voire pathologique) de la fuite (appauvrissement du sujet, qui peut aller jusqu’à la perte). The hypothesis of a musical theory of the subject postulates that the musical fugue partly explains human existence, and conversely. Considering the technical and musical significations of the fugue «subject», in the first part we reassess the musical fugue (through etymology, semantics and history) in its relation to the emergence of modern consciousness in Europe, at the turn of the sixteenth century. On the other hand, what is at stake with the cultural, psychological and social aspects of the fugue can be explained through the ethical injunction of making your life a work of art – a fugue, in life, as in art. This hypothesis emerges at the end of the first part and is directly addressed in the third part. The second part is dedicated to a comparative aesthetics of the arts of the fugue aimed at underlining the transversality of the principles specific to this artform. The omnipresent manifestations of the fugue in art reinforce the idea that the subjectivity of / in the fugue can operate as a model of understanding of the human subject. The third part develops from an analysis of the psychopathology of fugue. Accordingly, we show that the description of the Homo Fugiens (the anthropological figure of « man in (the) fugue ») rests on an axiology of the subject : the human subject, psychological, social and ethical, evolves between the positive (aesthetic) meaning of the fugue (the human subject, absolute, in quest of himself, creating his life) and the passive meaning of fugue-as-flight (ranking from the impoverishment to the loss of the subject, which is the pathology of the fugue).
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Nunes, Sandra Conceição. « Inter-relações entre linguagens no ensino de arte ». Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/779.

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This research aims at investigating the possibilities of an interrelation between different approaches in Arts education, particularly between Drama, Visual Arts and Music. Although the Brazilian curricular Parameters emphasize the importance of students having access to distinct artistic approaches, only few schools actually have teachers of different Art subjects; and even when that is the case, the interrelations are hardly established. This is a theoretical study that analyzes epistemological and methodological aspects and the results of three stages of the Transdisciplinaridade e intersemioses no ensino de Arte ( Transdisciplinarity and Intersemiosis in Arts Education ) research, the TRANSARTE Project: experiences with the same goals, performed in different institutions and periods of time. Participating in the second stage of this Project, TRANSARTE II, and experiencing as a teacher the amazing results were determining aspects for carrying out this research. The possibility of joining distinct kinds of knowledge enabled the search for theoretical foundations related to interdisciplinarity and transdisciplinarity, as well as Discursive Semiotics. It was possible to observe that the students were able to interrelate approaches when provided with proper conditions to do so. It was likewise verified that the teacher is the main actor in this process, for their actions are decisive in forming a study group as well as in the actual classes, as the interrelating approaches at school mean group work, along with at least one teacher of each area. According to the data analysis of the three stages of the Project, it is pertinent to suggest it as an alternative to Arts education in City schools in Florianópolis, including the school where the TRANSARTE II Project took place
Esta pesquisa tem por objetivo verificar possibilidades de inter-relação entre diferentes linguagens no ensino de Arte, mais especificamente, entre Artes Cênicas, Artes Visuais e Música. Embora os Parâmetros Curriculares Nacionais destaquem a importância de o estudante ter acesso a diferentes linguagens artísticas, na prática são poucas as escolas que têm professores das distintas áreas da Arte; e mesmo que isto se dá, dificilmente as inter-relações são estabelecidas. Trata-se de uma pesquisa teórica, que analisa aspectos epistemológicos, metodológicos e os resultados de três etapas da pesquisa Transdisciplinaridade e intersemioses no ensino de Arte , o Projeto TRANSARTE: experiências com os mesmos propósitos, realizadas em instituições e tempos distintos. Ter participado da segunda etapa do Projeto, o TRANSARTE II, e vivenciado, como professora, seus surpreendentes resultados foram determinantes para a realização desta investigação. Diante das possibilidades de aproximação de saberes, foram buscadas bases teóricas voltadas à inter e à transdisciplinaridade, bem como à Semiótica Discursiva. Constatou-se que os estudantes conseguem inter-relacionar linguagens quando lhes são dadas condições para tal. Igualmente, percebeu-se que o professor é o principal ator no processo, pois suas ações são decisivas, tanto na constituição do grupo de estudo, como nas aulas propriamente ditas, pois inter-relacionar linguagens na escola significa trabalho coletivo, com ao menos um professor de cada linguagem. A partir da análise dos dados das três etapas do Projeto, entende-se como pertinente sugeri-lo como alternativa para o ensino de Arte na Rede Municipal de Florianópolis, à qual pertence a escola onde se desenvolveu o TRANSARTE II
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Caissy, Sandra. « La Suicidée : quand la transdisciplinarité devient un récit tragique ». Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25416.

