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1
Rutten, Kris. "Art, ethnography and practice-led research." Critical Arts 30, no. 3 (May 3, 2016): 295–306. http://dx.doi.org/10.1080/02560046.2016.1205317.
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Candy, L., S. Amitani, and Z. Bilda. "Practice-led strategies for interactive art research." CoDesign 2, no. 4 (December 2006): 209–23. http://dx.doi.org/10.1080/15710880601007994.
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Petelin, George. "Visual Art Doctorates: Practice-Led Research or Research Per Se?" Media International Australia 118, no. 1 (February 2006): 25–33. http://dx.doi.org/10.1177/1329878x0611800105.
Повний текст джерелаАнотація:
As part of a benchmarking project commissioned in 2002 by ACUADS, the Australian Council of University Art and Design Schools, I conducted a series of focus groups with candidates for higher degrees in Visual Art in Australia in order to gain some insight into how the terminology of research was understood and used by visual art higher degree students. The present paper makes use of that data and examines to what extent practice-led research can engage in a general research debate.
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Till, Jeremy, Judith Mottram, and Chris Rust. "Adapting research activity AHRC review of practice-led research." Architectural Research Quarterly 9, no. 2 (June 2005): 103–4. http://dx.doi.org/10.1017/s135913550500014x.
Повний текст джерелаАнотація:
In 2005 the Arts and Humanities Research Council initiated a review of practice-led research in art, design and architecture. The purpose of the review was to develop a ‘comprehensive map of recent and current research activity in the area’. What quickly became obvious to the team that won the bid to run the review (led by the three authors) was that to map activity one first had to attempt to define it. The term ‘practice-led research’ means many different things to different people and so immediately raises debate. The positions range from those who believe that the act of making or designing alone constitutes research, to those who believe that research (as analytical activity) is incommensurable with design (as synthetic activity). For the former, the knowledge contained within the artefact is self-evident and beyond the need for additional explication; for the latter, knowledge resides outside the artefact and in the realm of its dissemination and interpretation. The importance of the AHRC review is not that it will settle these arguments, but that it will provide a much firmer context in which to place them.
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Ananda, Rizky Fauzy, Helena Evelin Limbong, and Hery Budiawan. "Saru Pakareman: Refleksi Pengalaman Diri sebagai Practice-led Research." Resital: Jurnal Seni Pertunjukan 23, no. 2 (August 1, 2022): 75–87. http://dx.doi.org/10.24821/resital.v23i2.7328.
Повний текст джерелаАнотація:
ABSTRACT This research on the art creation of Saru Pakareman's work aims to find the importance of repetition in both musical and extra-musical. This work is a process of creating musical compositions that depart from the reflection of the researcher's self-experience. This art creation research activity is based on musical and extra-musical experiences in the researcher's life that have an influence on the researcher's music writing style or language. These experiences are mostly found by researchers from everyday life from childhood in the realm of family (social) phenomena where the influence of cultural teachings brought by mothers plays a major role in the process of self-introduction and the researcher's musical style. The art creation research methodology used is Practice-led Research artistic research which is also integrated with ethnographic and phenomenological approaches. The stages carried out a) the collection of data on phenomena, minimalist music, repetitions, Sundanese, and drum patterns, b) deepening of art creation: Repetition, Art creation Internship, Laboratory, and Curation. The results of this art creation research are in the form of program music works based on family socio-cultural phenomena and repetitions with simple development, interpretation of laras saléndro padantara into the whole tone scale in Western music, as well as the transition of traditional musical instruments kendang, karawitan degung laras madenda, and karawitan jaipong into the form of a string ensemble presentation. The results of such art creation research prove that the importance of repetition in music as well as in the context of life. Without repetitions in music a piece will not sound musical, while in the context of life repetition is something that always exists in everyday life such as worship activities and life patterns, in the context of education repetition is the easiest and most basic way of learning to learn and recall about understanding something. Reflection on life-experience through Practice-led Research is proven to be an idea of art creation research and is able to bridge the gap between subjectivity and objectivity in scientific writing.ABSTRAK Penelitian penciptaan karya Saru Pakareman ini bertujuan untuk menemukan arti pending repetisi baik dalam musikal maupun ekstra-musikal. Karya ini merupakan proses penciptaan komposisi musik yang berangkat dari refleksi pengalaman diri penulis. Kegiatan penelitian penciptaan ini didasari oleh pengalaman musikal dan ekstra-musikal dalam hidup penulis yang memiliki pengaruh terhadap gaya atau bahasa penulisan musik penulis. Pengalaman pengalaman tersebut sebagian besar didapati penulis dari kehidupan sehari-hari sedari kecil dalam ranah fenomena (sosial) keluarga di mana pengaruh ajaran kebudayaan yang dibawa oleh ibu berperan besar dalam proses pengenalan diri dan gaya musik penulis. Metodologi penelitian penciptaan yang digunakan adalah penelitian artistik Practice-led Research yang juga diintegrasikan dengan pendekatan etnografi dan fenomenologi. Tahapan yang dilakukan: a) Pengumpulan data mengenai fenomena, musik minimalis, repetisi, Sunda, dan pola kendang; b) Pendalaman penciptaan: repetisi, magang penciptaan, laboratorium, dan kurasi. Hasil penelitian penciptaan ini berupa karya musik program yang didasari oleh fenomena sosial budaya keluarga dan repetisi dengan pengembangan sederhana, penginterpretasian laras saléndro padantara ke dalam whole tone scale dalam musik barat, serta peralihan wahana instrumen musik tradisional kendang, karawitan degung laras madenda, dan karawitan jaipong ke dalam bentuk sajian ansambel gesek. Hasil dari penelitian penciptaan tersebut membuktikan bahwa pentingnya repetisi dalam musik maupun dalam konteks kehidupan. Tanpa adanya repetisi dalam musik suatu karya tidak akan terdengar musikal, sedangkan dalam konteks kehidupan repetisi adalah hal yang selalu ada dalam keseharian seperti kegiatan peribadatan maupun pola hidup, dalam konteks Pendidikan repetisi merupakan cara belajar termudah dan paling dasar untuk mempelajari dan mengingat kembali tentang pemahaman sesuatu. Refleksi atas pengalaman diri lewat Practice-led Research terbukti dapat dijadikan sebuah ide penelitian penciptaan dan mampu menjembatani antara subjektifitas dan objektifitas dalam penulisan ilmiah.
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Nimkulrat, Nithikul. "Material inspiration: From practice-led research to craft art education." Craft Research 1, no. 1 (September 2010): 63–84. http://dx.doi.org/10.1386/crre.1.63_1.
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Rendell, Jane. "Architectural research and disciplinarity." Architectural Research Quarterly 8, no. 2 (June 2004): 141–47. http://dx.doi.org/10.1017/s135913550400017x.
Повний текст джерелаАнотація:
There are at present considerable concerns with how architectural research will be assessed in the Research Assessment Exercise (RAE) of 2008. In RAE 2001, most architectural research was submitted to one of three Units of Assessment (UoA): 33 Built Environment, 60 History of Art, Architecture and Design, and 64 Art and Design. There were subtle, but important, differences in output definition and assessment criteria between UoA 33 and UoA 64 with respect to practice-led research. Most importantly, in UoA 33 practice-led outputs were accepted by the panel, but only as publications, whereas UoA 64 assessed practice-led research outputs accompanied by a 300-word statement that clarified the contributions of that particular research to the development of original knowledge in the field. The diversity of methods and complexity of output types, combined with the composition of UoA 33, led to results that many feel did not properly reflect the strengths of architectural design, particularly practice-led research. This methodology essentially disenfranchised a significant part of the community from the rae process to the detriment not only of the community, but to the credibility of the process itself.
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Frederick, Ursula K., and Tracy Ireland. "‘Last Drinks at the Hibernian’: practice-led research into art and archaeology." Australian Archaeology 85, no. 3 (September 2, 2019): 279–94. http://dx.doi.org/10.1080/03122417.2020.1749482.
