Academic literature on the topic '130103 The creative arts'
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Journal articles on the topic "130103 The creative arts"
Zindel, Bonnie. "Creative Literary Arts." Psychoanalytic Perspectives 7, no. 2 (November 2010): 416–17. http://dx.doi.org/10.1080/1551806x.2010.10473104.
Full text김현숙. "Creative Arts and Zen." Korean Journal of Art and Media 14, no. 1 (February 2015): 85–112. http://dx.doi.org/10.36726/cammp.2015.14.1.85.
Full textJones, Diana. "Creative arts in rehabilitation." International Journal of Therapy and Rehabilitation 18, no. 11 (November 2011): 599. http://dx.doi.org/10.12968/ijtr.2011.18.11.599.
Full text&NA;, &NA;. "PRATT CREATIVE ARTS EVENTS." Family & Community Health 10, no. 4 (February 1988): 84. http://dx.doi.org/10.1097/00003727-198802000-00017.
Full textBrown, Ralph. "Performing Arts Creative Enterprise." International Journal of Entrepreneurship and Innovation 6, no. 3 (August 2005): 159–67. http://dx.doi.org/10.5367/0000000054662836.
Full textBradt, Joke, and Sheryl Goodill. "Creative Arts Therapies Defined." JAMA Internal Medicine 173, no. 11 (June 10, 2013): 969. http://dx.doi.org/10.1001/jamainternmed.2013.6145.
Full textJohn‐Steiner, Vera. "Creative lives, creative tensions." Creativity Research Journal 5, no. 1 (January 1992): 99–108. http://dx.doi.org/10.1080/10400419209534426.
Full textAppleton, Leo, Gustavo Grandal Montero, and Abigail Jones. "Creative Approaches to Information Literacy for Creative Arts Students." Comminfolit 11, no. 1 (2017): 147. http://dx.doi.org/10.15760/comminfolit.2017.11.1.39.
Full textSomers, Marion. "Creative Exit." Art Journal 53, no. 1 (1994): 76. http://dx.doi.org/10.2307/777542.
Full textSomers, Marion. "Creative Exit." Art Journal 53, no. 1 (March 1994): 76–78. http://dx.doi.org/10.1080/00043249.1994.10791611.
Full textDissertations / Theses on the topic "130103 The creative arts"
Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.
Full textJohannesburg is gebou op die ontdekking en ontginning van goud, maar goud resereves loop nou leeg en 'n nuwe hulpbron kan die stad vorentoe dryf: menslike kapitaal. Die kreatiwiteit en aspirasies van 'n diverse bevolking onderhou Johannesburg as die ekonomiese spilpunt van die land, maar die stad het sy goue betekinis verloor en streef nou na 'n nuwe identiteit: om die Kulturele Hoofstad van Suid Afrika te word - 'n vergestalt diversiteit, kreatiwiteit en kulturele uitdrukking. Mense en kulture in die stad meng en nuwe idees word in publieke ruimtes gegenereer. Joubert Park is die stad se grootste en oudste park en huisves die Johannesburg Kunsgallery, hierdie ruimte kan 'n belangrike rol speek in die stad se transformasie na kulturele kapitaal. Die Joubert Park Konservatorium is 'n eeu-oue en eens indrukwekkended onrnamentele kweekhuis, nou verlate en onversorgd. Die Konservatorium en sy omliggende ruimtes dra nie tot die park by nie, maar sy ikoniese form en posisie hou potensiaal in wat herontdek kan word as 'n publieke ruimte van belang. Hierdie verhandeling ondersoek hoe ruimtelike veranderinge gebruik kan word om die vergete waarde van die terrein te herstel. 'n Nuwe program wat die erfenis van die terrein repspekteer kan dit terselfdetyd verbeter om as kulturele landskap by te dra tot Joubert Park en tot die stedelike omgewing daarom by te dra as kulturale kapitaal. Die program wat voorgestel word is die Kreatiewe Konservatorium, 'n gemeenskapsentrum vir media en kuns wat universele media toegang dryf en 'n omgewing skep vir die kultivasie van kuns en kulturele ontwikkeling en uitdrukking. Die Kreatiewe Konservatorium bedien die gemeenskap en mobiliseer die kunste ten einde sosiale en ekonomiese ontwikkeling te bewerkstellig en soedoende die kreatiewe ekonomie en kulturele landskap van Johannesburg te ondersteun. Die projek is ontwerp vir die hede, ge?nspireer deur en in reaksie tot erfenis, om plekke te skep wat relevant sal bly in die toekoms.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
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Tabor, Sarah Owen. "Creative Book Arts Preserving Family History." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TaborSO2002.pdf.
Full textChodoff, Rebekah B. "Developing the Creative Sector: A Comparitive Study of U.K. and U.S. Creative Industry Policies." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391782643.
Full textChang, Woong Jo. "Small Arts Organizations: Supporting their Creative Vitality." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316377062.
Full textMunson, Janelle Francine. "Exploring Leadership in Theater Arts." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-08042009-145939/.
Full textRichards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16036/1/Michael_Richards_Thesis.pdf.
Full textRichards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16036/.
Full textHughes, Pamela. "Microcomputers as creative media in fine arts education." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28240.
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Nyarambi, Arnold. "Drumming and Creative Arts in Health and Aging." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/8277.
Full textPurvis, Bryony. "Between echoes an experiment in creative collaboration." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12466.
Full textI had been living in South Africa for almost a year by the end of 2010, when I instigated a series of creative collaborations with seven individuals, symbolically understood to represent the heterogeneous assortment of relationships that make up real-life social worlds. The people I began working with comprised those closest to me, those I live with, friends living in distant parts of the world and others that I have never met, but whose work or labour I have so greatly admired that I considered them to be an integral part of my world. I extended seven invitations to join me in a dialogue from which we could produce a visual artefact together. I asked that this dialogue address experiences and thoughts on the relationship between the individual and another; what makes us feel intimate and what causes us to feel estranged. The core aim of this project has been to develop a methodology/process that will produce art from dialogue. I centralised the need for the process to be sensitive to the identity and values of all those involved and capable of a deep engagement with the particularities of that encounter. Through this, a space between individuals is activated from which genuinely new ideas/social meanings are formed, and art produced. I regard this process of formation rather than affirmation as an approach that can redistribute agency in the production of meaning. Communication theorist Sara Diamond notes a distinction between collaboration that is ‘simply working together, creating in a context where there is an intention to either make that relationship on-going or create a product of that labour’, and the kind of collaboration that is ‘the process which combines the knowledge, experience and previous understandings or methodologies that are substantively different from that which the participants or even the partners entered the relationship with’ (Diamond 2003). Her distinction points towards a need to balance inter-subjective dialogue with the preservation of individual identities. Diamond’s later definition of collaboration implies that participants actively engage with difference, and resist conflating the initial diversity that made collaboration an appealing prospect in the first place. In this model, however, there must be an awareness of the limits of communication to represent an external reality as a shared reference. This is potentially a paralysing limitation: if communication of any kind can fail, where does this leave us? Shedding the security of relativism (of subjective expression) in exchange for the perilous task of cumulative, inter-subjective engagement has been key to the development of these eight experiments. The artist in this framework is a provider of ‘context’ rather than ‘content’, entering into collaborative encounters and communicative exchange (Dunn, cited in Kester 2004: 1). This document outlines the complexities of collaborative works, so as to do away with an easy reading. It contextualises the subtleties that define the collaborative approach in which I am interested. Much of what I understand about the work we have made, and the process that produced it, has only come about upon reflection and as a result of countless exchanges and conversations with the seven individuals I have worked with. As such I present the following document as both a retrospective of the collaborative experience, as well as a condensed cluster of ideas that help anchor this project’s core meaning. To structure this ‘research’ document, I have divided my work into nine chapters. The first describes my methodology in a wider context of collaborative practice from an ontological and genealogical perspective, before refining the key concerns that inform my making. These are: the space collaborative art occupies; a pluralistic sensibility towards multiple perspectives; and, finally, the role of dialogue in collaborative projects. The subsequent seven chapters are the visual and textual documents of the process of each collaboration. They illuminate aspects of the process specific to the seven working partnerships. Through separating each partnership my aim has been to preserve their authorship and prevent each collaboration from collapsing under the weight of my own agency. However, the process that unfolds in each of the chapters is only the process thus far, and many of these projects continue to evolve and form a part of my ongoing practice. I regard this research and the practical work it supports to be the generation of a specific collaborative methodology.
Books on the topic "130103 The creative arts"
Creative arts. Ypsilanti, Michicgan: HighScope Press, 2012.
Find full textCatherine, O'Sullivan, and O'Sullivan Terry 1957-, eds. Creative arts marketing. 2nd ed. Boston, MA: Butterworth-Heinemann, 2003.
Find full textCatherine, O'Sullivan, and O'Sullivan Terry 1957-, eds. Creative arts marketing. Oxford: Butterworth Heinemann, 1995.
Find full textBooks, Time-Life, ed. Creative fire. Alexandria, Va: Time-Life Books, 1994.
Find full textTaylor, Jean. Creative arts in therapy. London: Anglo-Israel Association, 1989.
Find full textBailey, Sally. Creative Arts Therapy Careers. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664.