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Tableau d'honneur de la Faculté des études supérieures et postdorales, 2014-2015
La Suicidée est un projet d'exposition transdisciplinaire en arts visuels conçu à partir d'installations multi-, pluri- et inter-disciplinaires cherchant à générer du sens et de la signification par la mise en espace d'un récit tragique mettant en scène ma propre image au cœur de la représentation de l'idée de mort volontaire. Ces installations sont disposées dans un ordre logique de séquences de façon à suggérer qu'il existe des étapes dans le processus menant à l'idée de mort volontaire. En cherchant à tendre vers une meilleure compréhension du phénomène du suicide, je choisis d'utiliser comme matière première mon propre vécu avec la mise en place d'une multiplicité de points de vue. C'est dans un contexte d'auto-observation de mes propres pensées et de mes états d'âme douloureux causés par des symptômes dus à un syndrome de stress post-traumatique polytraumatique que j'ai utilisé l'art comme lieu d'amplification de la réalité pour la transformer en une histoire tragique inventée. C'est alors par le dessin, l'écriture, la vidéo, le son, la peinture, la sculpture, la photographie et la danse que je choisis de mettre en relation le désir de mort et le désir de vie. Ces autoportraits seront jumelés à la lenteur, à l'aspect fantomatique, à la beauté de la nature, à la violence des mots et aux sonorités dramatiques pour imager la détérioration de l'âme.
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Burrows, James. « Rhizo-Memetic art : the production & ; curation of transdisciplinary performance ». Thesis, Edge Hill University, 2017. http://repository.edgehill.ac.uk/10044/.

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Contemporary discourse in the field of Memetics offers potential new insights upon the ways and means of producing and curating contemporary Performance beyond the limits of discipline specific Performance taxonomies. Alongside the rise of Internet Culture and the rapid adoption of social media, it is argued that contemporary artistic practice is becoming ‘more fluid, elastic, and dispersed’ (Cornell, 2014: online). Given this circumstance, the researcher acknowledges that notions of disciplinarity, performative agency and materiality remain in a state of flux and in need of reconsideration. Utilising a Practice-as-Research (PaR) framework, and based upon the above context, the researcher initiated an innovative three-phase methodological approach focused on the application of insights drawn from the concept of the ‘Meme’ (Dawkins, 1974) alongside a primarily Deleuze & Guattarian philosophy upon methods of artistic production, and the curation of transdisciplinary performance. The resulting praxis: ‘Rhizo-Memetic Art’ produced three major artworks including the hypertextual assemblage - Corpus 1 (2012-13), produced collaboratively online with users of Twitter and Facebook; the Florilegium: Exhibition (3rd -24th November, 2014): produced and curated alongside an invited group of contributing artists; and Florilegium: Remix (24th April 2015): an intermedial Live Art lecture. Each of these elements plugs into the following exegetic writing, and alongside the documentation of its artefacts (available on the project website), these elements produce the thesis. The outcomes of this PaR are twofold. The first outcome is a new theoretical understanding of the mechanisms of interdisciplinary creative practice emerging out of the synthesis of meme and rhizome. This outcome can be further developed to reveal insights relevant to the production of transdisciplinary performance and archival/curatorial discourses. The second outcome can be identified as the Rhizo-Memetic Artwork itself, or, rather the multiple creative artefacts and actions that combine to produce its assemblage. The implications of this research suggest that the functioning of Rhizo-Memetic Art raises permanent questions about the status of Performance in terms of its materiality and efficacy outside of the limitations of disciplinarity.
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Kagan, Sacha Jerome [Verfasser]. « Exploring artful possibilities : a transdisciplinary research on culture, arts and sustainability / Sacha Jerome Kagan ». Lüneburg : Leuphana Universität Lüneburg, 2021. http://nbn-resolving.de/urn:nbn:de:gbv:luen4-opus4-11737.

