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Auswahl der wissenschaftlichen Literatur zum Thema „Professional and artistic society“
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Zeitschriftenartikel zum Thema "Professional and artistic society"
1
Kornieiev, Vitalii, und Nataliia Zhelikhovska. „Contemporary Artistic Journalism. Article-Discussion“. Scientific notes of the Institute of Journalism, Nr. 1 (82) (2023): 56–65. http://dx.doi.org/10.17721/2522-1272.2023.82.4.
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The article formulates understanding of the modern artistic journalism in the context of understanding it as an element of professional training. The authors present the material in the form of a discussion, while the arguments and the counterarguments cover the key principles of current understanding of journalism in the modern information flow, taking into account a growing share of social media in the life of the society. The result of the discussion was formation of a scientific problem of the modern interpretation of artistic journalism in the system of media activities and in the field of content of professional media education. The key conclusion of the discussion was actualization of the need to rethink the artistic journalism as a model of reflecting the reality in the new information realities.
2
Zhyhailo, Maryna, Olena Bilyk, Alina Borysova und Vitaliy Mizyak. „The role of cultural and creative competencies in shaping success of art ukrainian students“. Revista Amazonia Investiga 14, Nr. 75 (30.03.2024): 113–29. http://dx.doi.org/10.34069/ai/2024.75.03.10.
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The article considers the issues of the competency-based approach in higher education and the role of cultural and creative competencies in the modern educational discourse. The aim of the article is to define the peculiarities of forming cultural and creative competencies of students in artistic specialties in higher education institutions of Ukraine, as well as to elucidate the influence of these competencies on the competitiveness and professional career advancement of specialists in both domestic and global labor markets. The research methodology includes a combination of systemic-differentiated, comparative, synergistic, cultural, axiological, structural-functional, and empirical methods, which are employed to clarify the peculiarities of forming cultural and creative competencies during students’ professional training in artistic specialties. The article demonstrates the peculiarities of forming cultural and creative competencies in the Standards of Higher Education and educational-professional programs, examines role of the educational environment in forming creative competencies and its peculiarities as an educational-creative environment using the example of training students in artistic specialties at Kharkiv State Academy of Culture. Promising directions for improving creativity development in educational-creative environments of educational institutions are identified, which enhance the competitiveness of professionals in artistic specialties and contribute to the resolution of crisis phenomena in society.
3
Kirnarskaya, Dina Konstantinovna, Elena Ravil'evna Sizova und Anna Vyacheslavovna Taskaeva. „The professional hero in the field of music pedagogy“. Культура и искусство, Nr. 8 (August 2024): 16–29. http://dx.doi.org/10.7256/2454-0625.2024.8.71485.
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The object of the study is heroization in the professional sphere, which assumes that a professional hero becomes a person who has achieved outstanding results in his professional activity and has received public recognition. The purpose of the article is to present outstanding musicians and teachers as professional heroes involved in the formation of ideological, artistic and aesthetic attitudes of society. The study analyzes the experience of pedagogical activity of outstanding teachers of the South Ural State Tchaikovsky Institute of Arts (hereinafter referred to as the Tchaikovsky Law School): G.K. Gavrilova, M.A. Sadovskaya, E.V. Mikhalchenko, V.G. Khudyakova, G.K. Kendysh, who are presented as professional heroes. As a result of the research, a cognitive model of the glorification of a professional figure was developed and criteria for the glorification of a professional in the field of music pedagogy were proposed: the presence of their own methodological teaching system, the presence of a large number of outstanding student musicians occupying a high segment of professional musical art and education, recognition of outstanding achievements by students and the pedagogical community. The methodology consists in using an integrated approach and synthesis of research methods for music pedagogy, art history, linguistics, namely, the concretization of certain provisions of heroic linguistics; observation and diagnosis; generalization and analysis of the experience of creative and pedagogical activities of outstanding professionals based on heterogeneous material (scientific and methodological literature, publications in the press, conversations with colleagues and students). The novelty of the research consists in considering the results of the professional activities of teachers and musicians of the Tchaikovsky Law School in the heroic paradigm, as a socially creative product having not only local professional and pedagogical value, but also universal socio-cultural significance, which determines their influence on the formation of axiological guidelines and artistic and aesthetic attitudes of society. The authors conclude that the proposed criteria for evaluating the activity of a musician-teacher are justified for the glorification of a professional figure in the field of music pedagogy, and each of the musicians considered in the article meets the designated criteria for the glorification of the personality of a professional figure. The reference character of the creative and pedagogical activities of professional heroes determines the possibility of their participation in the formation of ideological and artistic and aesthetic attitudes of society.
4
Kolisnyk-Humeniuk, Yuliia. „Modernization of higher professional and pedagogical education of Ukraine and the modern paradigm of education“. Visnyk of Lviv University. Series Pedagogics, Nr. 38 (2023): 129–43. http://dx.doi.org/10.30970/vpe.2023.38.11714.