Full textEpstein, Ann S. Arts smart: The creative arts in preschool. Ypsilanti, MI: HighScope Educational Research Foundation, 2016.
Find full textJanice, McMurray, ed. Creative arts with older people. New York: Haworth Press, 1990.
Find full textBlake-Strong, Karen. Our creative identities: The arts. [Ontario]: s.n., 2003.
Find full textStack, Steven. Suicide and the creative arts. Hauppauge, NY: Nova Science Publishers, 2009.
Find full textBook chapters on the topic "130103 The creative arts"
Gladding, Samuel T. "Creative Arts Exercises." In The Creative Arts in Counseling, 197–220. Alexandria, VA, USA: American Counseling Association, 2015. http://dx.doi.org/10.1002/9781119221630.ch10.
Full textSaethre-McGuirk, Ellen Marie. "Creative arts processes." In Making Things and Teaching the Creative Arts in the Post-Digital Era, 11–30. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429326264-2.
Full textMcClafferty, Hilary. "Creative arts therapies." In Mind–Body Medicine in Clinical Practice, 100–114. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315157238-11.
Full textHuylebrouck, Dirk. "Creative Counting." In Mathematics, Culture, and the Arts, 35–53. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04037-6_3.
Full textHiggs, Joy, Ian Maxwell, Ian Fredericks, and Lyn Spence. "Developing Creative Arts Expertise." In Professional Practice in Health, Education and the Creative Arts, 238–50. Oxford, UK: Blackwell Science Ltd, 2008. http://dx.doi.org/10.1002/9780470690659.ch19.
Full textHigson, Roger, Elaine Powley, John Salinsky, and Marion Lynch. "Using the Creative Arts." In The Essential Handbook for GP Training and Education, 214–32. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781846197918-23.
Full textBast, Gerald. "Fighting Creative Illiteracy." In Arts, Research, Innovation and Society, 5–28. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09909-5_2.
Full textBailey, Sally, Loretta Gallo-Lopez, Azizi Marshall, Kevin Spencer, Michelle Yadon, Tracena Marie, Mizuho Kanazawa, et al. "Starting again." In Creative Arts Therapy Careers, 186–242. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664-6.
Full textBailey, Sally, Nancy Sondag, Lynn Chapman, Alexa Palmer, Kelly Rae Powell, and Tim Reagan. "Finding success." In Creative Arts Therapy Careers, 101–34. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664-4.
Full textBailey, Sally. "Introduction." In Creative Arts Therapy Careers, 1–4. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003035664-1.
Full textConference papers on the topic "130103 The creative arts"
de Abreu, Filipa Martins, and Álvaro Barbosa. "Creative Engagement." In ARTECH2017: Eighth International Conference on Digital Arts. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3106548.3106599.
Full textPangayan, Victor. "Major Selection Tendency among Creative Arts Students, Academy of Arts and Creative Technology, UMS." In International Academic Symposium of Social Science. Basel Switzerland: MDPI, 2022. http://dx.doi.org/10.3390/proceedings2022082026.
Full textFolgieri, Raffaella, Ludovico Dei Cas, Dario Dei Cas, Maria Elide Vanutelli, and Claudio Lucchiari. "The Creative Mind – DRACLE." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.59.
Full textSzabo, Kinga. "PREDICTORS OF CREATIVE SELF-EFFICACY, CREATIVE ROLE IDENTITY AND SELF-PERCEIVED CREATIVE BEHAVIOR." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/32/s11.032.
Full textTonkovic, Zeljka. "CREATIVE NETWORKS IN A POST-TRANSITIONAL CITY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.014.
Full textSmith, Derek J. "The Remarkably Difficult Psychology of Creative Visualisation." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.54.
Full textCuthbertson, Aaron, Sarah Hatton, Gary Minyard, Harper Piver, Christopher Todd, and David Birchfield. "Mediated education in a creative arts context." In the 6th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1297277.1297290.
Full textClark, Sean, and Esther Rolinson. "Signal: A Systems-based Creative Collaboration." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.20.
Full textSafitri, Wiwid, Trie Hartiti Retnowati, and Bambang Prihadi. "Creative Ceramics of Bayat Klaten: Craft Development in a Postmodern Context." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.008.
Full textHoth, Janina. "Creative Technologies and Interdisciplinary Collaboration." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483697.
Full textReports on the topic "130103 The creative arts"
Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.
Full textHearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.
Full textCunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.
Full textMcIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
Full textHearn, Greg, Mark Ryan, Marion McCutcheon, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.216570.
Full textKerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
Full textRyan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, January 2021. http://dx.doi.org/10.5204/rep.eprints.207597.
Full textSchell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, February 2022. http://dx.doi.org/10.51163/creative-gen009.
Full textMcIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.
Full textGattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
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