Dissertations / Theses: '130103 The creative arts'

1

Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.

Full text

Abstract:

Johannesburg was built on the discovery and exploitation of gold, but the gold mines are depleted, and a new resource is driving the city: human capital. The ingenuity and aspirations of the dense and diverse population sustain Johannesburg as the economic capital of the country, but the City has lost its golden meaning and is striving for a new identity: to become the Cultural Capital of South Africa, an embodiment of diversity, creativity, and cultural expression. People and cultures of the City mix and spark ideas in public space, so Joubert Park, the central, largest, and oldest park in Johannesburg and home to the Johannesburg Art Gallery, should play a role in Johannesburg's transformation into the Cultural Capital. The Joubert Park Conservatory is a century old ornamental greenhouse, once spectacular, it now lies abandoned and in disrepair. The Conservatory and its precinct currently provides no significant contribution to the public of Joubert Park, but its iconic design and position indicate its potential to be rediscovered as an important public space. This dissertation investigates how spatial interventions can be mobilised to re-establish the forgotten significance of the site, and introduce a programme that will respect and enhance the heritage of the Conservatory and its cultural landscape to contribute to Joubert Park as well as the greater urban environment as the Cultural Capital. The proposed programme is the Creative Conservatory (CC), a community media and arts centre driving universal media accessibility and providing an enabling environment for the cultivation of artistic and cultural expression and development. The CC serves the community, mobilising the arts for social and economic development, thus supporting the creative economy and cultural landscape of Johannesburg. The architectural intervention of the CC is designed for the present, while inspired by and responding to heritage, so as to create places that will remain relevant in the future.
Johannesburg 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
MArch (Prof)
Unrestricted

APA, Harvard, Vancouver, ISO, and other styles

2

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 text

APA, Harvard, Vancouver, ISO, and other styles

3

Chodoff, 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 text

APA, Harvard, Vancouver, ISO, and other styles

4

Chang, Woong Jo. "Small Arts Organizations: Supporting their Creative Vitality." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316377062.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Munson, Janelle Francine. "Exploring Leadership in Theater Arts." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-08042009-145939/.

Full text

Abstract:

My final creative project explores research about what makes a successful community theater and tracks development leading a theater troupe in my hometown of Great Falls, Montana. In my lifetime, three theaters began, thrived and perished in Great Falls. The Green Room, Center Stage and Summer Musicale started as little more than groups of friends who loved theater putting up a show. All three experienced success for several years. However, all three eventually crumbled. Before I built my own troupe, I needed to spend some time planning and learning how to avoid what my predecessors failed to do. I examined my involvement and experiences with these three companies. My reflection, discussions with other theater members, and investigation revealed that lack of experience, inadequate financial understanding and low standards of quality contributed to each of their demises. Following reflection on these companies, I gained insight into what makes a successful theater by interviewing community members who are familiar with theater organizations and the community of Great Falls. With their input and my own reflections I then researched what the experts had to say on the subject. These experts either started their own now prospering companies or they consult with theater companies on how to make an organization better. Equipped with the knowledge from all of these resources, I formulated my own plan to produce quality theater in Great Falls I established the beginnings of a theater organization to produce creative work.

APA, Harvard, Vancouver, ISO, and other styles

6

Richards, 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 text

Abstract:

This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.

APA, Harvard, Vancouver, ISO, and other styles

7

Richards, 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 text

Abstract:

This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.

APA, Harvard, Vancouver, ISO, and other styles

8

Hughes, Pamela. "Microcomputers as creative media in fine arts education." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28240.

Full text

Abstract:

Microcomputer applications to fine arts areas of education have received limited attention although the need for interdisciplinary education made evident in a substantial body of literature would seem to make such applications desirable. The use of microcomputers as creative media for the composition of poetry, art images, and music by grade four students at an elementary school in British Columbia, Canada was observed and analyzed in order to discern what actually happened as a result of the juxtaposition of microcomputers and creative aspects of fine arts. Ethnographic research methodology allowed the classroom teacher to conduct the study in a participant-observer role throughout the 1988-1989 school year. As a side aspect to the study, it was observed that students developed problem solving strategies that involved assessments and value judgements which encouraged those students to accept responsibility for their own learning. Word processed poetry engendered visual awareness that promoted extensive editing and proofreading and stimulated exploration of visual presentations in the genre of concrete poetry. Art images of nonrepresentational and abstract styles predominated because microcomputer capabilities supported such compositions and allowed students to experience satisfaction in their work regardless of their personally perceived proclivities toward portrayal in realistic style. The use of microcomputers facilitated image processing: the explorations of single ideas that resulted in the creation of series of related images. The students revealed developmental stages in music composition approaches and perceptions by the manner in which they structured sound into music. The students integrated concepts and techniques that involved poetry, art, and music into single works and thus demonstrated associative thought processing skills. Microcomputers used as creative media in the fine arts areas of poetry, art, and music enabled unique learning outcomes, provided a previously unavailable means whereby the developmental stages of child music composition were able to be observed, and constantly allowed students to be simultaneously creators and observers of their own work. The students were thus in position to concurrently recognize and respond to artistic form: a position in which aesthetic experiences are possible.
Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate

APA, Harvard, Vancouver, ISO, and other styles

9

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 text

APA, Harvard, Vancouver, ISO, and other styles

10

Purvis, Bryony. "Between echoes an experiment in creative collaboration." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12466.

Full text

Abstract:

Includes abstract.
I 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.

APA, Harvard, Vancouver, ISO, and other styles

11

Davison, Christopher. "The visualization of the creative experience." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/268.

Full text

Abstract:

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Art

APA, Harvard, Vancouver, ISO, and other styles

12

Ely, Robert. "Creating a creative university." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/621.

Full text

Abstract:

The research focuses on an auto-ethnographic case study of the creation of a new university specialising in creativity in Singapore between 2003 and 2005. The author is the President and CEO of that institution and the Vice Chancellor designate of the University of the Arts Singapore (UARTS@). Through the personal application of knowledge and documentary research, the context for the study is explored, together with the conceptual framework within which it will operate. Some of the social, economic and political issues are described, as they relate to the Singapore Education System, drawing direct comparison with the two systems from which that system originated: the United Kingdom and to some degree, Australia. The case study is centred on the evolution of a private institution, but one that is in receipt of public funding, operating directly under the supervision of the Ministry of Education in Singapore. During the period of the study, the institution transits from a polytechnic towards a full university status and the study observes the extent to which the development impacts on the Singapore Higher Education System and how it responds to two major Singapore government objectives: • The Global Schoolhouse Initiative • The Creative Industries Development The case study illustrates a number of specific challenges facing many existing universities as they attempt to reposition themselves in response to mission convergence.