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Ballengée, Brandon. « Ecological understanding through transdisciplinary art and participatory biology ». Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3254.

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In this study evidence is presented that suggests transdisciplinary art practices and participatory biology programs may successfully increase public understanding of ecological phenomenon. As today’s environmental issues are often complex and large-scale, finding effective strategies that encourage public awareness and stewardship are paramount for long-term conservation of species and ecosystems. Although artists and biologists tend to stay confined to their professional boundaries, and their discourses largely remain inaccessible to larger audiences, arguments here are presented for a combined approach, which may disseminate knowledge about ecology to non-specialists through novel art-science participatory research and exhibitions. Moreover, historically several scientists utilized varied creative art forms to disseminate scientific insights to a larger populace of non-specialists, such strategies as engaging writings and visually provocative artworks may still be effective to captivate contemporary audiences. In addition such historic hybrid science-art practitioners may have laid a conceptual terrain for some of today’s transdisciplinary art and citizen science practices. Furthermore, seminal ecological artworks from the 20th Century by Joseph Beuys, Patricia Johanson and Hans Haacke utilized novel strategies to reach audiences with a message of wetland conservation, blurring boundaries between art, ecology and activism. More recently artists like Cornelia Hesse-Honegger, Helen and Newton Harrison and others have integrated biological research into their art practices, which resulted in new scientific discoveries. Through my own transdisciplinary artwork about frogs, data suggests that the visual strategies I employ were effective to increase non-specialist understanding of the ecological phenomenon of amphibian declines and deformations. In addition through my participatory biology programs, Public Bio-Art Laboratories and Eco-Actions, evidence suggests that non-specialists achieved an increased awareness of the challenges amphibians and ecosystems currently face. Likewise, that through such participatory citizen science research new scientific insights about the proximate causes for deformities in anuran amphibians at select localities in middle England and Quebec were achieved. Here laboratory and field evidence, generated with the aid of public volunteers, found that non-lethal predatory injury to tadpoles from odonate nymphs and some fishes resulted in permanent limb deformities in post-metamorphic anurans. From an environmental-education and larger conservation standpoint, these findings are very relevant as they offer novel strategies for experientially engaging non-specialist audiences while generating important insights into biological communities and wetland ecosystems.
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Costa, Wanderson Moura. « Cantar : um desafio complexo e transdisciplinar ». Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8113.