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A necessary condition for the dynamic development of society is the modernization of the higher education system, which is the basis for ensuring a high pace of scientific and technological, economic, social, cultural progress. In this article, we consider the changes that are being implemented in higher education, aimed at transforming it into an important resource for personal and social development, which will provide our country with highly professional and competitive professionals in order to build a strong democratic state. The relevance of our topic is conditioned by: the necessity for theoretical and methodological justification of measures to update and improve the efficiency of the system of training teachers of professional and artistic disciplines and consideration of this problem taking into account the modern methodology of vocational education; tasks of creating and using methods of training teachers of professional and artistic disciplines and scientific and methodological support, which in structure, content, methods, technologies would meet the provisions of the Sectoral concept of continuing pedagogical education development, current standards of higher education, approved educational programs, would provided the implementation of didactic principles, contributed to the modernization and optimization of training of future teachers; requirements for the development, scientific support and implementation in the educational process of training teachers of professional and artistic disciplines of innovative technologies in combination with modern pedagogical approaches and methodical provisions, that will intensify the development of intellectual potential of students, to form the ability to independently solve pedagogical situations, creative artistic and pedagogical and professional activities. Thus, a number of unresolved contradictions and insufficient development of theoretical and practical aspects of art and pedagogical education have determined the choice of our topic. Keywords: professional and artistic training, teachers, institutions of higher education, specialist, methodology.
5
Koliada, Andrii. „Educational Activity of the Open Opera Ukraine Independent Platform: New Forms of Cooperation with Ukrainian Society“. ARTISTIC CULTURE. TOPICAL ISSUES, Nr. 20(1) (22.04.2024): 139–46. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306923.
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The article examines the educational activities of the Open Opera Ukraine independent platform in terms of new forms of cooperation between artistic organizations and Ukrainian society. Although, before the establishment of Open Opera Ukraine, there were projects that popularized historically informed (authentic) performance in Ukraine, this organization was the first to initiate systematic work in this direction, namely the creation of opera performances, thematic concerts and master classes, the establishment of an amateur choir and a professional baroque orchestra, recording albums of Ukrainian choral heritage, etc. The distinctive feature of the Open Opera Ukraine platform is its openness in the media space and its attempts to involve people from different professional and social groups in its projects. The popularization of early art contributes to a better understanding of it and diversifies the Ukrainian academic music environment. The aim of the article is to identify the strategies and mechanisms of influence of artistic organizations on social transformations using the example of Open Opera Ukraine. The author concludes that artistic activity has a significant impact on social change, and the consistent work of art organizations can change public perception of the essence of cultural processes, views on the art of the past, etc. The projects of the independent platform Open Opera Ukraine affirm contemporary practices of artistic representation, and thus contribute to the full development of contemporary Ukrainian art and its inclusion into the Western European cultural space through common artistic values and practices.
6
Nguyen, Viet Hung. „ARTISTS CHANTING - NARRATING EPIC POEMS PROFESSIONAL OR UNPROFESSIONAL?“ UED Journal of Social Sciences, Humanities and Education 10, Special (27.09.2020): 62–69. http://dx.doi.org/10.47393/jshe.v10ispecial.881.
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Homer’s creative works Iliad, Odyssey have undergone a history of thousands of years, but the Homeric issues have never ceased to be new to generations of researchers. There still remain unanswered questions: Was Homer a professional writer or a folk artist? Did his epical compositions belong to the written or oral literary genre? Were Homer's poems the works of a single poet or of many contributors? We refer to Homer as an artist, a collector and compiler of Greek epics in relation to the type of epic artists in Vietnam. A study of the artists chanting-narrating epic poems from various perspectives: society - profession (professional or amateur?), mode of artistic creation (folk or scholarly?), the relationship between performance and context (ritualistic or non-ritualistic?) ... will clarify the characteristics of the artists chanting - narrating epic poems and the nature of the artistic creation process, and probably put forward suggestions for the preservation of the epic repertoire of ethnic groups.
7
Tadmor-Shimony, Tali, und Nirit Raichel. „To Be a Teacher, a Wife and Mother, and a Zionist Culture Creator in the Pre-State Era“. Israel Studies Review 37, Nr. 2 (01.06.2022): 82–103. http://dx.doi.org/10.3167/isr.2022.370205.
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Following earlier studies on progressive education, nation building, and women teachers’ history, this article examines the lives of four women during the period of the Yishuv who cultivated professional identities while also raising families. All four strove to educate students according to their own pedagogical visions despite a lack of appropriate educational means. The four women teachers faced the challenge and created educational tools based on artistic tendencies, such as dancing, composing poems, and writing prose and poetry. By doing so, they formed a basis for a new Hebrew heritage. Their artistic activities served as a source of innovative pedagogy and received public approval for their contributions to the nation-building enterprise. Professional status empowered them to create a model for career-minded women whose society presented them with a choice between motherhood and professional fulfillment.
8
Zheng, Xiarong. „On the Innovative Art Instructional Mode Based on the Cultivation of Students' Artistic Literacy“. International Journal of Education and Humanities 11, Nr. 1 (16.10.2023): 8–10. http://dx.doi.org/10.54097/ijeh.v11i1.12743.
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In today's society, with the rapid development of the economy, the demand for applied talents is increasing day by day. The demand for art talents in today's society lies not only in their professional skills and skills, but also in their own comprehensive quality and artistic literacy. Artistic literacy refers to a comprehensive quality that a person exhibits in artistic activities, from internal to external. Art education is of great significance in enhancing the ideological and moral qualities, humanistic literacy, promoting mental health, and improving personality of college students. Understanding and analyzing the current situation and existing problems of art literacy education in universities, and seeking a suitable path for educational innovation, to promote art literacy education in universities to a standardized, institutionalized, and scientific track, is an urgent problem to be solved. The article analyzes the application of art literacy in art teaching and reforms the art teaching mode.