APA, Harvard, Vancouver, ISO, and other styles

13

Hood, Emily Jean. "Creative Matter: Exploring the Co-Creative Nature of Things." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404623/.

Full text

Abstract:

This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.

APA, Harvard, Vancouver, ISO, and other styles

14

Adams, Tessa. "Creative experience and the 'authenticity' of psychoanalytic discourse." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317398.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Barsh, William Alan. "Home Environment and Creative and Artistic Activity." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/5.

Full text

Abstract:

HOME ENVIRONMENT AND CREATIVE AND ARTISTIC ACTIVITY by WILLIAM ALAN BARSH Under the direction of Melody Milbrandt ABSTRACT This study sought to delve into and analyze the home environment and its relation to creative and artistic activity. Three artistically exceptional third grade art students, their parents, and their previous year teacher were interviewed to collect data relating to students and their home environments. Factors related to a student’s home environment such as the origins of their artistic inspirations, environment in which they made art at home, materials available to them, and the cultural values and beliefs transmitted to them in their homes were looked at to see how they influenced a child’s artistic activity. Data was collected through interviews and teacher observations and combined with a review of literature to compile strategies that might be useful for parents to use to influence their children's artistic activity. INDEX WORDS: Home environment, Creativity, Artistic activity, Families, Artistic influence, Parents, Children

APA, Harvard, Vancouver, ISO, and other styles

16

Mazzeo, Arianna. "Co-learning: An open pedagogy for creative arts education." Doctoral thesis, Universitat Oberta de Catalunya, 2020. http://hdl.handle.net/10803/670097.

Full text

Abstract:

La meva contribució gira entorn de com els mètodes d'aprenentatge basats en el disseny (disseny obert i disseny etnogràfic, particularment) poden fomentar una mentalitat educativa interactiva que expandeixi el context d'aprenentatge acadèmic fora de l'escola. Aquesta recerca és doble: en primer lloc, el meu objectiu és contribuir a la innovació educativa en el camp de les arts creatives a través de mètodes d'aprenentatge basats en el disseny; en segon lloc, exploro les possibilitats que el disseny obert i l'etnografia del disseny poden aportar a l'educació formal en el camp de l'educació artística creativa en introduir la perspectiva somàtica com una perspectiva interdisciplinària. Proposo explorar com es poden implementar els conceptes de disseny obert en un continu que abasti l'educació formal i la no formal. Finalment, el disseny obert com a plataforma per al coaprenentatge, en cocrear i compartir, contribueix a un canvi innovador per desenvolupar pedagogies d'ensenyament-aprenentatge que obrin el marc educatiu formal a l'espai públic com a comportament performatiu incorporat per al benestar de tothom.
Mi contribución gira en torno a cómo los métodos de aprendizaje basados en el diseño (diseño abierto y diseño etnográfico, en particular) pueden fomentar una mentalidad educativa interactiva que expanda el contexto de aprendizaje académico fuera de la escuela. Esta investigación es doble: en primer lugar, mi objetivo es contribuir a la innovación educativa en el campo de las artes creativas a través de métodos de aprendizaje basados en el diseño; en segundo lugar, exploro las posibilidades que el diseño abierto y la etnografía del diseño pueden aportar a la educación formal en el campo de la educación artística creativa al introducir la perspectiva somática como una perspectiva interdisciplinaria. Propongo explorar cómo pueden implementarse los conceptos de diseño abierto en un continuo que abarque la educación formal y la no formal. Finalmente, el diseño abierto como plataforma para el coaprendizaje, al cocrear y compartir, contribuye a un cambio innovador para desarrollar pedagogías de enseñanza-aprendizaje que abran el marco educativo formal al espacio público como comportamiento performativo incorporado para el bienestar de todos.
This work studies how design-based learning methods (open design and ethnographic design in particular) can foster an interactive educational mindset that expands the context of academic learning beyond the classroom. The aim of the research is twofold: first, to contribute to educational innovation in the field of creative arts through design-based learning methods; second, to explore the possibilities that open design and design ethnography can bring to formal education in the field of creative arts education by introducing an interdisciplinary perspective, namely the somatic. The goal is to explore how open design concepts can be implemented in a continuum that spans formal and non-formal education. Open design as a platform for co-learning based on co-creating and sharing contributes to an innovative shift in the development of teaching-learning pedagogies, where the formal educational framework is opened to the public space as a performative behaviour adopted for the well-being of all.

APA, Harvard, Vancouver, ISO, and other styles

17

Quigg, Anne-Marie. "Workplace bullying in the arts : when creative becomes coercive." Thesis, City University London, 2007. http://openaccess.city.ac.uk/8559/.

Full text

Abstract:

The original research carried out in a range of arts organisations in the UK included employees at every level within both commercial and subsidised performing arts organisations in England, Scotland and Northern Ireland. It demonstrates that bullying in UK performing arts organisations is common and increasing in frequency: it is damaging, oppressive and unacceptable. Clear evidence is presented of the failure of management satisfactorily to address bullying: some arts workers tolerate intimidating behaviour by powercut managers because they believe in, and are committed to, the Arts. Among managers, the notion of the arts as vocaffon persists. The widespread perception is that arts organisations work outside the rules and limitations of the ordinary milieu, choosing to work in theatres and arts centres rather than in offices, factories and shops, and that the arts are different and exempt from normal rules and regulations. The research found that many aspects of working in the performing arts are not peculiar to the profession, they occur in other employment sectors and are more likely to be characteristic of the times in which we live, than specific to the sector in which we work. In assessing workplace stressors, it is the response of the organisation, alongside the individual response, that determines negative stress levels. The apportionment of responsibility for successful resolution of negative behaviours within arts organisations is examined. The need to develop suitable policies for dealing with bullying is highlighted. The nature of the behaviour, its effects on individuals and organisations and the role of the perpetrator are outlined. The experience of, and steps taken by, other countries are examined, notably Australia, Canada, France, Sweden and the United States where the profile of bullying behaviour continues to be featured regularly in the press and media, although not yet in the performing arts.

APA, Harvard, Vancouver, ISO, and other styles

18

Carlson, Jacqueline Marie, and Hilda Mercedes Galan. "An Exploration Of Creative Arts Therapies In Pediatric Hospitals." Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/293.