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The study of singing, for a long time, has been compartmentalized in several areas of knowledge. Since voice is a complex phenomenon, an approach that prioritizes the phenomena complexity becomes necessary. This work, through a bibliographical review, discusses the inherent complexity of singing, from the point of view of transdisciplinarity, proposed by Barasab Nicolescu, and Edgar Morin's Theory of Complexity. The aim of this study was to study the singing voice in a complex and transdisciplinary way. Based on the methodological assumptions of transdisciplinarity - level of reality, principle of the third included term and theory of complexity - we attempted to establish correlations between transcomplex theory and its effective contribution to the pedagogical practices of singing teachers. Despite the complexity of the singing voice, it was evident that the mere awareness of singing as a complex phenomenon is not sufficient for a resignification of teaching practices. Such a resignification will only occur if the teacher proposes to adopt a new posture in his teaching practice, a position that is followed by a transdisciplinary attitude.
O estudo do canto, por muito tempo, esteve compartimentado em diversas áreas do conhecimento. Uma vez que a voz é um fenômeno complexo, uma abordagem que priorize a complexidade dos fenômenos se faz necessária. Este trabalho, mediante uma revisão bibliográfica, discute a complexidade inerente ao canto, sob a ótica da transdisciplinaridade, proposta por Barasab Nicolescu, e da Teoria da Complexidade, de Edgar Morin. Objetivou-se realizar um estudo sobre a voz cantada de maneira complexa e transdisciplinar. Baseado nos pressupostos metodológicos da transdisciplinaridade - nível de realidade, princípio do terceiro termo incluso e teoria da complexidade - buscou-se estabelecer correlações entre a teoria transcomplexa e sua efetiva contribuição às práticas pedagógicas dos professores de canto. Apesar da constatação da complexidade inerente à voz cantada, evidenciou-se o fato de que a mera conscientização do canto como um fenômeno complexo não é suficiente para que uma ressignificação das práticas docentes aconteça. Tal ressignificação somente ocorrerá caso o professor se proponha a adotar uma nova postura em sua prática docente, postura essa que perpasse por uma atitude transdisciplinar.
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Schiffler, Andreas. « New game physics : added value for transdisciplinary teams ». Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/923.

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This study focused on game physics, an area of computer game design where physics is applied in interactive computer software. The purpose of the research was a fresh analysis of game physics in order to prove that its current usage is limited and requires advancement. The investigations presented in this dissertation establish constructive principles to advance game physics design. The main premise was that transdisciplinary approaches provide significant value. The resulting designs reflected combined goals of game developers, artists and physicists and provide novel ways to incorporate physics into games. The applicability and user impact of such new game physics across several target audiences was thoroughly examined. In order to explore the transdisciplinary nature of the premise, valid evidence was gathered using a broad range of theoretical and practical methodologies. The research established a clear definition of game physics within the context of historical, technological, practical, scientific, and artistic considerations. Game analysis, literature reviews and seminal surveys of game players, game developers and scientists were conducted. A heuristic categorization of game types was defined to create an extensive database of computer games and carry out a statistical analysis of game physics usage. Results were then combined to define core principles for the design of unconventional new game physics elements. Software implementations of several elements were developed to examine the practical feasibility of the proposed principles. This research prototype was exposed to practitioners (artists, game developers and scientists) in field studies, documented on video and subsequently analyzed to evaluate the effectiveness of the elements on the audiences. The findings from this research demonstrated that standard game physics is a common but limited design element in computer games. It was discovered that the entertainment driven design goals of game developers interfere with the needs of educators and scientists. Game reviews exemplified the exaggerated and incorrect physics present in many commercial computer games. This “pseudo physics” was shown to have potentially undesired effects on game players. Art reviews also indicated that game physics technology remains largely inaccessible to artists. The principal conclusion drawn from this study was that the proposed new game physics advances game design and creates value by expanding the choices available to game developers and designers, enabling artists to create more scientifically robust artworks, and encouraging scientists to consider games as a viable tool for education and research. The practical portion generated tangible evidence that the isolated “silos” of engineering, art and science can be bridged when game physics is designed in a transdisciplinary way. This dissertation recommends that scientific and artistic perspectives should always be considered when game physics is used in computer-based media, because significant value for a broad range of practitioners in succinctly different fields can be achieved. The study has thereby established a state of the art research into game physics, which not only offers other researchers constructive principles for future investigations, but also provides much-needed new material to address the observed discrepancies in game theory and digital media design.
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Livres sur le sujet "Transdisciplinarity and Arts"

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Diálogos transdisciplinarios : III : arte, literatura y sociedad. México, D.F : Editorial Fontamara, 2013.

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Diálogos transdisciplinarios : II : arte, literatura y sociedad. México, D.F : Editorial Fontamara, 2011.

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Núñez, Verónica Livier Díaz, et Hugo Gil Flores. Visiones transdisciplinarias de ámbitos creativos : Arquitectura, arte y ciudad. Guadalajara, Jalisco : Universidad de Guadalajara, Centro Universitario de Arte, Arquitectura y Diseño, 2012.