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Moerdisuroso, Indro, and Zaitun Y. A. Kherid. "Thesis Writing Model of Art Practice." International Journal of Creative and Arts Studies 7, no. 1 (July 27, 2020): 61–76. http://dx.doi.org/10.24821/ijcas.v7i1.4162.
Повний текст джерелаАнотація:
ABSTRACT The result of this study is contributed to improving the academic thinking of art practice students, especially in the writing of the undergraduate thesis. The problem is about a system of academic thinking as reflected in the thesis guidebook. Students' academic thinking in thesis writing is guided by a manual book published by a local institution. The case in this study is the thesis guidebook of art practice in an art study program. In this book has no explicit explanation on method and analysis aspects. Whereas both of these aspects are precisely the essence of academic thinking, that is research-based thinking. This fact encourages a study of thesis writing model of art practice, particularly on methods and analysis aspects. This study implements a Research and Development (R&D) approach and mixed methods. The model will propose Teikmanis' typology of art-related research, such as practice-led research, research-led practice, and artistic research. It also adapted Barrett's structure of art education, which consisted of conceptual, operational and synthesis aspects. The conclusion of the study showed that the participants were able to arrange a thesis based on this model. Model Penulisan Tesis Praktik Seni ABSTRAK Hasil penelitian ini dikontribusikan untuk meningkatkan pemikiran akademik mahasiswa praktik seni, khususnya dalam penulisan skripsi. Masalahnya adalah tentang berpikir akademis sebagaimana tercermin dalam pedoman skripsi. Pemikiran akademis dalam penulisan skripsi dipandu oleh pedoman penulisan yang diterbitkan oleh institusi terkait. Kasus dalam penelitian ini adalah suatu pedoman skripsi praktik seni dalam suatu program studi seni rupa. Dalam buku ini tidak ada penjelasan eksplisit tentang aspek metode dan analisis. Padahal kedua aspek ini justru merupakan inti dari pemikiran akademis, yaitu pemikiran berbasis penelitian. Fakta ini mendorong studi model penulisan skripsi praktik seni, terutama dalam aspek metode dan analisis. Studi ini menerapkan pendekatan Penelitian dan Pengembangan (R&D) dengan metode campuran. Model ini mengusulkan tipologi penelitian seni Teikmanis, seperti practiceled research, research-led practice, dan artistic research. Selain itu juga mengadaptasi struktur pendidikan seni Barrett, yang terdiri dari aspek konseptual, operasional, dan sintesis. Kesimpulan dari penelitian ini menunjukkan bahwa para partisipan dapat menyusun skripsi berdasarkan model ini.
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Lin, Fabia Ling-Yuan. "Using Thematic Analysis to Facilitate Meaning-Making in Practice-Led Art and Design Research." International Journal of Art & Design Education 38, no. 1 (August 8, 2018): 153–67. http://dx.doi.org/10.1111/jade.12177.
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Hetherington, Paul, and Anita Fitton. "Spectral Resemblances and Elusive Connections: A Practice-led Research Dialogue between Poetry and Digital Imagery." American, British and Canadian Studies Journal 20, no. 1 (June 1, 2013): 17–38. http://dx.doi.org/10.2478/abcsj-2013-0011.
Повний текст джерелаАнотація:
Abstract In the early 20th century the function of poetic imagery was given international attention through the Imagist movement in London and, ever since, many poets have self-consciously employed and exploited imagist techniques. At the same time poets and visual artists have frequently explored connections between each other’s works considering, as Art Berman writes, that “the visual can provide direct and even prelinguistic knowledge since the psyche presumably has operations that precede or take logical precedence over […] language” (49). Interart comparisons suggest that poetry and the visual arts can be talked about as if “work in one medium […] were operating in another” (Dayan 3). However, it is often unclear what it might mean to describe a work of visual art as “poetic” or a poem as “visual.” This paper explores these ideas with reference to Paul Hetherington’s and Anita Fitton’s practice-led research project, Spectral Resemblances. The project is investigating some of the ways in which written poetry and still visual imagery may convey related meanings. It asks whether meaningful connections between poetic and visual imagery are at best “spectral” and elusive. It explores how the juxtapositioning of complementary works in these different media may allow resonances to play back and forth in the conceptual spaces between them.
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Hancox, Donna, Sandra Gattenhof, Sasha Mackay, and Helen Klaebe. "Pivots, arts practice and potentialities: Creative engagement, community well-being and arts-led research during COVID-19 in Australia." Journal of Applied Arts & Health 13, no. 1 (March 1, 2022): 61–75. http://dx.doi.org/10.1386/jaah_00088_1.
Повний текст джерелаАнотація:
Pre-dating COVID-19 it was widely acknowledged that there was a loneliness epidemic and that prolonged loneliness and reduced human touch results in increased propensity to heart disease, stroke and clinical dementia. Given such statistics, and the use of isolation and shielding as a health response to the COVID-19 pandemic, it is imperative that creative projects or research investigations embed strategies to address the potential fragmentation of community and increased difficulty of social connection. This discussion examines two Australian art-based projects ‐ ‘A Place in Our Art’ and ‘Shorewell Presents … Dear Friend’ ‐ to illustrate the use of arts and cultural activities to maintain and support social connection. The article draws on arts-health and performance theory to unpack project design and outcomes of using both physical and virtual creative art-based engagement strategies in a crisis to entice continued participation and support well-being.
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Wagstaff, Oona. "Drawing learning: Letting art teach." Drawing: Research, Theory, Practice 4, no. 2 (November 1, 2019): 245–56. http://dx.doi.org/10.1386/drtp_00005_1.
Повний текст джерелаАнотація:
Abstract Contextualized through the writing of Gert Biesta, this research proposes that as both artists and educators we should 'let art teach'. It proposes a position for student and teacher that focuses upon developing a curiosity-driven desire for meaningful dialogue with the world through broader educational and existential experience. In this context, and seen through the lens of drawing artist, musician, educator and postgraduate researcher, the article invites a first-person reflective discussion of two experiments from the author's ongoing practice-led research, which bring together an embodied knowledge of music and drawing practice, to uncover how drawing may be valued as an enactive physical, cognitive and perceptual process of poesis. By moving beyond the self-conscious desire to make an artwork, the experiments using blind drawing, bilateral mark-making and sound engage with ideas of 'unknowing' and Biesta's notion of 'interruption' to explore how drawing may offer access to different types of learning. Standing inside my practice, I understand that in the act of drawing, I can neither fail to generate ideas, escape my own existence, nor leave a mark upon the world.
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Vaughan, Kathleen. "Pieced Together: Collage as an Artist's Method for Interdisciplinary Research." International Journal of Qualitative Methods 4, no. 1 (March 2005): 27–52. http://dx.doi.org/10.1177/160940690500400103.
Повний текст джерелаАнотація:
As a visual artist undertaking doctoral studies in education, the author required a research method that integrated her studio practice into her research process, giving equal weight to the visual and the linguistic. Her process of finding such a method is outlined in this article, which touches on arts-based research and practice-led research, and her ultimate approach of choice, collage. Collage, a versatile art form that accommodates multiple texts and visuals in a single work, has been proposed as a model for a “borderlands epistemology”: one that values multiple distinctive understandings and that deliberately incorporates nondominant modes of knowing, such as visual arts. As such, collage is particularly suited to a feminist, postmodern, postcolonial inquiry. This article offers a preliminary theorizing of collage as a method and is illustrated with images from the author's research/visual practice.
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Power, Nigel. "You Can’t Get There From Here: Discovering Where to Begin a Practice-led Inquiry – Notes and Reflections from Thailand." Revista GEMInIS 13, no. 3 (2022): 58–70. http://dx.doi.org/10.53450/2179-1465.rg.2022v13i2p58-70.