Full text

Abstract:

This research paper explores the use of creative arts therapies with children and families in a pediatric hospital setting as experienced by the therapists who provide these services. The research investigates art therapy, music therapy and dance/movement therapy at Children’s Hospital Los Angeles (CHLA), with an in depth consideration of the role of art therapy services in this setting. The researchers reviewed general literature regarding hospitalization, specifically its effects on children and families, availability and role of psychosocial services and the intensive care units (ICU). Literature discussing creative arts therapies (art therapy, music therapy and dance/movement therapy) was also reviewed, with a focus on art therapy and its role in medical settings with children/families, with pediatric cancer patients and in psychosocial services. Based on information gleaned from the literature review, the researchers crafted an online survey utilized to gather information regarding the experience of providing creative arts therapies in a pediatric hospital setting. The researchers conducted in-depth interviews with three selected survey respondents to further explore these experiences through interview questions and art making. The qualitative data from survey/interview responses, including the art, was reviewed and analyzed by the researchers. Analysis of the data resulted in five prominent themes from the online survey data: being present, family, support, change and identity. Four prominent themes emerged from the interview data: empowerment, culture, being present and identity. The researchers then examined these themes in the context of the general and art therapy literature. The meanings derived from these findings demonstrate the importance of continued and expanded use of creative arts therapies in pediatric hospitals.

APA, Harvard, Vancouver, ISO, and other styles

19

Arıkan, Harun Burak. "Collective systems for creative expression." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36319.

Full text

Abstract:

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.
Includes bibliographical references (p. 123-126).
This thesis defines collective systems as a unique category of creative expression through the procedures of micro and macro cycles that address the transition from connectivity to collectivity. This thesis discusses the necessary technology, context, and terminology, and provides a conceptual structure for the execution, discussion and evaluation of these procedures. This is supported through discussing the author's contribution to the OPENSTUDIO project and the Open I/O system.
by Harun Burak Arıkan.
S.M.

APA, Harvard, Vancouver, ISO, and other styles

20

Namini, Susan Moin. "Digital arts in the context of traditional and contemporary creative arts training and practices." Thesis, Brunel University, 2005. http://bura.brunel.ac.uk/handle/2438/3976.

Full text

Abstract:

The first idea of "Art Education" came to my mind when I wrote M.A. thesis entitled:“ The Role of Art in Training and Teaching Children 6-11”, Ten years ago. I was eager to enhance my study to new planning methods of Art universities. The objective of this idea was to open up our cultural institutions to the wider community, to promote learning and to extend the reach of new technologies. So, as a PhD student I liked to work on the idea of values and the hope for development. I left all my past behind to enliven my ambition in the way of innovative art. In the world of communication and digital, I was looking for a way to connect human‟s intellectual values and global digital. I tried to perceive the reality of human‟s nature despite the extraordinary progress in computer and its components. Therefore, it is now appropriate to move our attention to what we might do as teachers in higher education to evaluate the quality of our own work, with the key aim of improving the quality of students learning. Because, a teacher has a unique role, requiring the integration of teaching skills and capability to take an active role in curriculum support, design and implementation. I had so many interviews with many digital artists around the world which made me to question myself: Where am I standing now? What do I intend my artwork to impart? As the global communication has brought artist to communicate globally they intend to suggest the new thinking and new form of art. It is no longer art for art but art for communication and conveys a meaning to observers. Regarding to Oliver Wedell who interprets the best of a book he found, can also be a good expression for me in art: "The best of a book is not the thought which it contains, but the thought which it suggests; just as the charm of music dwells not in the tones but in the echoes of our hearts." Oliver Wendell Holmes (1809-1894), American physician and writer. (Wendell Holmes). This thesis has set out to provide a review of progress in the British universities post 60s. There was historical evidence of this tendency going back into the 19th century, when colleges founded to serve the educational needs of the growing industrial cities turned into the technological universities. The intensity of the certain of new system in England was occurred after World War II. Following post war concern about the need for technical education, and deciding to establish some colleges linked to industry. Indeed, the evaluation of new industry and demanding for reformation, become one of the most important goals in England in those days. Academic atmosphere became institutionalised on policy for technical education in 1950s and 1960s. Appendix 1 contains the main intention to explore the progressive movement of higher education in England. However, It was not the aim to provide a comprehensive theory of the history of education but, in short, I have narrowed my attention to the history of art universities in England since 18th century up to now. So, appendix II, concentrates on the creation of the new system after the 60s and have explored how and why the process of improvement expanded during that period. Chapter 1 with the subject "Digital Art and Iranian Education" has addressed approaches to teaching for creativity in art and illustrates how they can provide rich opportunities for students to discover experience and develop their skills in creative area. The questions here: How can creativity be communicated through teaching? Do we have a specific language for creativity in art? How can we explain the importance of creativity in art? How can teachers make the teaching process itself more creative? would be an overview of teaching and learning process. As it can be an important factor for teachers to know and demonstrate “when”, “where” and “which” language can be matched by creative subject material to avoid creative problem. Actually, creative problem solving depends on using the right tools such as, text, graphics, picture, video, links, searching, random scanning, backtracking, multiple windows, with programmable access and control of other resources such as, spreadsheets, databases, CAD, CD-ROMs, video discs, audio discs, tricks, procedures or methods of analysis. In some cases new tools and methods of analysis must be developed from scratch by the inventor before a problem can be solved and in other cases special tools and procedures must be developed to take the final critical step of enabling successful commercial applications after a university education. Recent technological advances in the arts have created the possibility of new ways of teaching and learning. Identifying successful strategies and techniques for enabling universities to advance is a critical step towards making these goals a reality. This chapter analyse the following conceptual approaches as key issues: Restructuring curriculum and policy in Iranian arts faculties, promoting faculty development and students‟ learning in the context of global standards. More specific issues included: Is there a need for a standard model to deliver university goals? How can we adapt the curriculum? What do we want from creativity and how can we be more creative? Chapter 2 discusses the quality of teaching and learning, resulting in improvements throughout undergraduate education. Therefore, Iranian educational context needs to be considered. I have argued that to increase faculty members‟ effectiveness, the existing competitive, individualistic college structure needs to be transformed to provide a collaborative and innovative environment where the use of computers could emerge as a new practice area. Chapter 3 represents that creative use of computers in digital art is important in learning and teaching. This chapter gives an account of the author‟s experiences in digital printmaking, not just as pieces of art work, but also to develop teaching and learning strategies for Iranian art universities. Chapter 4 states that the development of a professional digital art practice has been an essential task faced by many creative professionals today. The application of digital technologies discussed in this chapter is: What is needed in order to identify a dynamic practice and critical debate relative to educational contexts? How can we visualize the practice and theory of digitalisation? In particular, what is the nature of the collaboration that explores new models of working and practice relevant to the discovery of new methods in future? Indeed, the intersection between digital paintings, the physical body, and multimedia in collaboration with music and video art is one that this chapter discusses as a challenging teaching exemplar in forming learning values. The result promotes a new fine art context that breaks the crossing between the arts. Chapter 5 reveals the world of modern physics and the reality of our mind and our conscious self. The study of quantum physics is the further aim to develop artists‟ consciousness and inner expression for the concept of body energy and interactivity in chapter 6. Chapter 6 considers the hidden values to learn how to focus well on mind throughout the physical body. The collaborative digital art practice has analysed the intellectual activity and produced an interactive visual arts. The study of human being fused my imagination to see and express body in a new form of art as my final project. Chapter 7 examines and explores the idea of using digital art as a form of multimedia project and the opportunity of developing new techniques in performance. These explorations need to develop new tools to facilitate the emerging concept of the higher spatial dimensions, human body and their relationship between art and technology. The intention of this chapter, as a closing chapter, was to suggest a developing a programme, as a short experiential artwork to model a virtual form of the body and to explore the nature of consciousness in the world of the imagination.