9
Ivanytska, L. „LIFE PATH AND CREATIVITY OF PROPERZIA DE ROSSI IN THE CYCLE OF CONCEPTS “MEDIEVAL WOMAN”, “ART”, “SOCIETY”“. Bulletin of Taras Shevchenko National University of Kyiv. History, Nr. 139 (2018): 35–41. http://dx.doi.org/10.17721/1728-2640.2018.139.06.
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The article raises questions about the role and place of women in medieval society and the artistic space. The possibilities for realizing the artistic potential of female artists and female sculptors are explored. The historiography of the outlined problem is analyzed. It is noted that the main obstacles to full creative self-realization of the female artists were numerous social stereotypes, limited access to professional artistic education and artistic practice, lack of social and economic independence, social discrimination and harassment in the process of becoming part of the androcentric professional elite. An example of an analysis of the way of life and the creative work of the first famous sculpture woman of the Renaissance Properzia de Rossi era demonstrated the intolerance of the medieval society and the artistic community to the possibility of self-realization of the medieval female artist as a sculptor. The main source for research is the monumental work of the Italian architect, theorist and first historian of art, Giorgio Vasari, «The Lives of the Most Excellent Painters, Sculptors, and Architects». Propperzia de Rossi is one of the four female artists whom Vasari is paying attention in his stories. The author of the article has shown that Vasari belted the biography of Propercia de Rossi, as he strengthened his contemptuous attitude to the mistress. Vasari used the life and work of de Rossi as an example of the fact that all women, albeit very talented and capable of creating interesting work, are not in a position to escape certain female character traits in their writings. Finally, Vasari recognizes the talent of Properzia de Rossi and states the lack of understanding and worthy support from the contemporary society. At the end of the article, the author concludes on the urgent need for a critical analysis of the rather tendentious present-day presentation of the history of the arts and the need to revisit previously unobserved gender aspects in canonical Western-European art.
10
Abisheva, O. T. „The Role of Artistic and Design Competence in Preparing a Future Design Professional Educator“. Iasaýı ýnıversıtetіnіń habarshysy 125, Nr. 3 (15.09.2022): 276–88. http://dx.doi.org/10.47526/2022-3/2664-0686.24.
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The rapid development of science and technology is having an impact on all areas of society. Nowadays design occupies a dominant place in human life and activity and becomes an important factor influencing the formation of a new reality. The relevance of the problem of training teachers of professional education in the field of design is the need for educational services in the field of design. The teachers of professional education in design, possessing professional competences in accordance with modern requirements, are in great demand on the labor market. Modern education is a renewed content and modernization of the educational system, as well as the use of digital, innovative technologies and methods. International experience is implementing integrated learning or interdisciplinary approach which allows increasing learning motivation in achieving high results in the educational process and learning. Interdisciplinary links are part of a modern teaching system. Orientation of the education system towards competency-based approach, the need to improve the conditions for enhancing the effectiveness and quality of professional education teacher training in design require understanding and specification of the requirements for a professional education teacher in the field of design. The aim of the article is to consider the art and design aspect of the professional design teacher activity with a theoretical substantiation of the structural and content model of formation of art and design competency of a professional education teacher in the field of design.
Dissertationen zum Thema "Professional and artistic society"
1
Schiller, Selma. „The acquisition of essential characteristics required for a contemporary graphic design career“. Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/32970.
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In my eleven years of teaching graphic design at Tshwane University of Technology, I have come to realise that education is
more
than
just
teaching
a
student
the
fundamentals,
techniques
and
new
technologies,
it
is
also
about
their
personal
development.
I
conducted
this
study
to
ensure
that
my
educational
practices
challenge
my
graphic
design
students
to
acquire
the
essential
characteristics
–
or
more
profoundly,
the
essential
human
qualities
-‐
required
for
a
contemporary
graphic
design
career
through
which
the
quality
of
life
for
all
will
be
enhanced.
The
study
is
a
participatory
action
research
study
involving
the
second
and
third
year
graphic
design
students
at
Tshwane
University
of
Technology.
It
involved
five
action
intervention
cycles.
In
the
first
cycle
I
explored
the
current
graphic
design
education
practices
in
order
to
determine
whether
these
practices
ensure
the
acquisition
of
such
essential
human
qualities
that
a
graphic
designer
should
posses.
The
acquisition
of
such
human
qualities
has
become
paramount
because
of
the
ethical
imperative
that
graphic
designers
can
change
the
world
(Berman,
2009).
I
found
that
my
current
graphic
design
education
practices
as
they
relate
to
the
commonly
most
dominant
practices
are
not
sufficient
to
accomplish
this
purpose.
During
the
research
I
was
exposed
to
a
paradigmatically
innovative
education
practice
that
focuses
on
maximizing
human
potential
and
it
was
adopted
to
improve
my
existing
education
practice.
Through
four
additional
action
intervention
cycles
I
provided
evidence
that
indicated
that
my
improved
education
practice
contributed
to
my students’
acquisition
of
an
identified
four
sets
of
essential
human
qualities:
the
artistic
quality
of
creativity;
the
professional
quality
of
continuous,
independent,
increasing
expertise
in
creativity
within
an
interdependent,
co-‐operative
value
based
community
of
graphic
design
practitioners;
the
personal
quality
of
maximizing
human
potential;
and
the
leadership
quality
of
an
enlightened
change
agent.
The
primary
focus
on
the acquisition
of
these
essential
human
qualities
through
the
proposed
method
of
graphic
design
education,
also
allows
for
the
gaining
of
the
necessary
graphic
design
knowledge
and
skills
(Barnett,
2007:101).Thesis (PhD)--University of Pretoria, 2013.
gm2013
Humanities Education
Unrestricted
2
Lefranc-Cervo, Lena. „La Société des architectes modernes (1922-1946) : stratégies professionnelles et postures intellectuelles d'un réseau d'architectes“. Electronic Thesis or Diss., Rennes 2, 2024. http://www.theses.fr/2024REN20023.
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La thèse s’intéresse à une société professionnelle originale de la scène architecturale française de l’entre-deux-guerres, la Société des architectes modernes. Née en 1922 sous le nom de Groupe des architectes modernes (GAM), la SAM est fondée par des architectes novateurs du tournant des XIXe et XXe siècles tels que Hector Guimard, Henri Sauvage, Frantz Jourdain. Elle rassemblera tout au long de son existence des personnalités diverses d’architectes tels que Auguste Bluysen, Adolphe Dervaux, Albert Laprade ou encore Robert Mallet-Stevens. Elle regroupera tout au long de son existence plus de 250 membres. La thèse postule l’idée d’une cohérence à la fois professionnelle mais aussi intellectuelle au sein de ce rassemblement d’architectes. La thèse étudie notamment la formation des réseaux fondateurs du GAM à la fin du XIXe siècle, les raisons de leurs convergences dans les années 1910 et la préparation de l’Exposition internationale des arts décoratifs et industriels modernes de 1925 qui sert de cadre à la naissance du Groupe. Elle s’intéresse aux stratégies de positionnement et de reconnaissance professionnelle des architectes de la SAM en étudiant notamment ses actions au sortir de l’Exposition internationale ainsi que le type de formation réticulaire et l’efficacité du réseau mis en place par la Société. Elle s’intéresse à la posture intellectuelle de la SAM en tentant de dégager une pensée commune à ses membres et la confronte avec celle du reste de la scène architecturale de l’entre-deux-guerres. Elle fait notamment ressortir l’émergence de la figure de l’architecte moderne et étudie la manière dont cette figure est envisagée par la SociétéThe thesis focuses on an original professional society of the French architectural scene of the interwar period, the Society of Modern Architects. Born in 1922 as the Group of Modern Architects (GAM), the SAM was founded by innovative architects of the turn of the 19th and 20th centuries such as Hector Guimard, Henri Sauvage, Frantz Jourdain. Throughout its existence, it brought together a wide variety of personnalities such as Auguste Bluysen, Adolphe Dervaux, Albert Laprade and Robert Mallet-Stevens. It will have more than 250 members throughout its existence. The thesis postulates the idea of both professional and intellectual coherence within this gathering of architects. The thesis studies the formation of the founding networks of the GAM at the end of the 19th century, the reasons for their convergence in the 1910s and the preparation of the 1925 International Exhibition of Modern Decorative and Industrial Arts, which served as the setting for the birth of the Group. It is interested in the positioning and professional recognition strategies of SAM architects by studying in particular its actions at the end of the International Exhibition as well as the type of reticular training and the effectiveness of the network set up by the Society. It is interested in the intellectual posture of the SAM by trying to identify a common thought among its members and confronts it with that of the rest of the architectural scene of the interwar period. It notably highlights the emergence of the figure of the modern architect and studies the way in which this figure is envisaged by the Society
3
Beale, James Robert. „The Halle Concerts Society 1899-1999 : financial constraints and artistic outcomes“. Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340016.
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4
Barbour, Kim Jaime. „Constructing Artistic Integrity: An Exploratory Study“. The University of Waikato, 2006. http://hdl.handle.net/10289/2474.
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This thesis explores the concept of artistic integrity. A historical foundation for artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that the concept is used frequently both in the popular media, and in arts and creative industries policy and research. Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to investigate how artistic integrity is perceived by those working within the New Zealand arts environment. The multifaceted nature of the history of artistic integrity is mirrored in the complexity of the responses from the artists involved in this research. Key themes to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory. The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.
5
Tanner, Jeremy James. „The invention of art history : religion, society and artistic differentiation in ancient Greece“. Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296707.
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6
Butlin, Susan. „Making a living, Florence Carlyle and the negotiation of a professional artistic identity“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26892.pdf.
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7
Butlin, Susan (Susan Barbara) Carleton University Dissertation Art History. „Making a living: Florence Carlyle and the negotiation of a professional artistic identity“. Ottawa, 1995.
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8
McCartan, Kieran. „Implicit theories of paedophilia : professional and trainee/non-professional understandings of paedophilia in modern society“. Thesis, University of Leicester, 1997. http://hdl.handle.net/2381/4807.