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Psychoanalysis and the image : Transdisciplinary perspectives on subjectivity, sexual difference, and aesthetics. Malden, MA : Blackwell Pub., 2006.

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Verloo, Nanke, et Luca Bertolini, dir. Seeing the City. NL Amsterdam : Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728942.

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The city is a complex object. Some researchers look at its shape, others at its people, animals, ecology, policy, infrastructures, buildings, history, art, or technical networks. Some researchers analyse processes of in- or exclusion, gentrification, or social mobility; others biological evolution, traffic flows, or spatial development. Many combine these topics or add still more topics beyond this list. Some projects cross the boundaries of research and practice and engage in action research, while others pursue knowledge for the sake of curiosity. This volume embraces this variety of perspectives and provides an essential collection of methodologies for studying the city from multiple, interdisciplinary, and transdisciplinary perspectives. We start by recognizing that the complexity of the urban environment cannot be understood from a single vantage point. We therefore offer multiple methodologies in order to gather and analyse data about the city, and provide ways to connect and integrate these approaches. The contributors form a talented network of urban scholars and practitioners at the forefront of their fields. They offer hands-on methodological techniques and skills for data collection and analysis. Furthermore, they reveal honest and insightful reflections from behind the scenes. All methodologies are illustrated with examples drawn from the authors own research applying them in the city of Amsterdam. In this way, the volume also offers a rich collection of Amsterdam-based research and outcomes that may inform local urban practitioners and policy makers. Altogether, the volume offers indispensable tools for and aims to educate a new generation of interdisciplinary and transdisciplinary-minded urban scholars and practitioners.
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E, Klimburg-Salter Deborah, Tropper Kurt, Jahoda Christian et Ramble Charles, dir. Text, image and song in transdisciplinary dialogue : PIATS 2003 : Tibetan studies : proceedings of the tenth seminar of the International Association for Tibetan Studies, Oxford, 2003. Leiden : Brill, 2007.

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The Transdisciplinary Studio. Sternberg Press, 2012.

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Art/Design : Transdisciplinary Studies. Jovis Verlag GmbH, 2014.

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Augsburg, Tanya. Interdisciplinary Arts. Sous la direction de Robert Frodeman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198733522.013.12.

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This chapter offers a brief and necessarily incomplete overview of what has been written on the interdisciplinary arts within academic scholarship on the creative arts. The author identifies five major integrative aspects highlighted in the existing literature on the interdisciplinary arts: (1) the Wagnerian Gestamtkunstwerk, i.e., the `total work of art;’ (2) the legacy of the historical avant-garde, with its focus on radical juxtaposition; (3) the continuation of post WWII arts experimentation in between and among multiple art mediums simultaneously with Happenings, intermedia and multimedia; (4) the intersections between art, science, and/or technology; and (5) interdisciplinary arts as its own emergent subject of inquiry, practice, and research. The chapter additionally includes a brief overview of the transdisciplinary arts. It concludes with the observation that considerations of current developments in interdisciplinary arts will serve to advance the understanding of interdisciplinarity in general.
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Pollock, Griselda. Psychoanalysis and the Image : Transdisciplinary Perspectives. Wiley & Sons, Incorporated, John, 2008.

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Chapitres de livres sur le sujet "Transdisciplinarity and Arts"

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Bayley, Annouchka. « Deterritorialisation, Diffraction and Transdisciplinarity : Investigating Arts-Based Approaches for Complex Pedagogies ». Dans Posthuman Pedagogies in Practice, 51–89. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70978-9_3.

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Leimbach, Tania, et Keith Armstrong. « Creative Partnerships and Cultural Organisations : “Enabling” and “Situating” Arts–Science Collaboration and Collective Learning ». Dans Transdisciplinary Theory, Practice and Education, 241–56. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93743-4_16.