APA, Harvard, Vancouver, ISO, and other styles

21

Blatter, John Henry. "Creative Insubordination." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1825.

Full text

Abstract:

In today’s lexicon a ‘Daily Constitutional’ usually refers to a daily walk. But in actuality, a ‘Daily Constitutional’ is something that one does on a daily basis that is beneficial to one’s constitution or healthful(1); and one’s constitution being the aggregate of a person’s physical and psychological characteristics(2). With this definition, the daily constitutional refers to any daily activity that improves a person’s physical or mental health. At various stages in my life I may have understood my constitutional to be any number of things and it was not until I came into my own did I truly discover my Daily Constitutional, the creative process. In the following thesis I will be covering my thoughts and opinions on the creative process as well as my role of Artist in a larger art community. The thesis consists of six chapters, each being a letter I wrote for Daily Constitutional, A Publication for the Artist’s Voice as the Editor-in-Chief. I created the Daily Constitutional in 2005 in order to provide my contemporary colleagues with an opportunity to once again have a voice in the art world. The publication is entirely submission based with an international open call. Each semi-annual issue is created out of the submissions received and composed by a rotating panel of six artists and has been ongoing throughout my tenure at Virginia Commonwealth University. The mission of the publication is to provide an outlet and forum for the individual Artist’s voice, rather than the cacophony that is the art world at large (galleries, critics, curators, museums, patrons and finally the artists themselves). To provide a place to express, exchange and discuss, without interpretation, the artist’s opinions, ideas and discoveries within one’s practice. This publication can only be made possible, through a collaboration of individual Artists.(3) This document was created with Adobe InDesign CS2. 1. “constitutional.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 2. “constitution.” Dictionary.com Unabridged (v 1.1). Random House, Inc. 03 May. 2009. . 3. “Mission Statement,” Daily Constitutional, A Publication for the Artist’s Voice, 2005-09, http://www.dailyconstitutional.org/mission_statement.html

APA, Harvard, Vancouver, ISO, and other styles

22

Körlin, Dag. "Creative arts therapies in psychiatric treatment : a clinical application of the Bonny Method of Guided Imagery and Music (BMGIM) and Creative arts group /." Stockholm, 2005. http://diss.kib.ki.se/2005/91-7140-388-4/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Stanley, Faye Tucker. "Re-Framing Traditional Arts: Creative Process and Culturally Responsive Learning." Thesis, University of Canterbury. School of Teacher Education, 2014. http://hdl.handle.net/10092/9471.

Full text

Abstract:

In many ways, traditional arts in schools bear the bruises of the early years of multicultural education, and the failed practices that created what has been termed a tourist curriculum, comprised of the superficial study of folktales, festivals, foods, and facts. Consequently, the use of art forms of cultures is often approached with caution by teachers, or avoided altogether. This thesis re-frames the use of traditional arts in the classroom through current research and knowledge, defining their efficacy and role in today’s classroom. Traditional arts are examined through the lenses of arts integration, culturally responsive pedagogical practice and creative processes. A qualitative, research portraiture methodology was employed, and executed through the lens of four case studies in order to more coherently incorporate the arts-based nature of this research. The research sites include classes studying Maori visual arts, waiata (song), and haka (dance) in Christchurch, New Zealand, chant, hula, and plant weaving at an Hawaiian charter school, and social dance and song of the Oneida tribe in the US. Research results indicated that when teachers facilitate experiences in traditional arts in such a way that students are exposed to entry points for their own interaction with the forms, students respond with self reflection, engagement, and a tendency to elevate the status of affiliation with the culture undertaken. While students and teachers do not become conversant in the culture as a result of such study, working with traditional arts in this way may serve to break down culturally bound ways of seeing the world. When traditional arts are employed in classrooms, they may engage students in a creative process that takes the form of embodied or physicalized, interpretive, or improvisational interactions with the forms. When traditional arts are employed in this way, relying on creative process, they also meet goals for culturally responsive learning, legitimizing how students experience and make sense of the world. Traditional arts provide a critical, under-utilized, strategy for embedding culture in the educational setting. In order to best meet the goals of the learning setting, traditional arts must incorporate creative processes. Hybridization of the forms, while increasing accessibility for teachers and students, must be carefully undertaken. Traditional arts utilized in this way hold potential for addressing broader curricular content.

APA, Harvard, Vancouver, ISO, and other styles

24

Roque, Ricarose Vallarta. "Making together : creative collaboration for everyone." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77814.

Full text

Abstract:

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 101-105).
This thesis explores how we can design learning environments to support broad participation in creative collaboration-that is, the process of working together on the construction of an artifact. I describe and analyze the design and implementation of Collab Camp, a learning environment that supports creative collaboration among members in the Scratch online community. The design of Collab Camp is based on four intersecting goals: encourage collaboration, support making, connect to interests, and cultivate community. I use a designed-based learning approach to iteratively design, implement, and evaluate this learning environment. I conclude by reflecting on the implementations and analyses to suggest ways in which we can support everyone in making together.
by Ricarose Vallarta Roque.
S.M.

APA, Harvard, Vancouver, ISO, and other styles

25

Shiels, Justin. "A Report on the New Orleans Center for Creative Arts." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/156.

Full text

Abstract:

In order to maintain relevance, arts organizations must continuously evolve to fulfill the needs of an ever--‐changing consumer landscape. The following paper documents Justin Shiels’ internship with the New Orleans Center of Creative Art (NOCCA), in furtherance of the degree requirements for the Master of Arts in Arts Administration. NOCCA is a regional, pre--‐professional arts training center that offers students intensive arts and academic instruction. Through analysis of current operations, SWOT analysis, and best practices model, this report will explore the core competencies for established arts organizations and the methods of shifting from a good organization to a great organization.