Повний текст джерелаАнотація:
This article focuses critical attention on an often-overlooked aspect of practice-led research in art and design – how and where practice-led research projects begin. In particular, the article describes and discusses an MFA class in Visual Communication at a Thai University that provides a structured approach to producing what the author describes as good beginnings. Rather than resulting from the decision to continue existing approaches to practice or selecting a new topic for inquiry, the author argues that good beginnings emerge from an intensive period of pre-inquiry that, at one and the same time, invites students to engage with and unpack the motivations and concerns that underly their practices, explore these through practical experimentation, locate them within relevant theoretical contexts, and by so doing, begin the process of reimaging their practice-in-itself as a form of practice-as-inquiry. Working in a situation where artistic inquiry is dominated by conventional understandings of research and the hegemony of linguistic forms of the presentation of knowledge, the author pays particular attention to addressing the complex entanglements of words and works in the development of practice-led projects in a university setting.
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Alyabieva, Liudmila, Irina Sakhno, and Tatiana Fadeeva. "Innovative Forms of Education in Art and Design: Overview and Prospects." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 126–44. http://dx.doi.org/10.36340/2071-6818-2021-17-1-126-144.
Повний текст джерелаАнотація:
The latest educational technologies and courses in art and design are the focus of this paper. Various practice-based graduate courses such as the practicebased Ph.D., the Art Ph.D., practice-based research, and practice-led research, and others, are of particular interest. The authors argue that traditional education is no longer capable of meeting today’s smart society’s needs with its focus on information, technology, and creativity. By establishing convergent teaching principles, these new graduate courses provide career-oriented education that fuses theory and practice. These innovative courses aim to reinforce practical/applied and research skills and bring together theoretical findings and practical representation forms. With today’s growing interest in projectbased and practice-based research, the authors examine the evolution of educational and academic standards and analyze the background of project-based activity in art and design education. Based on their in-depth study of international experience and postgraduate European art and design programs, they draw a range of conclusions and take a detailed look at practice-based research Ph.D. As Ph.D. programs become more diverse and the choice is continually growing, the authors feel that the traditional teaching and research role of a Ph.D. student is becoming outmoded. Becoming a key resource for creating innovative Ph.D. programs, today’s practice-based Bachelor’s and Master’s degrees in art and design focus on applied research, the effectiveness of which is beyond question. Practice-based Ph. Ds, which are increasingly becoming the subject of academic debate, clearly show the shift taking place in views on graduate study standards. In today’s educational and academic learning models, the dichotomy between theory and practice is erased with practical research bringing together methodologies based on academic and practical results. The development of integrative methodology is greatly advanced through practical research cases, the effectiveness of which largely depends on the educational establishment’s management’s dedication to updating traditional learning formats. The paper offers a brief review of the leading practice-based Ph.D. discussion platforms while also introducing a wide variety of foreign-language sources, in which this new phenomenon and various practical research models are analyzed, into the academic field.
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Falkheimer, Jesper, and Katarina Gentzel Sandberg. "The art of strategic improvisation." Journal of Communication Management 22, no. 2 (May 8, 2018): 253–58. http://dx.doi.org/10.1108/jcom-03-2018-0020.
Повний текст джерелаАнотація:
Purpose The purpose of this paper is to describe strategic improvisation, a contemporary concept and approach based on the creative arts and organizational crisis theory, as a valuable approach for communication professionals. Strategic improvisation combines the need for planning and structure with creative action, and is a normative idea of how to work in an efficient way. Design/methodology/approach The concept is developed in a collaborative project between a major Swedish communications agency and a university scholar. The empirical foundation consists of 25 qualitative interviews with a strategic selection of successful communication professionals, identified as typical strategic improvisers. Findings An analysis of the interviews led to 11 defining patterns or themes typical for strategic improvisation and strategic improvisers. The interviews and the theoretical framework is the foundation of a communication model. Strategic improvisation is defined as a situational interpretation within a given framework. The model has three interconnected parts: a clear framework (composition), a professional interpretation (interpretation) and a situational adaptation based on given possibilities and conditions (improvisation). Research limitations/implications This is not a peer reviewed paper, but a paper in the section “In Practice,” directed toward communication professionals. Originality/value The ideas and model are connected to theories of improvisation, especially in music, which is rare in the field of communication management, and developed in a collaborative project between practice and research.
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Kaleja-Gasparovica, Daiga. "Pupils' Creative Self-Expression in Visual Art." International Journal of Smart Education and Urban Society 12, no. 3 (July 2021): 29–37. http://dx.doi.org/10.4018/ijseus.2021070103.
Повний текст джерелаАнотація:
The study is devoted to the organization of the teaching/learning content of visual art and self-expression process in practice. The article, based on theory, explains creative self-expression in the context of pupil's meaningful learning, based on the new education policy and the developed guidelines in basic education. The individual experience of prospective primary school teachers and their understanding of self-expression in visual art has been clarified during the reflection and pedagogical observation in the study process in methods of teaching visual art which led to stating the research problem. The theoretical account offered in the article reveals pedagogical possibilities for prospective teachers to organize purposefully self-expression classes in visual art during the teaching practice so that the pupil, learning visual art without professional literacy in art, improved his/her transversal skills acquiring the experience of self-guided learning, critical thinking and problem-solving, innovation, cooperation, and civic participation.
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Budiawan, Hery, and Yusup Sigit Martyastiadi. "The Explanation of Life Experience Reflection as Ideas of Artistic Research." International Journal of Creative and Arts Studies 7, no. 2 (December 2, 2020): 145–52. http://dx.doi.org/10.24821/ijcas.v7i2.4658.
Повний текст джерелаАнотація:
In Indonesia's artistic research, especially for art creation research, many art creative ideas are born from personal experience; however, the artists' subjectivity often constrains them in expressing these experiences. This condition triggers a lack of scientific publications relating to explaining life experiences that underlie creating artwork. This article describes the process of explaining the life experience reflection into the idea of creating artworks. This method is needed to explain emotional triggers into objective knowledge as a scientific research manuscript. This artistic research employs a practice-led research approach. The analysis and discussion are carried out through reflection between ideas of creation, artworks, reviews of existing artworks, and related literature. Researchers convince that the practice-led research methodology is very strategic to boost the quality of writing artistic articles, dissemination, and presentation of arts. Also, this methodology is expected to overcome the gap between art creation and scientific publications. This study offers steps to uncover subjective experiences into objective research. This artistic research can be used to conquer the subjectivity in art creation and the imbalance between scientific publications and the writing of art creation practices. Penjelasan Refleksi Pengalaman Hidup sebagai Gagasan Penelitian Artistik ABSTRAK Dalam penelitian artistik di Indonesia, khususnya untuk penelitian penciptaan seni; banyak ide penciptaan seni yang lahir dari pengalaman pribadi, namun mereka sering terkendala oleh subjektivitas seniman dalam mengekspresikan pengalaman ini. Hal ini memicu kurangnya publikasi ilmiah yang berkaitan dengan penjelasan pengalaman hidup yang mendasari gagasan penciptaan karya seni. Artikel ini menjabarkan proses penjelasan refleksi pengalaman hidup ke dalam gagasan penciptaan karya seni. Metode ini diperlukan untuk menjelaskan hal yang subjektif ke dalam pengetahuan yang lebih objektif sebagai naskah penelitian ilmiah. Penelitian artistik ini menggunakan pendekatan penelitian yang didorong oleh praktik (PLR). Analisis dan diskusi dilakukan melalui refleksi antara ide-ide penciptaan, karya seni, ulasan karya seni yang ada, dan literatur terkait. Para peneliti yakin bahwa metodologi penelitian yang didorong oleh praktik sangat tepat guna dalam meningkatkan kualitas penulisan artikel, publikasi dan penyajian seni. Selain itu, metodologi ini diharapkan dapat mengatasi kesenjangan antara praktik penciptaan seni dan publikasi ilmiah. Penelitian ini menawarkan langkah-langkah untuk mengungkap pengalaman subjektif ke dalam penelitian ilmiah yang objektif. Penelitian artistik ini dapat digunakan untuk menjembatani antara subjektivitas dalam penciptaan seni dan ketidakseimbangan antara publikasi ilmiah dan penulisan praktik penciptaan seni.
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Sabnani, Nina, and Michael Buser. "Heritage Art with an Intent." Journal of Heritage Management 5, no. 2 (December 2020): 158–68. http://dx.doi.org/10.1177/2455929620968795.
Повний текст джерелаАнотація:
A collaborative research project called JAL explored the role and potential for the arts to support water security activities in Rajasthan. The intent was to learn about some of the challenges facing people in rural Rajasthan and to draw on the region’s heritage toward arts-led research, practice and thinking to help address critical water issues. One project that emerged from the fieldwork took its inspiration from the murals of Shekhawati and the ancient phad (painted scroll with stories) storytelling tradition of Rajasthan. It involved local artists who painted a wall with water stories in the village Jhakhoda. The artists also painted a scroll that a local storyteller could use to share with other villages. This article offers a report of the mural project, its process and outcome and the insights gained from a close engagement with the community in the village. The experiences signal the rich potential of collaboration with communities and across disciplines, as well as the role of the arts and artists in engaging with and addressing critical global challenges, such as water security.
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Seitz, Hanne. "Producing Knowledge in Self-Organized Artistic Settings through Performative Research and Artistic Intervention." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 1 (January 1, 2015): 114–30. http://dx.doi.org/10.33178/scenario.9.1.7.
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The following article presents the Young Tenants, a project that gave young Berlin adults the opportunity to use vacant spaces for art and culturerelated purposes. Through organizing and participating in activities in these spaces they discovered their artistic creativity and craftsmanship, practiced cultural participation and engaged with the community. In contrast to what they typically experienced in school or in out-of-school education, the project emphasized selforganization and an environmental approach towards learning. The accompanying research called for a different logic of enquiry than in the usual discursive mode of qualitative social research. The tenants were regarded as coresearchers, capable of finding creative solutions for the problems that arose while working towards the goals they had set for themselves. They produced knowledge through their art making, which was expanded, transformed and renewed through a practice-based action research process. At the same time, since understanding is not always reducible to language, we focused on their actions as expressions of embedded knowledge and considered the project to be a practice-led performative research. Additionally, we unlocked further potential though artistic interventions that served to enrich their activities, deepen reflection, and challenge the knowledge generated.
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Paskar, Svetlana S., Alla S. Kalugina, and Anna G. Tkachuk. "Trends in safe infertility treatment with assisted reproductive technologies." Journal of obstetrics and women's diseases 69, no. 4 (September 28, 2020): 83–88. http://dx.doi.org/10.17816/jowd69483-88.
Повний текст джерелаАнотація:
The expansion of indications for assisted reproductive technology has led to significant implications for assisted reproductive technology (ART) programs worldwide. More than 7 million children in the world were born using ART. Modern clinical practice in the field of reproductive sciences is aimed not only at increasing the effectiveness, but also at the safety of treatment. ART, like any other type of therapy, may be combined with negative side effects. Both the correct prediction of the risks associated with treatment and a personalized approach ensure the absolute safety of infertility treatment using in vitro fertilization. In this regard, over the past decade, a number of new research approaches have been noted that use ART methods integrated into clinical practice: cycle segmentation with subsequent embryo transfer and the elective transfer of one embryo. New approaches provide a control in relation to ovarian stimulation and a reduction in the number of transferred embryos, which helps to minimize primarily adverse perinatal outcomes. Predicting the risks and outcomes of treatment using mathematical modeling is the application of good clinical practice.
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Mirza, Narjis. "Ta’wil: in Practices of Light." Performance Philosophy 4, no. 2 (February 1, 2019): 564–75. http://dx.doi.org/10.21476/pp.2019.42242.
Повний текст джерелаАнотація:
This research is situated within an Islamic philosophical paradigm, with a series of experiments in studio art practice. In my investigation of Mulla Sadrā’s theory of systematic intensification, I was led towards Ta’wil, a unique method of interpretation, that is primarily used for interpreting the verses of the Quran. I extract this traditional Quranic method of interpretation, Ta’wil and translate it into a visual and collective dialogue, for a practice-oriented research. Keeping in view the traditional association of the method of Ta’wil towards the Quran, I suggest there is evidence that Ta’wil is a method that can be practised outside the interpretation of the text. It is a unique method of interpretation that performs in both physical and metaphysical worlds. Ta’wil is both a noun, as an object or happening in the physical, and a process of carrying a perceptible image (for example text of the Quran) towards higher and deeper understandings. I start my writing with a brief overview of my research area, moving towards Ta’wil in creative art practice.
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PESSOA, EZEQUIEL CAIRES PEREIRA, and STEPHEN LIU. "The State of the Art of Underwater Wet Welding Practice: Part 1." Welding Journal 100, no. 4 (April 1, 2021): 132–41. http://dx.doi.org/10.29391/2021.100.011.
Повний текст джерелаАнотація:
Developments in underwater wet welding (UWW) over the past four decades are reviewed, with an emphasis on the research that has been conducted in the last ten years. Shielded metal arc welding with rutile-based coated electrodes was established as the most applied process in the practice of wet welding of structural steels in shallow water. The advancements achieved in previous decades had already led to control of the chemical com-position and microstructure of weld metals. Research and development in consumables formulation have led to control of the amount of hydrogen content and the level of weld porosity in the weld metal. The main focus of research and development in the last decade was on weldability of naval and offshore structural steels and acceptance of welding procedures for Class A weld classification according to American Welding Society D3.6, Under-water Welding Code. Applications of strictly controlled welding techniques, including new postweld heat treatment procedures, allowed for the welding of steels with carbon equivalent values greater than 0.40. Classification societies are meticulously scrutinizing wet welding procedures and wet weld properties in structural steels at depths smaller than 30 m prior to qualifying them as Class A capable. Alternate wet welding processes that have been tested in previous decades — such as friction stir welding, dry local habitat, and gas metal arc welding —have not achieved great success as originally claimed. Al-most all of the new UWW process developments in the last decade have focused on the flux cored arc welding (FCAW) process. Part 1 of this paper covers developments in microstructural optimization and weld metal porosity control for UWW. Part 2 discusses the hydrogen pickup mechanism, weld cooling rate control, design, and qualification of consumables. It ends with a description of the advancements in FCAW applications for UWW.
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Douglas, Anne, and Melehat Nil Gulari. "Understanding experimentation as improvisation in arts research." Qualitative Research Journal 15, no. 4 (November 9, 2015): 392–403. http://dx.doi.org/10.1108/qrj-06-2015-0035.
Повний текст джерелаАнотація:
Purpose – The purpose of this paper is to address the following questions: in what sense does experimentation as improvisation lead to methodological innovation? What are the implications of artistic experimentation as improvisation for education and learning? Design/methodology/approach – The paper tracks the known concept within research of “experimentation” with a view to revealing how practice-led research in art works distinctively with experimentation. It proposes experimentation as improvisation drawing on a research project Sounding Drawing 2012 as an example. The paper situates art experimentation as improvisation in art (Cage, 1995) anthropology (Hallam and Ingold, 2007; Bateson, 1989) and the theoretical work of Arnheim (1986) on forms of cognition. Findings – Arts research as improvisation is participatory, relational and performative retaining the research subject in its life context. The artist as researcher starts with open-ended critical questions for which there are no known methods or immediate answer. By setting up boundary conditions from the outset and understanding the situatedness and contingencies of those conditions, the artist as improviser seeks ways of not only avoiding chaos and the arbitrary but also being trapped by what is already known. Originality/value – This approach is important within and beyond the arts because it consciously draws together different forms of cognition – intuition and relational knowledge and also sequential knowledge. It is also significant because it offers a different epistemology in which new knowledge emerges in the relationship between participants in the research taking form in co-creation. These qualities all position improvisation as a research paradigm and a counterpoint to positivism.
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董維琇, 董維琇. "臺灣環境美學復興：社會參與式藝術實踐與地方藝術祭的啟示". 藝術評論 43, № 43 (липень 2022): 219–54. http://dx.doi.org/10.53106/101562402022070043006.
Повний текст джерелаАнотація:
<p>自1990年代後期以來，臺灣當代藝術發展出社會參與式藝術實踐的趨勢，亦即走出美術館展覽的藩籬並企求與公眾面對面、與社群連結的藝術創作。此一歷程發展適逢後解嚴時代，在地文化認同與本土意識抬頭，反映在文化政策上的則是1990年代的社區總體營造運動乃至於近年來倡議的地方創生。此後，各地的藝術祭更是持續不斷地帶來參與者對地方人文與環境的新感受，發展出在獨特的臺灣文化脈絡與社會變遷的背景下所帶動的「環境美學」復興——對自然與人文環境的重新發現，以及對地方文化歷史脈絡的重思與再建構。對環境與地方的自然和人文關懷是目前亞洲地區正歷時與共的境況，本文以臺灣的社會參與式藝術和地方藝術祭為主要探討對象，自其所帶來的環境美學復興，延伸思考社會參與式藝術暨地方藝術祭的亞洲觀點所帶來的啟示，並以更全觀的視角來思辨藝術的社會實踐，啟發藝術工作者，面對此一全球共同的環境議題。</p> <p> </p><p>Since the late 1990s, Taiwanese contemporary art has developed a trend of socially-engaged art practice that goes beyond the usual framework of museum exhibition and with the aim of reaching public audiences. Moreover, such progress involves a degree of community engagement. The post-Martial law era saw the emergence of issues of local cultural identity and the rise of ideologies of the vernacular. Equally, socially-engaged art practice in Taiwan addressed throughout the 1990s issues of cultural policies for community reconstruction and ideas of “creative placemaking”. The result of such trend has also brought the prevalence of local art festivals. Such a socially art practice and local art festival has since developed into a genuine environmental aesthetics that has led to the rediscovery of human landscape, the natural environment, and to the reconstruction of local culture and history. This latter specificity, though, differs from its Western counterpart model of social art practice.This paper will explore the socially-engaged art and local art festival in Taiwan, their process of development, content and approach through surveys and fieldwork. Their relations to each other, differences, similarities, and sustainability will be also discussed in this research. However, the impacts that they triggered for the revival of environmental aesthetics, has significances to what are related to ecological and environmental issues in the whole world. Attending for local environment, people, history and culture is currently experienced in the Asia is also a common issue. This research takes socially-engaged art practice and local art festivals as a subject, as well as addressing their implications on revival of environmental aesthetics in Taiwan. Moreover, this research not only intends to expound socially-engaged art practice and local art festival from the local perspectives of Taiwan; it also seeks to enrich how we understand such practice in a broader Asian and even global contexts. </p> <p> </p>
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Kose, Ryoko. "Just Keep Going - Polyphony. Gentle Activism for Collective Survival." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 323–38. http://dx.doi.org/10.32891/jps.v5i4.1422.
Повний текст джерелаАнотація:
This portfolio examines the possibility of my project ‘Just Keep Going’ series to nurture resilience for those experiencing uncanniness during periods of change and re-organization in the aftermath of extreme experiences. Experiences in an action-oriented non-verbal polyphony environment that prioritizes the uniqueness of a holistic self while accepting the existence of diverse individuals who are participating in collective survival could foster that resilience. My practice-led research aims to explore an expanded application of my Ikebana practice to my public Spatial Neural-Architectures while exploring a new way of understanding security, survival, and wellbeing. My research informs my art practice that includes the practices arising out of my life experience as a transnational voluntary evacuee to Australia from the 2011 Fukushima nuclear disaster in Japan. My portfolio shows the transformation of my artwork and my everyday life. I investigate how my art practice could offer a therapeutic experience as well as a new cultural framework by examining the methods of Open Dialogue, the Biophilia Hypothesis, Ikebana Philosophy, and Sand-play Therapy. These methods open up new possibilities for a socially engaged practice that addresses collective traumas in the midst/aftermath of global crisis and the social changes necessary for collective survival.
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PESSOA, EZEQUIEL CAIRES PEREIRA, and STEPHEN LIU. "The State of the Art of Underwater Wet Welding Practice: Part 2." Welding Journal 100, no. 5 (May 1, 2021): 171–82. http://dx.doi.org/10.29391/2021.100.014.
Повний текст джерелаАнотація:
Developments in underwater wet welding (UWW) over the past four decades are reviewed, with an emphasis on the re-search that has been conducted in the last ten years. Shielded metal arc welding with rutile-based coated electrodes was established as the most applied process in the practice of wet welding of structural steels in shallow water. The advancements achieved in previous decades had already led to control of the chemical composition and microstructure of weld metals. Research and development in consumables formulation have led to control of the amount of hydrogen content and the level of weld porosity in the weld metal. The main focus of research and development in the last decade was on weldability of naval and offshore structural steels and acceptance of welding procedures for Class A weld classification according to American Welding Society D3.6, Underwater Welding Code. Applications of strictly controlled welding techniques, including new postweld heat treatment procedures, allowed for the welding of steels with carbon equivalent values greater than 0.40. Classification societies are meticulously scrutinizing wet welding procedures and wet weld properties in structural steels at depths smaller than 30 m prior to qualifying them as Class A capable. Alternate wet welding processes that have been tested in previous decades — such as friction stir welding, dry local habitat, and gas metal arc welding — have not achieved great success as originally claimed. Almost all of the new UWW process developments in the last decade have focused on the flux cored arc welding (FCAW) process. Part 1 of this paper covered developments in microstructural optimization and weld metal porosity control for UWW. Part 2 discusses the hydrogen pickup mechanism, weld cooling rate control, design, and qualification of consumables. It ends with a description of the advancements in FCAW applications for UWW.
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Vella, Raphael, and Margerita Pulè. "Who is it for? Art and social practice in a time of slow burn crisis." Routledge Open Research 1 (November 10, 2022): 23. http://dx.doi.org/10.12688/routledgeopenres.17577.1.
Повний текст джерелаАнотація:
The open principles of socially-engaged arts practice frequently come into conflict with ethical considerations despite positive intentions on the part of the artist or commissioning body. When confronted by crises in society, particularly challenges and forms of discrimination that tend to slip under the radar, artists and other stakeholders in the arts and education often engage with dilemmas related to power imbalances, responsibility, political agendas and artistic quality. These dilemmas are discussed through a handful of projects created in Malta as part of the artistic research project ‘Acting on the Margins: Arts as Social Sculpture’ (AMASS), and other arts-based community- and artist-led projects. The article discusses possible methodologies towards fully democratic, horizontal, and sustainable processes, and opens questions around agency and intent in participatory art practice.
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Talianni, Katerina, Eleni Ira Panourgia, Jack Walker, and Roxana Karam. "Editorial." Airea: Arts and Interdisciplinary Research, no. 1 (June 13, 2018): 1–2. http://dx.doi.org/10.2218/airea.2748.
Повний текст джерелаАнотація:
The plethora and availability of digital tools and practices have transformed the ways art is created, perceived and disseminated. This had a distinct impact on how research is conducted across the arts and humanities as a whole from practice-led to process-focused and people-centred research. Airea’s first issue “Computational tools and digital methods in creative practices” germinated from a series of research focuses that began in 2016 when the research network (sIREN) was established by PhD students in Edinburgh College of Art, the University of Edinburgh. sIREN's aim is to create a dialogue between several fields and promote new perceptions of research based on diverse methodological approaches. It seeks to form a platform of communication among arts and other disciplines, technologies and digital media, theory, practice and collaboration. For this, we organised a series seminars-workshops during the academic year 2016-2017 that brought together invited speakers from the University of Edinburgh (across Edinburgh College of Art, School of Education, School of Informatics, Edinburgh Centre for Robotics and School of Geosciences), the University of Warwick (Centre for Interdisciplinary Methodologies), the University of Newcastle (School of Architecture, Planning and Landscape) and the National Library of Scotland, followed by an international conference in May 2017, which included an interactive format of hands-on workshops, papers and a performance session.