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Tavin, Kevin, Juuso Tervo et Teija Löytönen. « Developing a Transdisciplinary University in Finland Through Arts-Based Practices ». Dans Arts-based Methods and Organizational Learning, 241–63. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63808-9_11.

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Mastria, Serena, Sergio Agnoli, Marco Zanon, Todd Lubart et Giovanni Emanuele Corazza. « Creative Brain, Creative Mind, Creative Person ». Dans Exploring Transdisciplinarity in Art and Sciences, 3–29. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_1.

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de Abreu, Pedro Marques, Jorge Tavares Ribeiro, Patrícia Esteves et Zoï Kapoula. « Gesture : A Transsubjective Tool to Understand a Work of Architecture ». Dans Exploring Transdisciplinarity in Art and Sciences, 177–97. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_10.

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Cerclet, Denis. « Out of Perspective ». Dans Exploring Transdisciplinarity in Art and Sciences, 199–212. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_11.

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Attwood, Jonathan E., Christopher Kennard, Jim Harris et Chrystalina A. Antoniades. « A Comparison of Change Blindness and the Visual Perception of Museum Artefacts in Real-World and On-Screen Scenarios ». Dans Exploring Transdisciplinarity in Art and Sciences, 213–33. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_12.

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Destexhe, Alain, et Luc Foubert. « Composing Music from Neuronal Activity : The Spikiss Project ». Dans Exploring Transdisciplinarity in Art and Sciences, 237–53. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_13.

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Andreatta, Moreno, Martin Granger, Tom Johnson et Valentin Villenave. « Music, Mathematics and Language : Chronicles from the Oumupo Sandbox ». Dans Exploring Transdisciplinarity in Art and Sciences, 255–74. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_14.

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Bloch, Georges, et Jérôme Nika. « Edith Piaf, Billie Holiday, and Elisabeth Schwarzkopf Making Music Together ». Dans Exploring Transdisciplinarity in Art and Sciences, 275–99. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_15.

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Actes de conférences sur le sujet "Transdisciplinarity and Arts"

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« Transdisciplinary Features of Cognitive Linguistics ». Dans 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.21.

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Zhang, Lihong. « Transdisciplinary Features of Cognitive Semiotics ». Dans 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.266.

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Schiavoni, Flávio Luiz, André Gomes, Avner De Paulo, Carlos De Souza, Fábio Carvalho, Frederico Resende, Gabriel Lopes Rocha et al. « Alice : Arts Lab in Interfaces, Computers, and Everything Else - Research report (2019) ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10439.

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Located in the Computer Science Department of the Federal University of São João del-Rei, but not limited to just this space, ALICE has emerged as a research group focused on the development of software, art and technologies for the area of computer music and digital arts. Over the time, ALICE became the laboratory to develop technologies to an artistic group, called Orchidea, focused on the creation of digital art, encompassing students from diverse areas, such as Computer Science, Scenic Arts, Architecture and Music in a transdisciplinary context of art creation. In this way, this work aims to present the various initiatives and proposals carried out by the ALICE, addressing the development of technological products, through the tools implemented and the external tools used for teaching and for artistic creation. In addition, this work describes the current researches that are under development by the members of the groups, also highlighting the development of the digital performance titled “O Chaos das 5” and all the aspects and learning that we have obtained so far with this performance.
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Pender, Hanna-Liisa, et David Lamas. « The Challenging Front Ends of Accelerated Transdisciplinary Design Processes ». Dans ARTECH 2019 : 9th International Conference on Digital and Interactive Arts. New York, NY, USA : ACM, 2019. http://dx.doi.org/10.1145/3359852.3359886.

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Stadon, Julian. « Towards a Transdisciplinary Method : Teaching and research practices in immersive spaces and mixed realities ». Dans Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.50.

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Lee, Hyun-Kyung. « Transdisciplinary Design Education & ; Design Thinking ». Dans 5th International Workshop on Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2016. Global Vision School Publication, 2016. http://dx.doi.org/10.21742/asehl.2016.1.03.