APA, Harvard, Vancouver, ISO, and other styles

26

Guo, Wen. "Arts, Place, and Advocacy Coalition: Policy Network of Creative Placemaking." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1556840752146195.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Masters, Tristan Andrew, and tristan masters@acma gov au. "Supply and Demand of Creative Arts in Regional Victoria, Australia." RMIT University. Economics, Finance and Marketing, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080507.152730.

Full text

Abstract:

Creative arts can make vital contributions to both economies and communities. Moreover, these impacts can be keenly felt by smaller, regional communities, where shifts away from traditional rural industries are apparent, and in the context of the Inew economy' which emphasises the importance of knowledge industries and creative industries. This research investigates creative arts supply and demand in regional Victoria, Australia through the collection and analysis of qualitative and quantitative data in three target communities. Fundamentally, this thesis presents a detailed analysis of the current supply and demand environment, including the impacts of regional arts festivals, and determines the conditions, events and characteristics which could strengthen regional Victorian supply and demand of creative arts. This thesis analyses focus group data to investigate current levels of supply of creative arts in regional Victoria. Qualitative analysis of the data shows that the supply of creative arts in the target areas is limited by scarce resources, isolation, negative community attitudes towards creative arts, and a small audience or sales market and an over-reliance on volunteers. Small and micro-businesses in the regional Victorian arts sector are seen as having motivations for operating beyond making money, limited business acumen, and have difficulty in marketing themselves effectively. Best-practice strategies to strengthen the operations of small and micro-businesses include adopting a more entrepreneurial attitude towards arts business, using an agent to source new audiences or sales markets and to maximise the promotion of their product, creating art which is accessible to the local community, and to engage in skills development and business training. Using attitudes towards creative arts, participation in creative arts and expenditure on creative arts as a measure of current demand levels, this thesis applies a range of statistical and econometric tests to the data collected from the three target communities. Contrary to the view emergent from the supply data, this thesis shows that regional Victorians have strong levels of demand for creative arts. Results show higher than average levels of overall monthly arts expenditure, and strong demand for cinema, craft fairs or exhibitions, books, CDs and other music formats. Low levels of demand were noted for classical music, opera or ballet. Chi-Squared analysis and ordered probit results show that gender, age, festival attendance, education, and individual levels of overall arts expenditure are all determinants of creative arts demand. Analysis regarding impacts and key aspects of two regional arts festivals found that regional festival patrons are more likely to be female, local to the host region, have a middle income, and hold a high school or equivalent qualification. An econometric model, including two versions of an Ordinary Least Squares regression in addition to Tobit and probit estimations, was used to more accurately estimate individual expenditure characteristics, notably accounting for the zero-expenditure of attendees who are local to the host region. This thesis provides valuable contributions to knowledge regarding the supply and demand of creative arts in regional areas. It also provides practical insights for policy makers, festival organisers, and the regional arts industry.

APA, Harvard, Vancouver, ISO, and other styles

28

Rhee, Nakyung. "Creative Aging: Building Capacity for Arts and Aging Policy Making." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503003465529443.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Ride, Peter. "Putting it together : examining new media arts and creative practice." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z8yy/putting-it-together-examining-new-media-arts-and-creative-practice.

Full text

Abstract:

This Ph.D. by Published Work examines projects that have taken place over a period of ten years and that address new media practice. The projects include new media arts exhibitions and publications. The argument of the Exegesis is that taken together these works demonstrate how curatorial practice operates in an integrated way between practice and theory and that it is possible to trace how insights about new media are generated, evolve and contribute to discourse in different parts of the arts sector. The Exegesis argues that curatorial practice can be understood as demonstrating reflection‐in-action and reflection-on-action. It presents a framework for understanding how knowledge is developed through curatorial projects, and thus constitutes practice-based research. In particular the research addresses the role of the curator in new media arts: how the audience for new media is understood, how practitioners’ knowledge, skills and expertise can be articulated and how cultural concepts around digital technology such as ‘newness’ and ‘innovation’ affect the way that new media practice is understood and experienced. The study examines the curated three exhibitions: Lyndal Jones, Demonstrations and Details from the Facts of Life (2001); Timeless: Time, Landscape and New Media (2006) and David Rokeby: Silicon Remembers Carbon(2007)/ David Rokeby: Plotting Against Time (2008); a co-authored book The New Media Handbook (2006); and three articles and chapters, ‘Enter the Gallery’ (2011) & ‘The Narrative of Technology’ (2012) and ‘Shiny and New’ (2010).

APA, Harvard, Vancouver, ISO, and other styles

30

Collins, Sarah K. "Creative Measures: Access to Arts Education in Oregon Public Schools." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11493.

Full text

Abstract:

x, 83 p. : col. ill.
A growing body of research documents the benefits of learning in and through the arts, from academic achievement to personal efficacy. Federal law recognizes the arts as a core subject area for K-12 public schools, and Oregon content standards articulate sequential expectations of what all students should know and be able to do in the disciplines of music, theater, dance, and visual arts. Despite these statutory commitments, little is known about the actual condition of arts education in Oregon public schools. This study mines existing data from the Oregon Department of Education to: 1) establish baseline measures of access to arts education during the 2009-2010 academic year; and 2) identify relationships between access and other school characteristics such as geographic location, school type, and Title I designation. This study's findings hold significant implications for state policy, and its unique methodology can inform the wider field of arts education policy research.
Committee in charge: Dr. Jean Stockard, Chair; Dr. Terri Ward, Member; Dr. Lori Hager, Member

APA, Harvard, Vancouver, ISO, and other styles

31

Haviland, Maya. "Side by side? : practices of collaborative ethnography through creative arts." Phd thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/109596.

Full text

Abstract:

In this thesis I investigate collaborative ethnography through creative arts as a growing global field of practice, based on common influences from anthropology and contemporary art. I seek to understand the nature of this field and to critically examine some of the assumptions that we make as collaborative ethnography/art practitioners about our work as forms of collaboration and social change. Practices of collaborative ethnography through creative arts occur in diverse settings around the world and produce different creative forms such as books, films, photography and theatre. Despite this diversity they share similar ways of working, relationship dynamics and socio-political motivations. I examine the range of social and political agendas that are being furthered using collaborative ethno/art practices and consider the ways in which the motivations of project facilitators shape these agendas and the social relations surrounding projects. The original contribution that this thesis makes is a critical examination of notions of authorship in collaborative ethnographic/arts practice and the flow of benefits from this kind of work over time. I use the recent history of conflict surrounding control of materials from the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena and the Chiapas Photography Project in Mexico as a major case study. This case illustrates that the social, organisational and economic dynamics surrounding collaborative production, and the reception of resulting works by audiences and markets, shape the ways in which authorship and creativity are being understood within collaborative ethnographic/art projects over time. I argue that although collaborative ethno/art practices are acts of co-creation the nature of co-creativity in these projects is frequently obscured by modernist preoccupations with individual authorship. The complexities and potential of co-creativity as a growing form of contemporary cultural creation risks being obscured and misunderstood by the focus on this concern. Examining the social and organisational structures surrounding collaborative ethnographic/art projects, with a focus on the New Orleans based Neighborhood Story Project another major case study in my research, I argue that there is a professionalization of collaborative ethno/art practice occurring. The recent experiences of the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena reveal the institutional and organisational structures accompanying the professionalization of this kind of work risk reinforcing the very social and economic inequities that motivated the practices in the first place. The ways in which dynamics of control and flow of benefits from works created in collaborative ethno/art projects play out over time can inadvertently yet directly contradict the socio-political goals which motivated their original establishment. My research methods included participatory research with a number of projects in Australia, the USA and Mexico; interviews with twenty-five project facilitators from a range of international projects; and examination of the works and histories of a number of long running projects, including the twenty-year history of Chiapas Photography Project in Mexico.