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Paedophilia has become a major social issue; although, there remains considerable ambiguity in how society understands and perceives this phenomenon. This thesis will investigate professionals' as well as trainee/non-professionals' implicit theories of paedophilia and their explanations for the current social outcry. This is an inter-disciplinary, mixed-design piece of research, using both qualitative and quantitative methods, with professionals' (n=28) and trainee/non-professionals' (study 1, n=601 study 2, n=188) respectively. Professional implicit theories of paedophilia were found to be fragmented with no unified definitions or understandings. Professionals' believe paedophilia to be a moral panic, caused by a number of factors (the media and changing perceptions of risk). Although, the professionals' do not believe that the general public have a good understanding of paedophilia, research with trainee/non-professionals' reveal that their implicit theories of paedophilia tend to be mixed, reflecting both, popular sensationalistic stereotypes and current professional understandings from this research as well previous research. Professionals' and trainee/non-professionals' implicit theories of paedophilia seem derived from socially constructed beliefs, not from psychological traits and/or individual differences.
9
Kinser, Amber E., Kym Freehling-Burton und Terri Hawkes. „Performing Motherhood: Artistic, Activist, and Everyday Enactments“. Digital Commons @ East Tennessee State University, 2014. https://www.amzn.com/1927335922.
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Performing Motherhood explores relationships between performativity and the maternal. Highlighting mothers lived experiences, this collection examines mothers creativity and agency as they perform in everyday life: in mothering, in activism, and in the arts. Chapters contain theoretically grounded works that emerge from multiple disciplines and cross-dis- ciplines and include first-person narratives, empirical studies, artistic representations, and performance pieces. This book focuses on motherwork, maternal agency, mothers multiple identities and marginalized maternal voices, and explores how these are performatively constituted, negotiated and affirmed.https://dc.etsu.edu/etsu_books/1177/thumbnail.jpg
10
Shindley, Lynda R. „Equal opportunities for professional development a needs assessment for a non-profit professional organization /“. Menomonie, WI : University of Wisconsin--Stout, 2006. http://www.uwstout.edu/lib/thesis/2006/2006shindleyl.pdf.
Der volle Inhalt der QuelleBücher zum Thema "Professional and artistic society"
1
Sortibran, Daisy. How to Break Artist's Block: Guaca Molaa Issue 2. [Long Beach?, CA]: the authors, 2017.
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2
Collins, Steve. The professional society. London: Kingsley, 1988.
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3
1964-, Uribe Carlos, Villalobos Herrera Alvaro und Universidad Autónoma del Estado de México, Hrsg. Profesionalización del arte y los sistemas artísticos. Toluca, Estado de México: Universidad Autónoma del Estado de México, 2006.
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4
Greg, Hocking, und Australian Institute of Professional Photography., Hrsg. Professional photography awards. Queensland, Australia: AIPP, 1998.
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5
Kolokytha, Olga. Artistic development of young professional singers. Vienna: Institut für Musiksoziolgie, 2013.
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6
Collins, Stephen. The professional engineer in society. London: Kingsley, 1989.
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7
Roux, Barbara A. Society of plants. [S.l: B. Roux], 2001.
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8
Jensen, Karen, Leif Chr Lahn und Monika Nerland, Hrsg. Professional Learning in the Knowledge Society. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-994-7.
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9
Ward, Patricia Layzell, Hrsg. Continuing Professional Education For the Information Society. Berlin, Boston: DE GRUYTER SAUR, 2002. http://dx.doi.org/10.1515/9783110958980.
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10
Allen, Jim, und Rolf van der Velden, Hrsg. The Flexible Professional in the Knowledge Society. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-1353-6.
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1
Green, Charles, Belinda Smaill und Seán Cubitt. „Iconographies of Climate Catastrophe: The Representation of Climate Change in Art and Film“. In Arts, Research, Innovation and Society, 93–106. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-56114-6_8.
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AbstractThis chapter reviews visual representations of climate in art and film across the last few decades, exploring shifting artistic, cinematic, televisual and narrative practices that have more recently shaped the communication of the climate emergency. It explores the iconographies that artists and filmmakers have used in the shift from representing contemporaneous and local environmental challenges to depicting the future consequences of climate warming, including widespread biospheric change. The authors sketch the shifting screen media formulations that imagine climate catastrophes, observing how both documentary film, television and contemporary art draw on popular and professional media practices, including news formats and visual effects.
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Vovolis, Thanos. „Performance, Activism and Citizenship: The Experimental Theatre of Thrace, Greece“. In Strategic Innovative Marketing and Tourism, 715–22. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_77.
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AbstractLocal communities and social groups nowadays interact to create a dialogic environment using the arts as a vehicle. The paper examines the case of the Experimental Theatre of Thrace as a pivotal Greek example of the emergence of new forms of citizenship as a performative expressive practice. A practice that gained momentum in many European countries during the twenty-first century, emphasizing the performative dimension of citizenship as well as the artistic value of activism. The article focuses on the landscape political action ‘Tea-time Europe’, a provocative artistic initiative and an ode to all people who drown every day in the Aegean and the Mediterranean seas during their attempt to reach Europe, pushed by wars, violence, persecution, and poverty. The ongoing global refugee crisis shows no signs of decline, and the Mediterranean Sea has become the graveyard for humans and hopes. In the light of the constant resurfacing of xenophobia and neo-fascist ideology in Europe the action ‘Teatime Europe’ is an urgent reminder of the creative power of autonomous citizen communities to recall by artistic means our shared humanity, inviting a rethink of mindsets about art and society. The case study presented consists of a paradigm of the creative collaboration between professional artists and communities, both benefiting greatly from the collaborative process. It provides us with an example of how artistic projects can regenerate communities and how communities are empowered to produce cultural artistic projects where the creative process promotes ethical and social responsibility, awareness, and social sustainability.
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Balda, Ana. „Balenciaga and the Importance of Creativity in Human Flourishing“. In Human Flourishing, 183–96. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09786-7_12.
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AbstractOne of the clearest manifestations of a flourishing life is manifested in the positive impact one projects on society, in the sense of making other lives flourish. Cristóbal Balenciaga is a paradigm of a flourishing life in the fields of creation and education within fashion. This article explains his professional achievements from a doble perspective, artistic and entrepreneurial, and his contribution to the flourishing of clients, workers, and even the fashion of future generations. The legacy of Balenciaga show that human flourishing may be considered as the result of a creative process, for which setting goals, audacity, resilience and consistency are required. When these capacities are put into practice they transcend the improvement of the personal well being to create an expansive mechanism that generates flourishing societies.
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Chua, Siew Ling, und Ai Wee Seow. „Enhancing Professional Knowledge and Professional Artistry of Art and Music Teachers Through Teacher Inquiry“. In Artistic Thinking in the Schools, 61–84. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8993-1_4.
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Bylieva, Daria. „Artistic Virtual Reality“. In Technology, Innovation and Creativity in Digital Society, 462–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-89708-6_39.
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Britten, Nicky. „Patient-Professional Communication“. In Medicines and Society, 129–51. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-14397-6_7.
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Rego, Raquel, Marta Varanda und Tatiana Pita. „Professional Associations“. In International Encyclopedia of Civil Society, 1–8. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-99675-2_593-1.
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Howard, David B., Eva Didion, David B. Howard, Ranjita Mohanty, Rajesh Tandon, Richard D. Waters, Jennifer M. Brinkerhoff et al. „Professional Associations“. In International Encyclopedia of Civil Society, 1250–56. New York, NY: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-93996-4_593.
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Smieliauskas, Wally, Minlei Ye und Ping Zhang. „Professional ethics and reputation“. In Auditing and Society, 63–75. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429457234-4.
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Clark, Rosemary. „Professional Control and Professional Learning“. In Teacher Learning and Power in the Knowledge Society, 145–60. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-973-2_8.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Professional and artistic society"
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PERLIMAN, Victoria. „Current contexts regarding the status of the teaching profession“. In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p413-417.
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The image and status of the teacher have become topics of discussion both at national and international level, because it has been found that the status of the teacher covers both the social and pedagogical perspective. This article represents a conceptualization of the terms of profession, status, teacher, image and prestige in the context of continuous professional training of teachers. Therefore, we emphasize the categorical relevance regarding the status and image of a profession which, in turn, are essential components for establishing its interest for young people and, maintaining competent and qualified employees, and by the need for professionalization, they become an absolute necessity, being a prerequisite for achieving an improvement of the status of the teacher. In the educational practice, the status indicated and granted reveals to the teacher the tasks and tasks that will contribute to the successful achievement of the objectives of the training / development of the students. Historically, the teaching profession has been considered one of the oldest professions, being initiated at the same time with the structuring of social positions in society. Thus, the concept of the profession sums up a multitude of connotations depending on the cultural and historical contexts in which it is defined and, represents the activity that has a certain prestige, through its intellectual or artistic character, manifests the social position of the one who exercises it.
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Lameiro, Monica. „Communication of a Theater play. An exploration from graphic design.“ In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003701.
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We observe how the versatility of the discipline of graphic design can incorporate its theoretical and practical knowledge of other artistic and cultural fields, such as, in this case, theatre. The interpretation of a play goes beyond the creation of scenarios or the artistic representation itself. It also requires an appropriate communication strategy to present the work in its entirety to society and capture the audience necessary for the business structure to be sustainable. This is where we focused our study area and detected a problem: how can we enhance the communication of a theatre play through design? At this point, the work is directed towards professional practice where the participating designers can interpret from their practical knowledge the characteristics and qualities of a given position to provide their graphic solution. This study focuses on exploring and comparing the practices of a selection of design professionals, specialists in this area to define which conditions and requirements should be taken into account in the briefing initially proposed in the design of this type of cultural communication as a starting point between: the creator of the play (the stage); the exhibitions of the theatre company (the performance); and the design of social dissemination (communication).
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Mandea, Maria. „ONLINE EDUCATIONAL MODULES, A DO-IT-YOURSELF APPROACH BY DESIGN THINKING“. In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-055.
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Starting from the assumption that design thinking is a crucial meta-competency for an individual in today's (and tomorrow's) society, this paper aims to explore how it can be developed in non-design professionals and form an inclusive design practice through the pedagogy of craft-based design. Craft based design is an essential part of professional design practice and a growing activity among amateurs and art enthusiasts. As opposed to industrial design, in this type of design, the designer or the planner is also the maker. It is iterative in the sense that it is a repetitive practise that evolves with every new iteration, every new product. The paper follows the experience of creating an online course in toy design and discusses how this process can develop design-related skills in the participants. The case study is an e-learning solution through video content distributed online. It is addressed to teachers looking to assimilate practical, creative skills for their educational process and beginners in design looking to try out a new skill. The paper expands this experience to include the recent development in online courses in art and do-it-yourself areas by following the expansion of this type of art teaching through dedicated websites and platforms. It argues that these online creativity courses can be considered a new form of popular art schools that teach not only the precise topic they are created for but also a way of thinking characteristic to design. Artistic learning for non-professionals is developing meta-competencies that they can apply in other fields. Although guided through online classes, the students gain skills through an autonomous artistic practice. They assimilate concrete skills through a do-it-yourself education, this being the main focus of the present research.
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Михайлова, Н. Н., und Е. Ю. Лекус. „ROLE AND PLACE OF INDEPENDENT CREATIVE UNIONS OF ARTISTS IN THE MODERN ART MARKET SYSTEM“. In ХУДОЖНИК И МЕНЕДЖЕР В ПРОСТРАНСТВЕ СОВРЕМЕННОГО АРТ-РЫНКА Материалы VII научно-практической конференции молодых ученых. Crossref, 2024. http://dx.doi.org/10.54874/9785605196556.2024.3.10.
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В статье рассматривается роль независимых творческих союзов художников на современном арт-рынке. Примерами таких организаций, действующих в нашей стране, являются Евразийский художественный союз, Союз русских художников, Творческий союз профессиональных художников, сообщество «Новые передвижники» и др. Что дает художнику членство в таких союзах? Сегодня в условиях индивидуализированного общества, одной из отличительных черт которого является кризис идентичности (в том числе профессиональной), эти объединения дают художнику возможность осознать себя частью творческого сообщества, основанного на принципах свободного взаимодействия. Кроме того, эти новые формы творческих объединений создаются с учетом требований и изменений современного арт-рынка, благодаря чему у художника возрастают шансы сделать успешную карьеру. Автор считает, что независимые творческие союзы являются важным многофункциональным звеном в сегодняшнем арт-мире. The article examines the role of independent creative unions of artists in the modern art market. The Eurasian Art Union, the Union of Russian Artists, the Creative Union of Professional Artists, the New Wanderers Community, etc. can become the examples of such organizations operating in our country. The question is, what does membership in such unions give to an artist? Today, when society is so individualized and has such distinctive features as the crisis of identity (including professional one), these associations give the artist the opportunity to realize himself as a part of a creative community, which itself based on the principles of free interaction. In addition, these new forms of creative associations increase the chances of an artist making a successful career by the fact that they were created according to the requirements and changes of the modern art market. According to all these facts, this makes independent creative unions an important multifunctional link in the today's art world.
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Saniga, Andrew, und Andrew Wilson. „Barbara van den Broek. Contributions to the Disciplines of Landscape Architecture, Town Planning and Architecture“. In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4024pu9ad.
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Barbara van den Broek (1932-2001) trained as an architect in Auckland, New Zealand before moving to Brisbane with her husband and fellow architect Joop, where they established an architectural practice. van den Broek went on to run an office as a sole practitioner and took on architecture and landscape architecture projects. Over the course of her career she completed post-graduate diplomas in Town and Country Planning, Landscape Architecture and Education, and a Master of Science – Environmental Studies, and collaborated on a number of key projects in Queensland and Papua New Guinea (PNG). Our paper will build an account of her career. In assessing the significance of her contribution to landscape architecture, planning and architecture in Australasia, it will bring a number of other spheres into the frame: conservation and Australia’s environment movement; landscape design and the bush garden; and van den Broek’s personal development that included artistic expression, single parenthood, teaching, and the navigation of male-dominated professional environments to develop a practice that contributed to town planning projects in cities across Australia, and made significant contributions to landscape projects in Queensland and PNG.
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio und María Adelaida Gutiérrez Martín. „Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)“. In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.
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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.
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Tekiner, Halil. „THE TURKISH PHYSICIAN (1803): A FRENCH OPERA BUFFA BY NICOLÒ ISOUARD“. In 46th INTERNATIONAL CONGRESS FOR THE HISTORY OF PHARMACY, 183–87. Pharmaceutical Association of Serbia, 2024. http://dx.doi.org/10.46793/ishp46.183t.
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This study analyzes Nicolò Isouard’s Le Médecin turc (The Turkish Physician), an opera buffa that premiered on November 19, 1803, at the Théâtre de l’Opéra Comique in Paris. Authored by Armand Gouffé and Pierre Villiers, the libretto offers a nuanced critique of early 19th-century medical practices and societal attitudes towards medicine. Set against an orientalist portrayal of Ottoman Istanbul, the opera narrates the story of Khalil, an elderly Turkish apothecary-physician who claims to have discovered a universal cure, as he navigates through ambition and deceit. It addresses themes of medical hubris, the allure of fame, and ethical dilemmas within the profession, while also critiquing the commodification of healthcare and society’s fascination with exotic cures. Drawing on original resources from the French National Library, this analysis highlights Le Médecin turc’s contribution to the tradition of medico-pharmaceutical satire and its ongoing relevance as a piece of social commentary. Incorporating motifs such as a fictional calming potion and the depiction of madness, Isouard’s work showcases the complex interplay between medicine, culture, and society. The opera’s historical and modern revivals in cities such as Paris, Brussels, Vienna, and Frankfurt underscore its significant impact on the opéra comique genre and its enduring importance in the wider artistic landscape.