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Hudson, Martyn, and Hazel Donkin. "TESTT Space: groundwork and experiment in a complex arts organisation." Arts and the Market 9, no. 2 (December 9, 2019): 188–201. http://dx.doi.org/10.1108/aam-05-2019-0016.
Повний текст джерелаАнотація:
Purpose The purpose of this paper is to document and describe an omni-disciplinary ethnography of a complex arts and cultural regeneration organisation in Durham (TESTT Space). The organization and its art spaces are hybrid combination tools explicitly designed to test and experiment with ideas, social forms, human interactions and arts practice. Its ground or practice is a repurposed meanwhile space in a city centre embedded in a unique cultural landscape of local communities, a University and a World Heritage Site. The research attempted to understand its groundwork, its interactions and its civic mission and aspirations in a time of radical change and rupture. Design/methodology/approach The authors assumed an ethnographic approach, working with and within this organisation for a year, thinking of the research as embedded, intimate research and committed to social change. It was a work of co-production – working with studio-holders, curators, artists and facilitators using a range of triangulated qualitative research methods. These include structured interviews, auto-ethnography, ethnography of spaces, arts-led research, art as research and research as art. Findings TESTT Space has allowed both the retention of artists in the city and the propulsion of artists into the world. It has offered different ways of engaging in the complex lives of artists and curators, allowing them to test aesthetics and try out new social models. It has thought up its own network as a thinking practice, has developed its own politics, civics and imagined a set of new futures. Originality/value The paper documents interactions and aspirations, describing the lived phenomenological experience of being in this experimental space.
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Satell, Rosita. "Udstillingsdrevet indsamling af møbler på Trapholt." Nordisk Museologi 33, no. 1 (October 13, 2022): 25–42. http://dx.doi.org/10.5617/nm.9889.
Повний текст джерелаАнотація:
At Trapholt, Museum of Modern Art and Design in Kolding, Denmark, research focus and museum activities – as at many other museums – are largely aimed at the audience and the public. This has led to a collecting practice predominantly driven by Trapholt’s exhibitions. The focus of this article is to study the gains and consequences of an exhibition-driven collecting practice, and discuss the potential opportunities for a strategy going forward. Through three exhibition cases, it is pointed out how this practice has secured a unique selection of historical design objects, as well as examples of contemporary design, but also caused overrepresentation, duplicates and accumulations of certain period pieces, without sufficient or significant documentation. At the same time, this practice is at the expense of research in the remaining collection. This article argues for a greater degree of systematization, broader documentation as well as a structural change to the collection practice involving participation.
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Tyler, Rachel Siobhan. "Revealing the Hidden Colour in Representations of Eileen Gray’s Modern Architecture and Design." Journal of Design History 33, no. 2 (March 12, 2020): 123–39. http://dx.doi.org/10.1093/jdh/epaa010.
Повний текст джерелаАнотація:
Abstract Colour is both spatial and material. It is an integral feature of architecture, yet it is often undervalued, particularly in contrast to form. This article explores how Eileen Gray’s background in fine art and material practice promoted a particular use of colour in her architecture. Art practitioners who engage with processes of colour and material making are alert to the ambiguous nature of colour and its potential to contribute to space production. However, such knowledge is often overlooked by historians or dismissed as less significant than other aspects of design. Previous architectural histories of Eileen Gray that rely upon representations of her work in black and white photographs have missed the spatial and place-making qualities of colour in her work. Archival evidence, by contrast, reveals the significance of Gray’s material and practice-led colour research, which resulted in her distinct approach to modern architecture.
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Farman, Nola, Matt Barr, Angela Philp, Miranda Lawry, Warwick Belcher, and Paul Dastoor. "Model & Metaphor: A Case Study of a New Methodology for Art/Science Residencies." Leonardo 48, no. 5 (October 2015): 419–23. http://dx.doi.org/10.1162/leon_a_01073.
Повний текст джерелаАнотація:
Traditional artist-in-science-residency schemes have tended to focus on artists using scientific tools and technology as a medium for their art. What kind and quality of work might occur, however, between scientists working on cutting-edge solar energy research and a visual artist (a sculptor) when they are integrated in a truly collaborative environment? Is it good for the art? Is it good for the science? The authors describe a new methodology for art-science interactions whereby they have integrated arts practice within a scientific environment. A critical aspect of the methodology for the residency was the development of an interaction framework that ensured that both artist and scientist had equal voice in discussions involving the art and science of the project within an environment of mutual respect. The integration led to the development of outcomes that would not have occurred otherwise.
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Cain, Patricia. "‘How do I know how I think, until I see what I say?’:." idea journal 17, no. 02 (December 1, 2020): 32–57. http://dx.doi.org/10.37113/ij.v17i02.400.
Повний текст джерелаАнотація:
I discuss what it’s like to engage in an embodied/enactive creative practice, its qualities and values, and how neurodiversity might benefit research culture. As an Asperger’s thinker with a creative, metacognitive thinking style, I have reached a point of asking through my art practice, How do I make my cognitive difference visible? Referring to my keynote presentation at the 2019 Body of Knowledge Conference, which was both an installation and a conversation about growing into the need for practice, this article takes the reader through the evolution of my thinking about practice as personal growth, to the point of commencing a new project, Making Autistic Thinking Visible. These findings suggest that there is need for research methodologies to be led and developed by different thinking styles, based in self-awareness, including the ‘internal participatory’ research model I suggest. My example contributes to a bigger picture of diversity in human cognitive variation, that can contribute to a more inclusive (consequently expansive) research culture, displacing standard norms which kill possibilities for different forms of knowledge.
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Gaietto, Dawn M. "Pigeon-Human Negotiations through Practice." TRACE ∴ Journal for Human-Animal Studies 5 (September 17, 2019): 56–80. http://dx.doi.org/10.23984/fjhas.80172.
Повний текст джерелаАнотація:
This is an exploration of the (un)common worlds of the pigeon and the human in London, through the lens of anthrodecentric art and the installation of a pigeon loft. To engage with this encounter is look, see, and be with another. Human-pigeon ties of relation are long-standing, as from 10,000 years ago the pigeon has lived cooperatively with the human species. More recently, the pigeon was the starting point of contemporary mail systems and messenger pigeons were active serving members of the armed forces in World War II, ablpie to carry out missions when humans were unfit and incapable. Given developments in mechanical and digital technologies, the pigeon has been deprived of its use-value as technology. The project Pigeon-Human Negotiations presents a diagrammatic model that affords the pigeon a use-value in contemporary London – their scavenging behaviours are recognised for their utility as a bio-recycling system. Here I present this arts practice-led research project under three lenses of analysis: the space of function, the space of re-presentation, and the sphere of translation. Herein lies the intersection of pigeon/art/human, within the bio-recycling capacities of the pigeon, the functions of art as re-purposer and subsequently assigner of value, the human can consume this art work predicated on the active presence of the non-human, and their agency through the artwork, which allows the rubbish produced by the human to be bio-recycled into the realm of value.
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Scott, Philip J., Ronald Cornet, Colin McCowan, Niels Peek, Paolo Fraccaro, Nophar Geifman, Wouter T. Gude, William Hulme, Glen P. Martin, and Richard Williams. "Informatics for Health 2017: Advancing both science and practice." Journal of Innovation in Health Informatics 24, no. 1 (April 21, 2017): 1. http://dx.doi.org/10.14236/jhi.v24i1.939.
Повний текст джерелаАнотація:
Introduction: The Informatics for Health congress, 24-26 April 2017, in Manchester, UK, brought together the Medical Informatics Europe (MIE) conference and the Farr Institute International Conference. This special issue of the Journal of Innovation in Health Informatics contains 113 presentation abstracts and 149 poster abstracts from the congress.Discussion: The twin programmes of “Big Data” and “Digital Health” are not always joined up by coherent policy and investment priorities. Substantial global investment in health IT and data science has led to sound progress but highly variable outcomes. Society needs an approach that brings together the science and the practice of health informatics. The goal is multi-level Learning Health Systems that consume and intelligently act upon both patient data and organizational intervention outcomes.Conclusions: Informatics for Health demonstrated the art of the possible, seen in the breadth and depth of our contributions. We call upon policy makers, research funders and programme leaders to learn from this joined-up approach.