APA, Harvard, Vancouver, ISO, and other styles

32

Hickey, Sean(Sean Michael). "Bricoleur : creative learning through video and computation." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123639.

Full text

Abstract:

Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2019
Cataloged from PDF version of thesis.
Includes bibliographical references (page 115).
In his theory of constructionism, Seymour Papert asserted the importance of bricolage in the learning process. Papert defined bricolage as "a style of organizing work that can be described as negotiational rather than planned in advance." The bricoleur - one who engages in bricolage - works in dialogue with their materials, continuously experimenting and course-correcting as necessary. Throughout this process, the bricoleur creates relations between materials and in doing so, builds mental relations in their head among ideas and knowledge. In this sense, creating with materials is the thinking process and as a result, Papert claimed that "in the most fundamental sense, we, as learners, are all bricoleurs." In light of this, it is important to develop rich bricolage contexts and experiences to support learners in constructing their own knowledge. This thesis describes Bricoleur, a new tool for creating expressive projects in a bricolage style. Bricoleur builds off of the programming paradigm developed for the Scratch programming language to allow makers to create a wide variety of dynamic projects by capturing and programming video and audio media on tablet hardware. We describe the design decisions that led to the creation of a tinkerable tool that engages both the mind and body. In addition, we outline the types of projects and working styles that emerged during creative workshops in which makers created projects with Bricoleur. We then look at some broad outcomes of the work, noting that Bricoleur enables young makers to engage not just with computation and media, but also with their bodies, their environment, and the people around them. Through this process, makers encounter ideas about space, place, people, and time. We conclude with some reflections on future directions for the tool, mobile programming in general, and new possibilities of creative contexts for bricolage.
by Sean Hickey.
S.M.
S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences

APA, Harvard, Vancouver, ISO, and other styles

33

Rife, Miranda L. "Cultivating a Creative Community: A Case Study of the Gahanna Area Arts Council." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561911853082464.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Oakley, Kate. "Creative industries and the politics of New Labour." Thesis, City University London, 2010. http://openaccess.city.ac.uk/11884/.

Full text

Abstract:

This thesis examines the development of policy towards the creative industries in the UK in the period 1997-2008. It argues that this can be seen in the light of New Labour's understanding of the knowledge economy, an understanding that influenced its development of education and social policy, as well as economic policy. It thus provides a unique insight into New Labour politics in general. The thesis asserts that New Labour's account of the knowledge economy was a deterministic one, which took its cue from what it believed to be long-term social and economic trends. In this, it is consistent with other critiques of New Labour politics, which argue that it can be seen as a development of prevailing neoliberal ideas (Hay 1999; Thompson 2002; Finlayson 2003; Clarke 2004); but in this case, I argue, it is a variety of neoliberalism that is heavily influenced by institutionalism (Bevir 2005). The importance of institutionalist ideas can be seen in the emphasis in creative industries policy on networks, characterised by social and ethical norms, as opposed to a neoliberal focus purely on marketisation. New Labour produced an essentially benign account of the knowledge economy; the creative industries were capable of producing 'good work', which offered opportunities for highly skilled labour. In addition, because of its links to popular culture, they could offer inclusion through work, for those deemed socially excluded. I argue that this account continued throughout the period under examination, despite mounting evidence, discussed in several of the publications below, that the creative industries produce labour markets that are highly unequal in terms of race and class. It is in attitudes to the labour market that the failures of New Labour's creative industries policy can be seen most sharply. The roots of that failure, and what it tells us about New Labour's creative industries policy, is the subject of the thesis.

APA, Harvard, Vancouver, ISO, and other styles

35

Fox, Emily M. "Creative Expressive Abilities in Nursing Home Residents with Dementia: Are Creative Activities Better?" Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1366750974.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Lynch, Patrice M. "One woman's journey : a collection of creative nonfiction." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/73.

Full text

Abstract:

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
English; Creative Writing

APA, Harvard, Vancouver, ISO, and other styles

37

Navarro, Edwina Portocarrero. "Inside/out : mirrors for reflective, creative thinking." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69810.

Full text

Abstract:

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.
Cataloged from PDF version of thesis. Page 99 blank.
Includes bibliographical references (p. 93-98).
In this document I present three tools for reflective, creative thinking: Pillow-Talk, the NeverEnding Drawing Machine and Calliope. These tools make use of the "distorted mirror" metaphor for self-reflection. They are designed to debunk myths of creativity as an acquired faculty and instead promote creative apperception and flexible thinking. Pillow-Talk is designed to prime dream recall and facilitate capture through voice recording. Considering the dream an aesthetic experience we all undertake, where the dreamer is free to test knowledge liberated from physical and moral constraints, its aim is to promote flexibility in levels of thought. The NeverEnding Drawing Machine and Calliope endorse flexibility in vehicles of thought through co-creative and collaborative play. One can incorporate any object found in the environment as a tool or material, thus making contextualized and personalized creations. They promote cross-cultural and cross-generational co-creation as the echo from which to recenter perception.
by Edwina Portocarrero.
S.M.

APA, Harvard, Vancouver, ISO, and other styles

38

Psaltis, Heather. "Summer school for the arts| A study of arts classes and creative thinking in urban teenagers." Thesis, Capella University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3617707.