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Pale, Predrag. „ART AND SCIENCE OF CROSSDRESSING“. In 10th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscss.2023/sv07.13.
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Alternative lifestyles, gender identities and fashion statements are gaining theirlegitimacy in mainstream social life in many cultures. However, even in those marginalsocial circles (LGBTIA+) there are inequalities where crossdressers are at the verybottom of perceived social status. As a result, crossdressing has not been studiedsufficiently neither from scientific nor from artistic viewpoint. Scientific researchpublications mentioning crossdressing are mostly addressing literature, film and theatreaspects of crossdressing, anthropological and some social aspects. Crossdressing ispresented in mainstream media as a very marginal activity of a small number of peculiarindividuals. In the past, health professionals have long considered ways to curecrossdressing and today are focused on helping resolve dysphoria and other sufferingscaused by societies� reaction to crossdressing. Virtually there are no publicationsanalyzing or discussing potential benefits of crossdressing both for the individual andsociety, nor the aesthetical aspects in fashion industry and society in general. Fashion ishighly expressive and research shows that the way humans dress influences not onlymessages they send to others, but also how they feel themselves, especially how theyfeel about themselves. However there is also no research published exploring possibleartistic benefits of crossdressing. This paper presents results of interpretativephenomenological analysis of potential crossdressing benefits. It also discusses socialaesthetical habits and consequential aesthetical blindness established in modern westernsociety. Paper also aims at proposing some new views on scientific and artistic aspectsof crossdressing and indicating possible venues for future research from bothperspectives.
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Badicu, Iurie. „The stage name and protected music trademark: analysis of music branding in the Republic of Moldova“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.28.
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This research highlights the importance of the protected stage name in the development of the music industry and provides an answer to the question: out of all the protected trademarks in the world, what is the total number of music brands in the Republic of Moldova and what exactly are they? The author carried out a research where he performed a staged and complex analysis of local music branding. The protected and representative stage names for the music industry in the Republic of Moldova during the period between 2012 and 2021 were fully investigated. In order to record a quantitative, qualitative, significant and up-to-date result, the author combined several research methods and methodological principles, applying the following validation criteria to trademarks: validity, representativeness, capitalization, valorization, social connection, professional connection and the criterion of belonging to the musical industry from the Republic of Moldova. In order to avoid errors, classified, grouped, encrypted, structured and coded databases of different representative entities were contrasted and compared. The author concludes considering that the protected music brand ensures the development of the local music industry and exerts a significant cultural and economic impact, thus contributing to the development of culture and society in the Republic of Moldova. By highlighting the importance of the cultural approach to the protected stage name, research represents a novelty in the field of the study of culture, public and private artistic management.
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Kolchanova, Elena Avgustovna. „Innovations in professional artistic education“. In VIII International applied research conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112004.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Professional and artistic society"
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Morreale, Astrid. Being part of a professional Society. Office of Scientific and Technical Information (OSTI), Juni 2021. http://dx.doi.org/10.2172/1787279.
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Dillingham, Alan, Marianne Ferber und Daniel Hamermesh. Sex Discrimination by Sex: Voting in a Professional Society. Cambridge, MA: National Bureau of Economic Research, Juli 1991. http://dx.doi.org/10.3386/w3789.
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Wilson, Raymond P. An Ethics Comparison Between the Military and Business Professional: Does Society Hold the Military Professional to a Higher Standard. Fort Belvoir, VA: Defense Technical Information Center, April 2003. http://dx.doi.org/10.21236/ada424963.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Cramer, III, und Walter E. The Year of Values. Professional Military Values, are they Relevant to Today's Society? Fort Belvoir, VA: Defense Technical Information Center, Mai 1986. http://dx.doi.org/10.21236/ada170151.
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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, März 2013. http://dx.doi.org/10.18235/0006015.
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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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Бакум, З. П., und К. О. Морозова. Didactical Conditions of Development of Informative-Communication Competence of Future Engineers During Master-Preparation. Криворізький державний педагогічний університет, 2015. http://dx.doi.org/10.31812/0564/422.
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Didactical conditions of development of informative-communication competence of future engineers during master preparation, which will promote their personal and professional growth in conditions of modern society, are stated in the article.
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Santillo, Mario. The Relation Between the Civil Society and the Governments in the Migratory Processes in South America. Inter-American Development Bank, April 2005. http://dx.doi.org/10.18235/0006558.
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This paper aims to point out the proposals presented to the governments, launched by the organizations working with migratory issues and human rights, whenever a meeting related to these issues has taken place in South America. In addition, this paper will also present the most relevant conclusions reached by South American governments in several annual conferences on migration issues. The most important topics are: human rights, the regularization of regional illegal migrant's migratory situation, the ratification of the "Convention of Workers and Families", national migratory policies, follow-ups on the migrants inside and outside the region, remittances, work and professional reinsertion of former migrants, brain drain, among others.
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Bogdanovskaya, Irina, und Pavel Kiselev. Methodology for the study of the value orientations of young people in the context of the professional spheres of the information society. DOI CODE, 2020. http://dx.doi.org/10.18411/doicode-2023.185.
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