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Echegoyen Sanz, Yolanda, et Antonio Martín Ezpeleta. « A transdisciplinary educational experience at the Botanical Garden around scientific travelers ». Dans Fifth International Conference on Higher Education Advances. Valencia : Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9497.

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In the framework of the transdisciplinary educational innovative project “Sciences and Arts” at the University of Valencia, we present here the design and outcome of an activity around the phenomenon of scientific travelers. It consisted in a scientific-literary tour through the Botanical Garden of the University of Valencia, that 100 students from the subjects “Natural Sciences for teachers” and “Literary training for teachers” attended. The activity was designed as a collaborative work in which scientific travelers served as a pretext to address six educational aspects that the students from each subject tackled in two different ways: from a more scientific than literary approach and viceversa. The students valued very much the possibility of interaction with the other group, the fact that the expositions took place at a natural environment, the integrating of Sciences and Arts and the didactic transposition carried out.
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Mayakova, Anna. « POST-NONCLASSICAL UNDERSTANDING OF THE CATEGORY "QUALITY" IN INNOVATICS : TRANSDISCIPLINARY ASPECT ». Dans 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s09.076.

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Swidnicka, Iwona. « IMPULSES BEHIND THE MUSIC OF NOWOWIEJSKI, PANUFNIK AND KILAR. A TRANSDISCIPLINARY APPROACH ». Dans 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s16.061.

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Mayakova, Anna. « POST-NONCLASSICAL UNDERSTANDING OF THE CATEGORY "QUALITY" IN THE SYSTEM OF PUBLIC PROCUREMENT IN RUSSIA : TRANSDISCIPLINARY ASPECT ». Dans 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s09.077.

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Rapports d'organisations sur le sujet "Transdisciplinarity and Arts"

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Leslie, Catherine Amoroso, et Diane G. Scillia. Northern Renaissance : Art and the Birth of Fashion, a collaborative progression from multidisciplinary through interdisciplinary to transdisciplinary. Ames : Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-367.

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Winkler-Portmann, Simon. Umsetzung einer wirksamen Compliance in globalen Lieferketten am Beispiel der Anforderungen aus der europäischen Chemikalien-Regulierung an die Automobilindustrie. Sonderforschungsgruppe Institutionenanalyse, août 2020. http://dx.doi.org/10.46850/sofia.9783941627796.

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This publication based on a master thesis explores the challenges of the automotive industry regarding the European chemical regulations REACH and CLP, as well as potential improvements of the current compliance activities and the related incentives and barriers. It answers the research question: "To what extent should the compliance activities of actors in the automotive supply chain be extended in order to meet the requirements of European chemicals regulation; and where would it help to strengthen incentives in enforcement and the legal framework?“. The study’s structure is based on the transdisciplinary delta analysis of the Society for Institutional Analysis at the Darmstadt University of Applied Sciences. It compares the target state of the legal requirements and the requirements for corresponding compliance with the actual state of the actual compliance measures of the automotive players and attempts to identify their weak points (the delta). The main sources for the analysis are the legal texts and relevant court decisions as well as guideline-based expert interviews with automotive players based on Gläser & Laudel. As objects of the analysis, there are in addition answers to random enquiries according to Article 33 (2) REACH as well as the recommendations and guidelines of the industry associations. The analysis identifies the transmission of material information in the supply chain as a key problem. The global database system used for this purpose, the IMDS, shows gaps in the framework conditions. This results in compliance risk due to the dynamically developing regulation. In addition, the study identifies an incompliance of the investigated automobile manufacturers with regard to Art. 33 REACH. In answering the research question, the study recommends solutions to the automotive players that extend the current compliance activities. In addition, it offers tables and process flow diagrams, which structure the duties and required compliance measures and may serve as basic audit criteria. The analysis is carried out from an external perspective and looks at the entire industry. It therefore cannot cover all the individual peculiarities of each automotive player. As a result, the identified gaps serve only as indications for possible further compliance risks.
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