Full text

Abstract:

This study examined the relationship between participation in an intensive summer arts program and creative thinking as measured by pre- and posttests using the Torrance Tests of Creative Thinking. It sought to examine the experiences of the teen apprentices in the summer Art Camp program. The purpose of this study was to compare scores on the Torrance Tests of Creative Thinking before and after a 7-week arts apprenticeship across arts disciplines with urban teenagers. A parallel explanatory research design was used. The two research questions were as follows: What is the relationship between the pre- and posttest scores on the Torrance Tests of Creative Thinking (TTCT) after participation in an intensive summer arts apprenticeship? And How do Art Camp apprentices describe the impact of the program and their experiences as apprentices? Findings show an increase in creativity as measured by the TTCT and largely positive impact on the apprentices. Implications for transformational leaders include support for collaborative community partnerships as well as for the use of summer arts programming as a way to boost cultural capital for economically disadvantaged teens.

APA, Harvard, Vancouver, ISO, and other styles

39

Ali, Safinah Arshad. "Designing child robot interaction for facilitating creative learning." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/128416.

Full text

Abstract:

Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2019
Cataloged from PDF of thesis. "The Table of Contents does not accurately represent the page numbering"--Disclaimer page.
Includes bibliographical references (pages 119-124).
Children's creativity - the ability to come up with novel, surprising, and valuable ideas - has been known to contribute to their learning outcomes and personal growth. Standardized ways to measure creativity and divergent thinking reported that as children enter elementary school, their creativity slumps and thinking becomes more convergent, especially around the 4th grade. One cause for this is school curricula become more structured and lose the aspect of creative play. This is especially concerning for kids growing up in the era of Artificial Intelligence, where mechanical and repetitive jobs that require structured thinking move to machines. To be successful in this world of intelligent agents, we must empower children not only to understand how these intelligent agents work, but also to be able to think creatively about generating new artifacts in consort with such agents, which requires imaginative novel thought.
In this thesis, I explore whether a social robot's interaction with children can be an effective way to help children think more creatively. I suggest two ways in which robots used as pedagogical tools can help children think more creatively are: 1. through artificial creativity demonstration, such as showing the use of novel ideas, and 2. through offering creativity scaffolding, such as asking reflective questions, validating novel ideas, and engaging in creative conflict. I designed four collaborative game-based activities that involve child-robot interaction and afford different forms of creative expression: 1. Droodle Game, which affords verbal creativity, 2. Magic Draw, which affords figural creativity, 3. WeDo Construction with Jibo, which affords construction creativity and 4. Escape Adventure, which affords divergent thinking and creative problem solving.
I designed the behavior of the robot such that it either scaffolds the child for creative thinking, or the robot gives the appearance of creative thinking by artificially emulating human creativity. I evaluated the role of the social robot in influencing children's creativity by running comparative studies between children playing these creativity games while interacting with the robot with creativity-inducing behaviors (creative condition), and without creativity-inducing behaviors (non-creative condition). Children who interacted with the creative robot exhibited higher levels of creativity than children who interacted with a non-creative control robot. I conclude that children can model a social robotic peer's creative expression via social emulation. When scaffolded for creativity, children exhibited higher levels of creativity. This enabled me to develop a robot scaffolding paradigm which fosters creativity in young children.
This thesis contributes design guidelines for child-robot interactions which promote creative thinking, and provides evidence that these creativity inducing behaviors exhibited by social robots can foster creativity in young children.
by Safinah Arshad Ali.
S.M.
S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences

APA, Harvard, Vancouver, ISO, and other styles

40

Reynolds, Jackie. "Creative ageing : exploring social capital and arts engagement in later life." Thesis, Keele University, 2011. http://eprints.staffs.ac.uk/1679/.

Full text

Abstract:

This study explores the meanings that older people attach to their participation in group arts activities throughout their lives. Existing literature on arts engagement and ageing is limited, especially in the UK context, and does little to reveal the complex factors that shape people’s participation. Much existing research approaches the subject from an arts and health perspective, meaning that issues for older people who are actively engaged in their communities are largely unexplored, and their voices are absent. Reflecting a narrative approach, and the need to adopt a life-course perspective, this study involves qualitative interviews with 24 participants who have connections with a case-study town in the English Midlands. Participants were recruited through a range of groups, including choirs, dancing, amateur dramatics, and arts and crafts groups. The study’s findings highlight the key roles played by people’s childhood experiences at home, school and church, in shaping arts engagement. There are important gender and class differences in participants’ experiences, and these in turn are significantly influenced by historical context. In challenging a common ‘deficit’ approach to research with older people, this study uses the concept of social capital as a basis for analysis. This emphasises the critical importance of people’s relationships and communities in shaping participation. Findings offer qualitative understandings of the ways in which older people experience and invest social capital through their group arts engagement, and of the dynamics of mutual support and reciprocity that can thus be seen in the lives of older people. The study concludes that social capital and people’s group arts engagement can be linked to the wider concept of ‘resourceful ageing’ which, in turn, contributes to a better understanding of the impact of life-course experiences on later life opportunities and challenges.

APA, Harvard, Vancouver, ISO, and other styles

41

Nyarambi, Arnold. "The Utility of Drumming and Creative Arts in Health and Aging." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/8278.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Green, Paul. "A framework for the consideration of narrative in creative arts practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11160.

Full text

Abstract:

This research project is aimed at creative practitioners in art and design who choose to engage in postgraduate research and who recognise narrative to be an important aspect of their work. While the goal of narratology has been explicitly declared as an interest in understanding narrative in all its forms, this project responded to a perceived absence of art and design centred perspectives in the general literature on narrative. A general attitude has developed throughout the course of the twentieth century resulting in a view that narrative has become a dead issue for contemporary practitioners. Findings from the investigations conducted as part of this project demonstrate a contrary view and show that definitions of narrative tend to be weak unless anchored in specific practices or disciplines. The lack of scholarship to support contemporary art and design research practitioners produces a problem by giving the false impression that narrative is largely irrelevant to practice. It also inhibits new scholarship when what currently exists is poorly categorised. The research question asks how it is possible to support the creative practitioner doing postgraduate research to better articulate their position on narrative in a way that contributes to scholarship in the arts and consequently to knowledge about narrative in general. The thesis argues that approaches to narrative traditionally associated with the discussion of art continue to be relevant today but only account for practice in a marginalised way. It posits that theorisation of narrative in the social sciences provides additional opportunities for creative arts practitioners. In psychology, sociology and anthropology the focus has tended towards localised or personal narrative in accordance with the disciplinary interests in those fields. If small stories, in contrast to the great narratives of history or literary art, can be regarded as the prototype of narrative, then artists can draw on other academic resources which better reflect their own disciplinary interests. Having established narrative to be more relevant than it might otherwise appear in the existing traditional scholarship, the thesis proceeds to make use of my practice as a case demonstrating narrative possibilities to be considered in relation to the work of practicing artists. Since my work operates across fields of art and design it was necessary to use a mix of methods to reveal the understanding of narrative in the different cases. Finally, the thesis proposes a narrative framework which categorises narrative in creative practice in five classes which incorporate the work, its reception, and the social space in which it is experienced. In addition, the practitioner's perspective is a distinct class. The purpose of the framework is not to describe narrative in all the forms that could ever be imagined by creative practitioners. Instead it offers a way of thinking about narrative that is derived from practice and structured relative to theories traditionally used to discuss narrative and art.