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Hacking, Sean M., Evgeny Yakirevich, and Yihong Wang. "From Immunohistochemistry to New Digital Ecosystems: A State-of-the-Art Biomarker Review for Precision Breast Cancer Medicine." Cancers 14, no. 14 (July 17, 2022): 3469. http://dx.doi.org/10.3390/cancers14143469.
Повний текст джерелаАнотація:
Breast cancers represent complex ecosystem-like networks of malignant cells and their associated microenvironment. Estrogen receptor (ER), progesterone receptor (PR), and human epidermal growth factor receptor 2 (HER2) are biomarkers ubiquitous to clinical practice in evaluating prognosis and predicting response to therapy. Recent feats in breast cancer have led to a new digital era, and advanced clinical trials have resulted in a growing number of personalized therapies with corresponding biomarkers. In this state-of-the-art review, we included the latest 10-year updated recommendations for ER, PR, and HER2, along with the most salient information on tumor-infiltrating lymphocytes (TILs), Ki-67, PD-L1, and several prognostic/predictive biomarkers at genomic, transcriptomic, and proteomic levels recently developed for selection and optimization of breast cancer treatment. Looking forward, the multi-omic landscape of the tumor ecosystem could be integrated with computational findings from whole slide images and radiomics in predictive machine learning (ML) models. These are new digital ecosystems on the road to precision breast cancer medicine.
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Parker, Eryn, and Michael Saker. "Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms." Convergence: The International Journal of Research into New Media Technologies 26, no. 5-6 (January 8, 2020): 1159–73. http://dx.doi.org/10.1177/1354856519897251.
Повний текст джерелаАнотація:
Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space.
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Xiaoyi, Nie. "Introducing and practising ‘curating’ for contemporary Chinese art: The transnational trajectory of Lu Jie from London to China and the development of Long March: A Walking Visual Display." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 269–88. http://dx.doi.org/10.1386/jcca_00067_1.
Повний текст джерелаАнотація:
Through a close reading of the curatorial project Long March: A Walking Visual Display (), this article considers that Long March was an experimental curatorial response to the conditions of contemporary Chinese art and contributes to introducing the discourse and practice of ‘curating’ to China. Tracing the main curator Lu Jie’s curatorial motivation, this research looks into what Lu has termed ‘the dilemma of contemporary Chinese art’ during the 1990s – the division of discourses from realities and artistic practices in the curating of contemporary Chinese art, which led to invalid transcultural communication in international exhibitions. This research paid special attention to Lu’s study in the ‘Creative Curating’ MA programme at Goldsmiths, University of London (1998–99), which encouraged Lu to experiment with alternative exhibition formats and review art in visual culture. These inspired Lu to relocate ‘contemporary Chinese art’ from the institutional context to its original realities in China along the historical route of the Long March. Analysing the development of Lu’s curatorial proposal Long March: A Walking Exhibition from 1999 to 2001, this research shows how the main elements of Lu’s curating shifted from objects to participants and argues the project’s curatorial intention to provoke participants was a process of localizing ‘curating’ in the Chinese context. Instead of assuming that ‘curating’ was imported into China from the West, this article views the introduction of ‘curating’ as a new discipline which helps local practitioners identify the artistic values and authorship in making art public.
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Beyrouthy, Damien, and Sara Bédard-Goulet. "Response Events Narratives: Between Research and Creation." Interdisciplinary Literary Studies 24, no. 2 (June 1, 2022): 188–212. http://dx.doi.org/10.5325/intelitestud.24.2.0188.
Повний текст джерелаАнотація:
ABSTRACT Artworks and cultural productions affect us in various degrees. In rare occasions, their encounter can trigger a life-changing event. These rare and unexpected individual moments can be shared as narratives, some of which are found in literature. Among these literary accounts, many attribute to texts the prompting of personal events and such narratives have been studied by literary scholars interested in reader–response theory. Less attention has been paid to accounts of such reactions to other types of media, which also require additional theoretical input to study them. To examine these specific events in narratives, we consider them as “response events” and analyse their characteristics through research and artistic means. Adding to the existing contributions in literary theory, we use a methodology originating from the art field, that is research-creation. In this article, we start by presenting our research-creation approach and the interdisciplinary tool that we developed. We then present a brief overview of the results from the literary corpus analysis and of the artistic experimentations that they triggered. We also describe how our research on the response event has led Damien Beyrouthy to think this concept through his artistic practice, from which other concepts emerged.
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Shakeel, Mansoor, Rizwan Azam, Muhammad R. Riaz, and Ayman Shihata. "Design Optimization of Reinforced Concrete Cantilever Retaining Walls: A State-of-the-Art Review." Advances in Civil Engineering 2022 (September 24, 2022): 1–35. http://dx.doi.org/10.1155/2022/4760175.
Повний текст джерелаАнотація:
The booming growth of computational abilities in the 21st century has led to its assimilation and benefit in all horizons of engineering. For civil engineers, these advancements have led to groundbreaking technologies such as BIM, automation, and optimization. Unfortunately, even in an era of dwindling resources and dire need for sustainability, optimization has failed to attract implementation in practice. Despite an exponential growth as an area of research interest, the optimization of engineering structures such as reinforced concrete (RC) is still a complex task that requires multidisciplinary knowledge, hindering its practicability. Although past review papers have delved into this topic, they have only been able to cover the breadth of information available by covering broader aspects of optimization of structures. This study on the other hand aims to cover this topic in depth to uncover problem specific trends and issues, by focusing only on optimization of RC cantilever retaining walls. Although there is an abundance of research studies on this topic, there is an absence of any critical review to tie them up, and concurrently with its broader scope, it suffers the same lack of applicability in the field. The in-depth review presents a summarization of all the online publications including research articles, conference papers, and theses to the best of authors’ knowledge on the topic of RC cantilever retaining wall optimization. Geographical trends, regional developments, and prominent journals have been identified. The design codes, problem formulation, objectives, constraints, variables, and their optimization techniques are tabulated for ease of understanding. Unique areas of development investigated by the different researchers have been highlighted. Lastly, comprehensive recommendations for future works have been detailed with a focus on improving its applicability and assimilation into the construction industry.
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Ross, Christine. "New Media Arts Hybridity: The Vases (Dis)communicants Between Art, Affective Science and AR Technology." Convergence: The International Journal of Research into New Media Technologies 11, no. 4 (November 2005): 32–42. http://dx.doi.org/10.1177//1354856505061051.
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Following Annie Coombes’s and Avtar Brah’s (authors of Hybridity and its Discontents: Politics, Science, Culture, 2000) request that we not merely apply but in fact historicise hybridity, and arguing that the art and science explorations of new media art have produced some of the strongest new media hybridities to date, the author focuses on one of the important fields of investigation currently linking media art, science and technology: augmented reality or what should be called augmented perception of time and space. This aesthetic field of investigation has led to a reassessment of representation, one that is not without (1) sharing some of the fundamental concerns of current neuroscientific investigation of mental processes and (2) questioning the image/real continuum principle at the core of recent augmented reality technology research. The article examines media artist Bill Viola’s The Passions series (2000-2001) to contend that new media’s original contribution to the practice of hybridity lies in the interaction that it both articulates and encourages with affective sciences, an interaction that redefines representation as an approximation, a facilitator - a projection screen for complex mental processes.
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Coslor, Erica, Brett Crawford, and Andrew Leyshon. "Collectors, Investors and Speculators: Gatekeeper use of audience categories in the art market." Organization Studies 41, no. 7 (December 16, 2019): 945–67. http://dx.doi.org/10.1177/0170840619883371.
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This research examines gatekeepers’ categorization work to assess and sort audience members. Using a multi-sited ethnography and interpretivist qualitative lens, we explore how high-value art gallerists sort buyers via categories, but also encourage conformity with preferred audience categories, both for artistic consecration goals and to discourage disruptive speculation. Categories served as reference points, with preferred and problematic buyer categories providing a discursive socialization tool, but also informing gatekeeping strategies, for example, problematic behaviors and buyer categories led to value-protecting gatekeeping and exclusion, often justified in moral terms. Monitoring continued throughout the relationship, with decisions considered both fair and necessary for gallerists’ professional practice. Gatekeeping decisions included long-term temporal considerations, prompting strategies including ‘placement’, monitoring and audience recategorization. This extends gatekeeping beyond simply passing muster at the ‘gate’. We also illustrate the dynamic and fluid nature of hidden categories, which provide gatekeepers with heightened abilities to punish perceived wrongdoing.
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Boutard, Guillaume, Catherine Guastavino, Nicolas Bernier, Philippe-Aubert Gauthier, Valérian Fraisse, Nicola Giannini, and Julien Champagne. "Review of Contemporary Sound Installation Practices in Québec." Resonance 3, no. 2 (2022): 177–93. http://dx.doi.org/10.1525/res.2022.3.2.177.
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Continuing a trend of publications investigating sound art within a specific geographical context, this paper proposes an original view of the sound installation practice in Québec. This study is part of a research project aiming at building new theoretical and practical tools for the documentation of such artworks. In this paper we present the outcomes of the first phase and its connection with the bigger picture of the project, which is the questioning of the relevance of spatial audio recordings with six degrees of freedom (6DoF) for mediating the capture of knowledge relating to the sensory experience of a work. During the first phase, we developed a conceptual descriptive framework based on a mixed-methods approach, top-down and bottom-up, consisting in a systematic review of literature paralleled with a categorization of contemporary sound art production in Québec based on publicly available documentation. This process led to a formal and quantitative depiction of the Québec scene, which aims to guide both the selection of case studies for the next phases but also to be part of the conceptual tools for investigating the sensory experience of these works. This quantitative depiction of the scene will thus foster a qualitative investigation of the sensory experience of sound art installations and the knowledge that may be lost in standard written documentation practice with an original methodological framework.
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Haley, David. "A Walk on the Wild Side: Steps towards an ecological arts pedagogy." International Journal of Education Through Art 17, no. 1 (March 1, 2021): 135–52. http://dx.doi.org/10.1386/eta_00054_1.
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between home and school walking a way to learning life through the city. (David Haley) This article takes the reader for a stroll through a programme of ecological arts-led, performance-based research. The style is more poetic than scientific, although much ecological science is embedded within the art form. Indeed, Charles Darwin was known for his regular walks, as time and space for his reflections on evolution and his grandfather Erasmus Darwin was noted for the poetic form of his scientific treatises. Here also, the author breaks with academic convention to engage with walking and research as creative activities to deal with ecological issues. Of course, other artists like Richard Long and Hamish Fulton have walked as part of their practice, and there are a growing number of artists who consider walking as practice-as-research. In this article, the focus is specifically on walking as a creative form of inquiry, through community participation within urban contexts to create a critical dialogue focused on ecology in action.
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Goh, Swee Chua. "The influence of Senge’s book The Fifth Discipline on an academic career: a research journey into the learning organization and some personal reflections." Learning Organization 27, no. 6 (August 10, 2020): 513–20. http://dx.doi.org/10.1108/tlo-06-2020-0111.
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Purpose In this paper, the author explores his research journey into the learning organization and its impact on his academic career. This paper describes how Peter Senge’s book The Fifth Discipline: The Art and Practice of The Learning Organization (1990) was the spark that led to the author’s focus on empirical research in the field. Design/methodology/approach This paper provides author’s personal reflections on how this decision put him on a path to a variety of serendipitous experiences, exciting research areas and also enabled him to engage in productive collaborative research with many of his colleagues. Findings The findings conclude with a discussion on what the author see as new challenges and perspectives for advancing research into the learning organization. Originality/value This paper provides a unique perspective on how The Fifth Discipline by Peter Senge has influenced an academic career. It presents a personal reflection of a research journey into the learning organization that spans over 30 years.
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Ings, Welby. "Resonant voices: The poetic register in exegetical writing for creative practice." Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 121–41. http://dx.doi.org/10.1386/jwcp_00018_1.
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Quality, exegetical writing can be constrained when students marginalize poetic ways of thinking and replace them with carefully edited accounts that reshape the role and nature of emotional response. In the pursuit of rational, theoretically groomed accounts of practice, they can sometimes end up misrepresenting the embodied nature of their inquiries. Considering burgeoning research into poetic inquiry (PI) in the social sciences, this article employs a case study of five doctoral graduates in art and design who have articulated the role of poetic thinking in their creative practice theses. In addition to offering illustrations of how practice-led researchers use PI, the examples demonstrate ways in which poetic approaches can be employed to enhance communicative clarity beyond the constraints of conventional academic writing. Specifically, the examples demonstrate how poetic writing is used to process and articulate indigenous knowledge, enhance embodied thinking and inquiry and deepen levels of reflection and understanding. Such uses can cause a researcher to view the world differently and by extension, expand the nature of what it means to conduct research. In discussing the nature of poetic writing, the article considers three distinct profiles: exegetical writing employed when the nature of the practice is poetic; poetic writing that draws on indigenous approaches to scholarship and poetic writing used as a method for reflection.
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Schleser, Max. "Mobile Moving Image Culture & Smartphone Filmmaking Past, Present & Future." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 7–14. http://dx.doi.org/10.37312/imoviccon.v2i1.38.
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Over the last decade, smartphone filmmaking evolved from an underground and art house into an egalitarian filmmaking practice and moving-image culture. In an international context mobile, smartphone and pocket films can provide access to filmmaking tools and technologies for a new generation of filmmakers. Max Schleser will review the developments and directions in mobile, smartphone and pocket filmmaking through the International Mobile Innovation Screenings (www.mina.pro). During the last ten years, he curated the screening and smartphone film festival, which captures and celebrates smartphone films about communities and cities from around the world. Mobile, smartphone and pocket filmmaking expands the tradition of experimental filmmaking, expanded cinema and documentary making. Smartphone filmmaking facilitates experimentation. This presentation will outline how early mobile filmmaking aesthetics still resonate in contemporary smartphones films and documentaries that screen at major festivals such as Berlinale or Festival de Cannes. Furthermore, mobile moving image aesthetics now influence filmmaking more generally.
As Creative Arts research in screen and digital media, Max Schleser’s research projects are also disseminated via non-traditional research outputs. He applies practice-led research to examine novel film forms and formats. His creative practice focuses on filmmaking and curation. Max Schleser has demonstrated how mobile media can drive social innovation in interdisciplinary research projects. To establish a conversation on mobile media's potential for transdisciplinary research, he co-edited Mobile Media Making in an Age of Smartphones and Mobile Story Making in an Age of Smartphones. His monograph, Smartphone Filmmaking: Theory & Practice will be published by Bloomsbury in September 2021.
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Rampal, Raajit, and Ross L. Levine. "Leveraging Cancer Genome Information in Hematologic Malignancies." Journal of Clinical Oncology 31, no. 15 (May 20, 2013): 1885–92. http://dx.doi.org/10.1200/jco.2013.48.7447.
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The use of candidate gene and genome-wide discovery studies in the last several years has led to an expansion of our knowledge of the spectrum of recurrent, somatic disease alleles, which contribute to the pathogenesis of hematologic malignancies. Notably, these studies have also begun to fundamentally change our ability to develop informative prognostic schema that inform outcome and therapeutic response, yielding substantive insights into mechanisms of hematopoietic transformation in different tissue compartments. Although these studies have already had important biologic and translational impact, significant challenges remain in systematically applying these findings to clinical decision making and in implementing new technologies for genetic analysis into clinical practice to inform real-time decision making. Here, we review recent major genetic advances in myeloid and lymphoid malignancies, the impact of these findings on prognostic models, our understanding of disease initiation and evolution, and the implication of genomic discoveries on clinical decision making. Finally, we discuss general concepts in genetic modeling and the current state-of-the-art technology used in genetic investigation.