APA, Harvard, Vancouver, ISO, and other styles

43

Riber, Henrik, and Pontus Sjögren. "Motivation in Creative Writing." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35292.

Full text

Abstract:

This paper aims to investigate to what extent creative writing promotes motivation for EFL learners to write. A report published by the National Assessment Project (NAFS) commissioned by The Swedish National Agency for Education evaluated the national tests in English for Swedish students during 2018/2019, documenting that the Swedish students obtained the lowest English scores on writing. This result corresponds with the national test scores in English from earlier years. According to The Swedish National Agency for Education (Skolverket, 2019) motivation is a necessary component for L2 learning, and teachers are expected to play a fundamental role in creating student motivation. However, research within the area of motivation indicates that the understanding of motivation in L2 learning is limited. Likewise, the research indicates a need for the understanding of motivation to be both revised and subject to further research, both to understand the nature of motivation and to define tools on how to push motivation in L2 writing. One such tool could be creative writing (CW). Thus, to understand to what extent CW can motivate EFL learners to write, we explore recent studies that examine how different implementations of CW activities and CW courses can motivate students to write within a school context. In the study, we argue that CW motivates EFL learners to produce text. CW seems to facilitate relevance for the student and empower writing activities that consider the student’s self-interest as well as bring new life to the student’s understanding of writing. The insights of this study hold pedagogical values for L2 writing in the EFL classroom.

APA, Harvard, Vancouver, ISO, and other styles

44

Chan, Miu-kuen. "An evaluative study on the learning of creative thinking in visual arts." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35312099.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Winters, James Clayton. "Transformational Directing: An Analysis on How Leadership Affects the Creative Process." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3567.

Full text

Abstract:

Leadership is often ascribed as a quality one either possess or doesn’t. We often hear phrases like “She is born leader” or “All eyes are on you”, these are thrown around without discretion in the classroom, conference rooms, social gatherings, and business meetings. This work contends that leadership and in particular leadership that grows and transforms its participants is less an inherent character trait, than an outlook and set of core principles that lead to transformation. Through the application of current and developing business leadership theory and its effect on creativity and a cross analysis of “Best in Class” theatre directors and choreographers that I have worked with, I intend to show that the surest way to a theatrically innovative and engaging production is through a dedication to collaboration, selflessness, and directorial clarity.

APA, Harvard, Vancouver, ISO, and other styles

46

Lopez, Melissa. "Genre Criticism: Is Testimonio A/Part of Creative Nonfiction?" Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/771.

Full text

Abstract:

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
Bachelors
English
Arts and Sciences
Creative Writing

APA, Harvard, Vancouver, ISO, and other styles

47

Courage, Cara. "Making places : performative arts practices in the city." Thesis, University of Brighton, 2016. https://research.brighton.ac.uk/en/studentTheses/c8cc27b9-6119-46fc-a44c-3aadd241738b.

Full text

Abstract:

This thesis ‘Making places: performative arts practices in the city’ results from a research project focused on a practice of placemaking informed by performative and social practice artforms. The research is concerned with grassroots arts-led interventions in the urban realm, participated in by citizens with an aim to improve the urban lived experience and to form and cultivate connections between people, place and community. This has come to be termed in the course of the research ‘social practice placemaking’ (social practice placemaking3), a practice observed in the placemaking sector as an approach that is informed by social practice arts and an attention on these arts as a means of urban revitalization. Operating at the intersection of arts, placemaking and urban theory, and place attachment thinking, the research has used a comparative approach based on participant observation and interviews at three case study sites: Art Tunnel Smithfield, Dublin, an outdoor art gallery and garden space; The Drawing Shed, London, a social arts practice predominantly operating in housing estates in Walthamstow and Wandsworth; and Big Car, Indianapolis, an arts organisation operating across the whole of this Midwest USA city. Findings are along three themes. Firstly, of the art practice and process of social practice placemaking, revealing the collaborative social practice placemaking art experience. Secondly, of urban space and place and social practice placemaking as a means of reinterpreting both spatial and cultural activities of the city. Thirdly, of place attachment and social practice placemaking and its role in and citizenship conscientisation and the politics of social practice placemaking activity in the urban public realm. The research presents an original typology of practice for the placemaking sector and examines the practice, process and role of arts in the placemaking sector and positions social practice placemaking in the social practice arts field. Significantly, the presentation of data includes the voice of the artist and non-artist protagonists. The research has various implications for the sector. Firstly, for creative and urban professionals and communities, by revealing how social practice placemaking can deepen an understanding of the relative agencies of the various modes of arts in place. Secondly, how this practice may advance placemaking practice as a whole by its use to better understand differences and similarities between placemakings within the placemaking sector, and from this, better communicate its practices to constituent stakeholders in the creative, urban design and community sectors. Thirdly, how this practice can inform the understanding of collective progressive citizenship in the urban realm and inform generative planning practices.

APA, Harvard, Vancouver, ISO, and other styles

48

De, Maci Lola De Julio. "Curriculum design in creative writing." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Coy, Joshua A. "Making Places or Making Waves: Cultural District Policy Making Considerations for the Public Good." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440356497.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Assogba, Yannick Mahugnon. "Creative networks : socio-technical systems for loosely bound cooperation." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55192.

Full text

Abstract:

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 118-123).
This thesis introduces a programming environment entitled Share that is designed to support and encourage loosely bound cooperation between individuals within communities of practice through the sharing of code. Loosely bound cooperation refers to the opportunity members of communities have to assist and share resources with one another while maintaining their autonomy and independent practice. We contrast this model with forms of collaboration that enable large numbers of distributed individuals to collaborate on large scale works where they are guided by a shared vision of what they are collectively trying to achieve. Our hypothesis is that providing fine-grained, publicly visible attribution of code sharing activity within a community can provide socially motivated encouragement for participation as well as pragmatic value of being able to better track downstream use and changes to contributions that an individual makes. We shall present a discussion of loosely bound collaborative practice in various creative domains and the technological and social factors that contribute to the salience of these forms of cooperation today as well as discussing the motivational factors associated with open source development and how they differ in the case of cooperating individuals who do not share a project. We will also present an overview of the design of our tool and the objectives that guided its design and a discussion of a small-scale deployment of our prototype among members of a particular community of practice.
by Yannick Mahugnon Assogba.
S.M.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic '130103 The creative arts'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles