Journal articles on the topic 'Art, New Zealand – 21st century'
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Pauli, Dorothee. "Seeing Red and Feeling Blue: Social Commentary and Protest in the Work of Michael Reed." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 69–93. http://dx.doi.org/10.24135/backstory.vi9.65.
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Accounts of politically inspired art occupy the margins of New Zealand art history. The career of Michael Reed (born 1950, Christchurch) offers an opportunity to discuss how a New Zealand artist has responded to shifts in 20th and early 21st century global debates regarding social justice, economic exploitation, cultural domination and war. He works across a range of mainly print-based techniques but has also found international recognition for his technically innovative ‘medals of dishonor.’ Through his frequent involvement in collaborative projects, Reed has become part of national and international networks of artists who attempt to speak for the many victims of geo-political power struggles.
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Tahirsylaj, Armend, and Daniel Sundberg. "The unfinished business of defining competences for 21st century curricula—a systematic research review." Curriculum Perspectives 40, no. 2 (August 5, 2020): 131–45. http://dx.doi.org/10.1007/s41297-020-00112-6.
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Abstract Eighty-four articles are examined in this systematic research review, to provide a synthesis of the state of art with regard to educational research that focused on competence-based education (CBE) and curricula covering a period of 20 years from 1997 to 2017. Relying on PRISMA methodology and framed by discursive institutionalism, and curriculum and Didaktik traditions theoretically, the review was guided by two overarching research questions, focusing first on how much and what educational research on CBE approaches is available, and secondly, primarily in the present article, on the definitions that are reported in CBE research in terms of explicit and systematic versus implicit and tacit references, main educational perspectives/paradigms and academic versus applied orientation. Findings show Spain and New Zealand with most articles related to educational research on CBE, and identify four sources of competence definitions: OECD/DeSeCo, European Commission, national policy documents and the academic literature. It is concluded that there is still unfinished business for educational researchers in critically engaging with framing and defining competences for the twenty-first century, their causes, impact and consequences for schooling and learning internationally, as well as how CBE is recontextualised into specific national contexts.
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Walker, Shayne. "New wine from old wineskins, a fresh look at Freire." Aotearoa New Zealand Social Work 27, no. 4 (November 8, 2017): 47–56. http://dx.doi.org/10.11157/anzswj-vol27iss4id437.
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Recently, I re-read Freire’s (1972) Pedagogy of the oppressed and found his emphasis on love inspiring. I was left wondering why this is not often quoted regarding Freire. As an educator (University of Otago), regulator (SWRB), whānau worker and supervisor (NGO staff), I believe my work here in Aotearoa New Zealand is about creating contexts within which it is easier to love. I view love broadly as a set of attitudes, actions and thoughts. It produces a professional set of skills that is a personal journey of completion. I am not patient, tolerant or fair all the time, but I should at least try to be. Perhaps love in the context of professional relationships within the social work process is at the heart of a 21st century emancipation and liberation of Māori and other oppressed groups in Aotearoa. Freire understood that treating people as ‘fully human’ in the social work process was in itself an act of love, otherwise it would be dehumanising.In this article I will be discussing:conscientisation, colonisation, dehumanisation, historical trauma and intergenerational trauma;Freire’s (1972) notion of a ‘culture of silence’;identity;transformative relationships;love in social work;Freire’s virtues and qualities for social workers; andfully human practice.
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Vander Zwaag, Carrie. "21st-century learning a-buzz: Integrating and assessing an arts-centred STEAM approach to learning with apsicopes (beehives) in two Aotearoa intermediate classrooms." Assessment Matters 16 (October 10, 2022): 106–21. http://dx.doi.org/10.18296/am.0062.
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Integrated STEAM education (science, technology, engineering, art, and mathematics) has been shown to effectively foster global competencies as well as school and societal engagement for 21st century learners of diverse backgrounds. However, facilitating quality STEAM teaching and learning can be challenging for teachers, particularly in the area of subject integration and assessment. This is especially true in communities where value is placed on standardised testing and traditional single-subject forms of monitoring, measuring, and reporting on student knowledge. This article responds to the challenge for researchers and educators to develop novel approaches for authentic, integrated STEAM teaching and learning. We share the story of STEAM teaching and learning from within Aotearoa New Zealand’s first apiscope—living beehive—classrooms as teachers implement an innovative arts-centred STEAM teaching and learning approach to learning about bees. In this context, an unusual collaborative journey of students, teachers, researchers, and experts (scientist, beekeepers, artists) unfolds as they grapple with how best to integrate and assess STEAM teaching and learning that responds to students’ strengths and interests.
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Corbett, Susan. "Archives, Museums and Copyright Law: Reconciling the Traditional with Contemporary Practices." Victoria University of Wellington Law Review 50, no. 4 (December 2, 2019): 587. http://dx.doi.org/10.26686/vuwlr.v50i4.6303.
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By preserving and providing accessibility to cultural heritage, archives and museums have a crucial role in civil society. "Culture" is not a static concept; ideally, the practices of contemporary archives and museums should adapt to meet the changed expectations and cultural values of society. However, the limited permitted exceptions for archives in the Copyright Act 1994 are an obstacle to archives and museums attaining this goal. For example, the provisions are drafted from a traditional, analogue perspective, albeit with more recent minor changes in an attempt to acknowledge digital technologies. Furthermore, the permitted exceptions are confined to not-for-profit and state archives– a somewhat contentious limit in the 21st century when the Internet promises the means for cultural democracy. Museums are not mentioned at all. In addition, there is no legislative process permitting uses of orphan copyright works. This article explains how the permitted exceptions for archives could be amended in the upcoming review of the Copyright Act to better acknowledge and support cultural heritage institutions. It examines recent amendments in the Copyright, Designs and Patents Act 1988 (UK) and suggests that while some of these amendments would be useful for New Zealand to emulate, additional changes should also be considered.
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Poudyal, Chandra Sharma. "Virtual/Blended Delivery and the Future of Learning: A Reflection From Practice." Journal of Education and Research 13, no. 1 (March 27, 2023): 68–82. http://dx.doi.org/10.51474/jer.v13i1.664.
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This paper analyses teaching and learning practices in two diverse national contexts using reflection from experience. As an educator, I have experienced diverse teaching and learning contexts at different stages of my teaching journey. This diverse context experience, which ranges from my learning as a student in the traditional classroom environment in Nepal in the late 70s and early 80s with changing context of education delivery in early 2000 as an educator, and finally to the modern classroom environment with the virtual mode of delivery in the New Zealand tertiary sector, has encouraged me to reflect on my professional practice. I am using Mitra’s conceptual framework of the school in the cloud in my reflexivity. Sugata Mitra, through his school in the cloud concept, encourages disrupting the traditional system of education that acknowledges teachers as the core of knowledge. Instead, Mitra suggested that computer and the internet could act as a medium of knowledge without the active involvement of teachers. In this paper, I analyse and discuss how Mitra’s concept of self-organised learning could be applied to the future of learning in the 21st century.
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van Heugten, Kate. "Registration and social work education: A golden opportunity or a Trojan horse?" Journal of Social Work 11, no. 2 (April 2011): 174–90. http://dx.doi.org/10.1177/1468017310386695.
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• Summary: The Social Workers Registration Act (2003) introduced a system of voluntary statutory registration of the social work occupation in Aotearoa New Zealand. This was hailed as a measure that would protect the public from unsafe practices, and enhance the status of the profession. More recently, however, commentators have noted that these positive effects may not necessarily be forthcoming. This article explores the impact of registration on educational programmes, by placing regulation of the occupation in the context of hegemonic neoliberalism. • Findings: Neoliberal approaches to social care not only constrain the delivery of services, but attempt to shape the perspectives of the social care workforce. Education is a potentially powerful tool for achieving that shaping. Where statutory regulation of social work is in force, competency based training threatens to supplant critical analysis, which is a hallmark of higher education. To retain viability as an academic discipline, social work educators must champion social work’s continuing role in analysing and theorizing the distribution of power in social welfare and social care. • Application: Social work educators have a role in supporting practitioners, who struggle to maintain disciplinary integrity whilst employed within 21st-century human services, by continuing to engage in critical debates, and advancing knowledge about the theory—practice nexus. In advancing such knowledge, they also have much to offer other disciplines in institutions of higher education that are looking to explicate their utility in the ‘real world’.
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Coutts, B. J., and D. B. Grant. "The New Zealand surveyor — the 21st century." Journal of Spatial Science 54, no. 2 (December 2009): 49–62. http://dx.doi.org/10.1080/14498596.2009.9635178.
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Swan, Stan. "Electronics education in New Zealand: 21st Century developments." Electronics Education 2004, no. 1 (2004): 28–29. http://dx.doi.org/10.1049/ee.2004.0009.
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Stokes, Tim, and Felicity Goodyear-Smith. "Rethinking the consultation in 21st century Aotearoa New Zealand." Journal of Primary Health Care 15, no. 1 (March 31, 2023): 1–3. http://dx.doi.org/10.1071/hc23032.
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Rae, Barry. "Urban intensification in New Zealand." Ekistics and The New Habitat 69, no. 415-417 (December 1, 2002): 189–91. http://dx.doi.org/10.53910/26531313-e200269415-417333.
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The author is a consultant urban designer/planner/architect and Director of Barry Rae Transurban Ltd, consultants on urban development, based in Auckland, New Zealand. He is a graduate of the Athens Center of Ekistics and a member of the World Society for Ekistics (WSE). The text that follows is a slightly edited and revised version of a paper presented at the WSE Symposion "Defining Success of the City in the 21st Century," Berlin, 24-28 October, 2001.
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Collins, Daniel B. G. "New Zealand River Hydrology under Late 21st Century Climate Change." Water 12, no. 8 (August 1, 2020): 2175. http://dx.doi.org/10.3390/w12082175.
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Climate change is increasingly affecting the water cycle and as freshwater plays a vital role in countries’ societal and environmental well-being it is important to develop national assessments of potential climate change impacts. Focussing on New Zealand, a climate-hydrology model cascade is used to project hydrological impacts of late 21st century climate change at 43,862 river locations across the country for seven hydrological metrics. Mean annual and seasonal river flows validate well across the whole model cascade, and the mean annual floods to a lesser extent, while low flows exhibit a large positive bias. Model projections show large swathes of non-significant effects across the country due to interannual variability and climate model uncertainty. Where changes are significant, mean annual, autumn, and spring flows increase along the west and south and decrease in the north and east. The largest and most extensive increases occur during winter, while during summer decreasing flows outnumber increasing. The mean annual flood increases more in the south, while mean annual low flows show both increases and decreases. These hydrological changes are likely to have important long-term implications for New Zealand’s societal, cultural, economic, and environmental well-being.
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Sidky, Saria, and Dina Adel zaki. "21ST CENTURY SKILLS: NEW ART EDUCATION PARADIGMS IN EGYPT." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 4, no. 14 (April 1, 2018): 161–79. http://dx.doi.org/10.21608/amesea.2018.76229.
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Hickey, Liz, and Mark Westwood. "Issues Facing New Zealand Standard Setters Going Into the 21st Century." Pacific Accounting Review 11, no. 1/2 (January 1999): 121–30. http://dx.doi.org/10.1108/eb037933.
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Frayling, Christopher. "The New Bauhaus: an art education for the 21st century." Art Libraries Journal 32, no. 1 (2007): 31–37. http://dx.doi.org/10.1017/s0307472200014838.
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I’ve called this paper ‘The New Bauhaus: an art education for the 21st century’ – and it involves an element of prediction, which is always high risk in the unpredictable worlds of art and design. Let me start, as a cautionary tale and as a curtain-raiser, with the example of a designer who thought he was rather good at looking ahead.
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Cadavid, Jhonny Antonio Pabón. "Evolution of legal deposit in New Zealand." IFLA Journal 43, no. 4 (June 12, 2017): 379–90. http://dx.doi.org/10.1177/0340035217713763.
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The evolution of legal deposit shows changes and challenges in collecting, access to and use of documentary heritage. Legal deposit emerged in New Zealand at the beginning of the 20th century with the aim of preserving print publications mainly for the use of a privileged part of society. In the 21st century legal deposit has evolved to include the safeguarding of electronic resources and providing access to the documentary heritage for all New Zealanders. The National Library of New Zealand has acquired new functions for a proper stewardship of digital heritage. E-deposit and web harvesting are two new mechanisms for collecting New Zealand publications. The article proposes that legal deposit through human rights and multiculturalism should involve different communities of heritage in web curation.
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Castro, Gabriela. "A dúvida de Cézanne como propedêutica da arte no século XXI." Phainomenon 18-19, no. 1 (October 1, 2009): 175–84. http://dx.doi.org/10.2478/phainomenon-2009-0010.
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Abstract Starting from the question of Émile Bernard to Cézanne: “nature and art are not different?”, and the painter’s answer: “ I would like to join them”, we thought that it would be possible to link the spirit of this sentence with the advances of the art in the 21st century. Cézanne’s attitude designs the union between the two realities: art and nature. This union, in the 21st century, has a new artistic representation called bio-art. With bio-art the dichotomy between art and nature disappears and the artistic-scientific product, as a phenomenological object, is a new substance and opens a new ontology.
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Kolesnikova, I. A. "Lifelong education in the 21st century: new research perspectives." Lifelong education: the XXI century 1, no. 1 (June 2013): 2–18. http://dx.doi.org/10.15393/j5.art.2013.1941.
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Moerdisuroso, Indro. "Reading Children's Drawings Through Analysis of Three Metafunctions." JPUD - Jurnal Pendidikan Usia Dini 16, no. 1 (April 30, 2022): 186–99. http://dx.doi.org/10.21009/jpud.161.13.
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For researchers, early childhood educators, and art educators, the contribution of this article is to expand meaning in drawing activities. Perspective in reading pictures using visual culture theory, especially visual grammar. This study aims to share knowledge and experiences in reading early childhood pictures from different perspectives. This research method uses a qualitative descriptive approach through visual material data collection techniques and analysis of three metafunctions. The objects of research are three pictures of children aged 7-8 years, namely the works of winners of the I-III children's painting competition held by PP-IPTEK TMII in 2018. Aspects of the representation structure, interaction system, and composition of each image are analyzed. The research findings conclude that the ideational function of the three images shows a narrative structure of representation and raises the discourse of resistance to the actual situation. The interpersonal function of the three images places the image maker in the real world and as an object of display impersonally. The textual functions of the three images position social life on other planets as a reflection of hope for real social life.Keywords: children's drawings, visual culture, visual system, three metafunctions
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de Lautour, N. (2020). The Visual Arts and Children’s Thinking and Theorising in Early Childhood. Www.Elp.Co. Nz/Articles, 13.
Driessnack, M., & Furukawa, R. (2012). Arts-based data collection techniques used in child research. Journal for Specialists in Pediatric Nursing, 17(1), 3–9. https://doi.org/10.1111/j.1744-6155.2011.00304.x
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Gernhardt, A., Rübeling, H., & Keller, H. (2013). “This Is My Family”: Differences in Children’s Family Drawings Across Cultures. Journal of Cross-Cultural Psychology, 44(7), 1166–1183. https://doi.org/10.1177/0022022113478658
Hirsh-Pasek, K., Zosh, J. M., Golinkoff, R. M., Gray, J. H., Robb, M. B., & Kaufman, J. (2015). Putting Education in “Educational” Apps: Lessons from the Science of Learning. Psychological Science in the Public Interest, 16(1), 3–34. https://doi.org/10.1177/1529100615569721
Hwang, G.-J., Lai, C.-L., & Wang, S.-Y. (2015). Seamless flipped learning: A mobile technology-enhanced flipped classroom with effective learning strategies. Journal of Computers in Education, 2(4), 449–473. https://doi.org/10.1007/s40692-015-0043-0
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Moerdisuroso, I. (2017). Social Semiotics and Visual Grammar: A Contemporary Approach to Visual Text Research. International Journal of Creative and Arts Studies, 1(1), 80. https://doi.org/10.24821/ijcas.v1i1.1574
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Lisak-Gębala, Dobrawa. "New Century – ‘New Essays’?" Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 8 (December 30, 2019): 13–35. http://dx.doi.org/10.18778/2299-7458.08.08.
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This article constitutes an attempt at organising the non-conservative tendencies in Polish essays published in the 21st century, which apply to themes, the lowering of the tone, and forms of writing. One major stream is travel writing, which focuses not on the Mediterranean legacy, but on the ‘second world’: long-disadvantaged provincial areas. Many essayists abandon the traditional topic of books and works of art, and turn to ‘reading’ the animal world, the plant world, and the world of ordinary objects. The essay has also become a tool for introducing polarisation between that which is mainstream and that which is marginal and concerns minorities. The fact of choosing a non-traditional topic often entails a non-canonical cognitive attitude, which translates into experiments within the area of the form of expression. The author of this article argues that all those innovations can be accommodated by the flexible convention of the essay as a genre which, in principle, is supposed to constitute an artistic cognitive experiment.
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Snape, Paul, and Wendy Fox-Turnbull. "TWENTY-FIRST CENTURY LEARNING AND TECHNOLOGY EDUCATION NEXUS." Problems of Education in the 21st Century 34, no. 1 (September 5, 2011): 149–61. http://dx.doi.org/10.33225/pec/11.34.149.
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The new Knowledge (or Conceptual) Age of this millennium is creating a globalised economy that requires a much more diverse range of skills and dispositions yet many countries’ education systems still promote an outdated Industrial Age model of teaching and learning. In New Zealand, as in many other countries, there has recently been an emphasis on raising the level of qualification and success of students in school. ‘No child left behind’ philosophies feature in many countries and much money has been spent on trying to raise the levels of achievement of underperforming groups and keeping students in schools longer. Industrial Age schools screened, sorted and disciplined students for work and life in society (Bolstad & Gilbert, 2008). This has been done through traditional learning disciplines where study has been largely content and assessment driven. A 21st century curriculum will develop in students a generic capacity and aspiration to learn (Claxton 2007). Recent research has identified the twenty-first century skills people will require for successful integration into a wider range of communities. The writers will introduce two perspectives developed to address twenty-first century learning and highlight how the Technology Education curriculum and Guided Inquiry are ideally suited for delivering this skill set. Technology Education and Guided Inquiry (Kuhlthau, Maniotes & Caspari 2007) pedagogy engage students in meaningful and successful 21st century learning. The first perspective is the Framework for 21st Century Learning (Partnership for 21st Century Skills 2009) and the other, the New Zealand Curriculum (Ministry of Education 2007). Key words: guided inquiry, life-long learning, technology education, twenty first century learning.
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Hewett, Katherine J. E., Bethanie C. Pletcher, and Guang Zeng. "The 21st-Century Classroom Gamer." Games and Culture 15, no. 2 (April 11, 2018): 198–223. http://dx.doi.org/10.1177/1555412018762168.
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The 21st century has given rise to gaming industry technologies that drive a new type of learner in the classroom. This article draws data from four case studies that were conducted as part of a sequential mixed-model study. The study explored the 21st-century skills students reported learning through their video game consumption and creation of intellectual property. The qualitative data analysis led to the development of five major findings: (1) the strategist: accomplishing the mission, (2) the creator: the art of gameplay, (3) the communicator: building relationships and communities, (4) the hero: to be the hero of a great adventure, and (5) I am an “elite”: a digital native. These findings attempt to create a profile of the 21st-century classroom gamer based on the data. They represent and support research trends that explore the gaming phenomenon, gamer traits, and 21st-century skills learned through playing video games.
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Forster-Garbutt, Eva. "Drawn from Nature: Wallpaper patterns in New Zealand's Schools of Art and Design." Architectural History Aotearoa 20 (December 4, 2023): 46–57. http://dx.doi.org/10.26686/aha.v20.8712.
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Schools of art and design were established in New Zealand from 1870 to foster the development of technical skills in the trades and the creative and decorative arts. These schools flourished throughout the latter two decades of the nineteenth century and the early decades of the twentieth century. Informed by the teachings of the South Kensington School in England, students in New Zealand were instructed in the design of patterns for interior finishes, such as wallpapers, tiles, linoleum and textiles. The blossoming Arts and Crafts movement not only guided the teaching models of these schools, but encouraged students to explore the graphic possibilities of flora and fauna, which in the New Zealand context resulted in original decorative patterns with native motifs.
This paper will explore the design of wallpaper patterns by students at the New Zealand schools of art, focusing on those produced between the mid-1880s and the late 1890s. The influence and inspiration for these patterns will be traced, from the Arts and Crafts movement, the teaching methods at schools of art and design, to the natural New Zealand environment.
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Pavlov, A. V., and Y. V. Erokhina. "Images of Modernity in the 21st Century: Altermodernism." Russian Journal of Philosophical Sciences 62, no. 2 (May 12, 2019): 7–25. http://dx.doi.org/10.30727/0235-1188-2019-62-2-7-25.
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The article discusses an actual problem of the contemporary social theory – a problem of post-postmodernism that is the answer to the question: what comes to replace the supposedly outdated postmodernism. Post-postmodernism in an umbrella term that brings together various concepts like digimodernism, automodernism, metamodernism, hypermodernism, supermodernism, etc. One of the replacing postmodernism theories is the French curator and art theorist Nicolas Bourriaud’s concept that was called “altermodern” or “other modernism.” In his previous books Bourriaud proposed to rewrite modernism and, as the result, developed a new theory. The concept appeared in 2009 when Bourriaud presented the exhibition in London, timed to the publication of his manifesto Altermodern, and edited and published the book of collected papers of the same title. Globalization, which opened borders for art, is a central concept of the altermodernism theory. The main terms of altermodern are heterochrony (time diversity) and viatorisation (nomadism). The main social subject of the alternodern era is a free travelling artist, who interprets the meanings of “rewritten” art for the public. They are “rewritten” because Bourriaud proposes to use phenomena and products of past ages to make them work in a new way. However Bourriaud’s concept should be considered critically, as it was formerly done by several researchers. The article proposes a critical review that answers to the question: to what extent the idea of altermodern is heuristic and therefore it could compete with other concepts that abolish postmodern. The author gives a negative answer to this question first of all because altermodern just borrows a lot of elements of the language and apparatus of postmodernism and actually does not offer anything new.
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Амрахова, А. А., Л. О. Акопян, С. И. Савенко, Д. Селимханов, and Т. В. Цареградская. "Music of the 21st century: first results." Журнал Общества теории музыки, no. 4(24) (March 22, 2023): 1–19. http://dx.doi.org/10.26176/otmroo.2018.24.4.001.
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Темой круглого стола стала музыка первых 18 лет XXI столетия. Обсуждению подверглись основные направления современного искусства — авангард, постмодернизм, а также особенности нового мироощущения, выразившиеся в сфере пространственно-временной организации и принципов формообразования музыкальных сочинений. The theme of the round table focused on the music of the first 18 years of the 21st century. The main directions of contemporary art — avant-garde, postmodernism, as well as the features of the new worldview, expressed in the sphere of space-time organization and principles of form- building of musical compositions, were discussed.
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Campbell, Laura. "Worshipping Beauty in the South Seas." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 75–90. http://dx.doi.org/10.24135/backstory.vi6.46.
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This article analyses the wave of avant garde art movements that arrived on our shores in the late nineteenth century and its impact on applied art and the general lifestyles of artists and patrons in New Zealand. With particular reference to Kennett Watkins’ speech given at a meeting of the New Zealand Art Students’ Association’ in 1883, this account looks at the display of Māori objects in both public settings and in the privacy of the artist’s studio. It also acknowledges the role of illustrated magazines in promoting the public profile of professional artists working in Auckland at the turn of the twentieth century. Many patrons in the elite social circles of Auckland admired artists such as Charles F. Goldie for being arbiters of taste and hisbeautifully decorated studio both linked him to the ways European academic artists presented themselves, while using local artifacts to connect his practice to New Zealand. The dispersal of illustrated art magazines in New Zealand became a marketing tool for artists to promote their art practice but, most of all, elevate their status as members of the social elite in urban centres.
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Demeschenko, Violeta. "Peculiarities of genre formation in 21st century cinematography." Culturology Ideas, no. 23 (1'2023) (2023): 55–67. http://dx.doi.org/10.37627/2311-9489-23-2023-1.55-67.
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This scientific exploration is an attempt to consider the theoretical problems of genre development in modern cinema. Even today in the 21st century, modern cinematography remains one of the art forms that continues to develop dynamically. It is this development that continues to transform its genre classification rather quickly. This process occurs because the large number of modern films does not fit into the traditional genre classification and creates the need to search for new principles regarding the formation of the genre as such. The process of genre creation takes place permanently, both in cinematography and in art in general. In relation to this process it is important to highlight the clarification and understanding of the specifics of existing film genres, the classification of which must be constantly reviewed in order to understand the directions of the development of modern film art and to realize its specifics. Solving such a task requires taking into consideration the evolution of the genre system, which has turned into a continuous process that lasts throughout the 20th-21st centuries. Moreover, with regard to this process it is crucial to define the main trends related to the tradition of genre creation, which is influenced by artistic and socio-cultural factors.
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Brown, Mary-Elizabeth. "Old meets new: 3-D printing and the art of violin-making." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A93. http://dx.doi.org/10.1121/10.0015655.
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Since violin-making emerged in the early 16th century, luthiers have incorporated new technology and scientific principles into their craft in an effort to create different sounds, increase resonance, amplify volume, and create more ease of playing. In late 2018, a Canadian interdisciplinary team spearheaded by the Ottawa Symphony Orchestra asked the question: What happens when you transpose those same principles to the 21st-century? In this session, participants will hear the story of the 3-D printed instruments that made international news from the perspective of the lead musician on the team, discover the manufacturing iterations and materials that led to the final versions used in the premiere of the first-ever concerto written for 3-D printed instruments and symphony orchestra, and explore the sound concepts behind these instruments as the centuries-old tradition of violinmaking meets 21st century technology. Join us as we delve into the juncture of old and new, examine the results of such interdisciplinary work and look to the future of 3-D printing in the realm of classical music and beyond.
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Hirschman, Kate, and Bronwyn Wood. "21st Century Learners: Changing Conceptions of Knowledge, Learning and the Child." New Zealand Annual Review of Education 23 (December 30, 2018): 20. http://dx.doi.org/10.26686/nzaroe.v23i0.5280.
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The term ‘21st century learner’ emerged at the turn of the millennium and evoked a certain type of digitally-agile and self-driven learner. These ideas about 21st century learners have been widely and uncritically adopted in New Zealand policies and practices in recent years. This paper examines the origins and substance of this term against the backdrop of globalisation and Knowledge Economy discourses and emerging ideas of ‘digital natives’. It considers the implications of these ideas on conceptualisations of the child, the development of deep learning, the impact on relationships between adults/teachers and students and on social equity. It concludes by suggesting that the term 21st century learner needs on-going critique if we want critical, informed citizens in our democracy.
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Chmil, Hanna, Victor Sydorenko, Olena Berehova, Maryna Mishchenko, and Nataliia Zhukova. "Artistic Paradigms in The 21st Century: The Variability of Human Choice." Herança 7, no. 2 (March 21, 2024): 69–81. http://dx.doi.org/10.52152/heranca.v7i2.832.
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The relevance is that modern art is a field that requires the analysis of all creative processes because in its context there are continuous updates and changes in priorities. These transformations call for research on creativity and the creator, who expresses his position through an artistic interpretation of reality or imagination. The purpose of the article the modern cultural space, the nature of the interaction between the artist and the audience, and the significance of the creator, whose activity no longer serves to satisfy purely aesthetic needs, but is accompanied by the emergence of new types of art aimed at social resonance and self-expression, is revealed. As a result, the concepts of "modern art" and "postmodernism" were characterized. The study discusses the evolution of modern art, including its shift from modernist to postmodern characteristics, the impact of technology, and the changing relationship between artists and society. It also highlights the role of art in addressing societal issues and calls for further research in various fields influenced by art. The article reveals the role of art in human life, changes in perception, and social influence.
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Rogers, Martha E. "Nursing Science and Art: A Prospective." Nursing Science Quarterly 1, no. 3 (August 1988): 99–101. http://dx.doi.org/10.1177/089431848800100304.
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The 21st century will arrive with a plethora of manifestations of change. Rapid acceleration will be evident in every aspect of life. Diver sification and synthesis will grow as new world views multiply to encom pass the extraterrestrial. Nursing's abstract system signifies a new real ity as nurses participate in the process of change to benefit people. The future demands flexibility, imagination, and a sense of humor.
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Koot, Roman. "RKD Explore: searching for art-historical information in the 21st Century." Art Libraries Journal 40, no. 3 (2015): 21–27. http://dx.doi.org/10.1017/s0307472200000316.
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In 2014 the RKD launched RKD Explore, a new interface for searching the collection databases. This state-of-the-art search engine provides a multitude of search possibilities. And although most of the art-historical information is still in analogue form in The Hague, RKD Explore lets users really explore the richness of the ever-growing digital content of the databases.
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Hirschman, Kate, and Bronwyn Wood. "21st Century Learners: Changing Conceptions of Knowledge, Learning and the Child." New Zealand Annual Review of Education 23 (December 30, 2018): 20–35. http://dx.doi.org/10.26686/nzaroe.v23.5308.
Full textAbstract:
The term ‘21st century learner’ emerged at the turn of the millennium and evoked a certain type of certain type of digitally‐agile and self‐driven learner. These ideas about 21st century learners have been widely and uncritically adopted in New Zealand policies and practices in recent years. This paper examines the origins and substance of this term against the backdrop of globalisation and Knowledge Economy discourses and emerging ideas of ‘digital natives’. It considers the implications of these ideas on conceptualisations of the child, the development of deep learning, the impact on relationships between adults/teachers and students and on social equity. It concludes by suggesting that the term 21st century learner needs onâ€going critique if we want critical, informed citizens in our democracy.
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Bun, Sokny. "Radical Uncertainty and Artificial Intelligence policy issues for Aotearoa New Zealand." Policy Quarterly 19, no. 4 (November 23, 2023): 73–76. http://dx.doi.org/10.26686/pq.v19i4.8570.
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This article explores the intricacies of policymaking in the 21st century, with a focus on Aotearoa New Zealand’s approach to artificial intelligence (AI). The analysis underscores the challenges presented by risk, uncertainty, and especially radical (fundamental) uncertainty, which complicates the formulation of robust AI policies. Using Aotearoa New Zealand as a case study, the article delves into the multifaceted policy challenges AI presents, emphasising the need for adaptive policymaking, stakeholder engagement, a precautionary approach and ethical considerations. In short, a balanced interplay of evidence, values and power in the policymaking process is required.
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Craw, Janita. "Making art matter-ings: Engaging (with) art in early childhood education, in Aotearoa New Zealand." Journal of Pedagogy 6, no. 2 (December 1, 2015): 133–53. http://dx.doi.org/10.1515/jped-2015-0018.
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Abstract This article examines the special nature of Te Whāriki, Aotearoa New Zealand’s early childhood national curriculum, as a dynamic social, cultural document through an exploration of two art-inspired imaginary case studies. Thinking with Te Whāriki retains the potential to ignite thinking post-developmentally about art, pedagogy and practice in teacher education, and in the field. It offers examples of how creating spaces for engaging (with) art as pedagogy acts as a catalyst for change, art offers a dynamic way of knowing, and being-with the different life-worlds we inhabit. While new paradigms for thinking and practicing art in education continue to push the boundaries of developmentally and individually responsive child-centred pedagogies, an emphasis on multiple literacies often gets in the way. This prohibits opportunities for engaging in other more complex approaches to pedagogy and art as subject-content knowledge, something essential for developing a rich curriculum framework. The article draws on research that emphasises the importance of teacher education in opening up spaces for thinking about (the history of) art in/and of education as more than a communication/language tool. It considers an inclusive and broad knowledge-building-communities approach that values the contribution that art, artists, and others offer the 21st early learning environments we find ourselves in.
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Demeschenko, Violeta. "Features of genre formation in film art of the 21st century." Interdisciplinary Cultural and Humanities Review 2, no. 2 (November 1, 2023): 11–19. http://dx.doi.org/10.59214/2786-7110-2023-2-2-11-19.
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The relevance of the study lies in rethinking the specifics of existing film genres, the processes of their transformation in the cinema of the 21st century. Objective of the study is to recreate the logic of the formation of a modern genre system that includes new hybrid forms. The following methods are used: structural-system, general scientific methods of theoretical research (analysis, synthesis, induction, deduction, generalisation, classification, etc.). The features of the formation of modern film genres were examined. It is established how new hybrid genres are formed, and the features of dialectical development of genre forms are analysed. The genesis of documentary animation is considered, using examples of well-known modern works made in this genre form. The results of the study can be used for further systematic examination of hybrid forms of film genres, which will allow including this material in the training programmes of specialists in the field of film studies, art history, audiovisual journalism, film and television directing, and to define the hybrid genre as a separate category at creative film festivals and screenings
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Vashchenko, Olena, Oleh Kopeliuk, Ihor Sediuk, Ievgeniia Bondar, and Tetiana Kornisheva. "Analysis of musical art trends in Ukraine in the 21st century." Revista Amazonia Investiga 11, no. 56 (October 18, 2022): 142–49. http://dx.doi.org/10.34069/ai/2022.56.08.15.
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Thus, the development of Ukrainian music underwent a gradual evolution until the Russian aggression began in 2022. After the fall of the Soviet Union, Ukrainian-language music was not in favor, but after 2014 and especially after February 24, 2022, it became mainstream. Among Chusach varieties of musical art in Ukraine, the most common are pop, rock, rap, jazz, etc. The new opportunities that the Network has opened up for performers also have many hidden dangers. This is primarily about piracy, which significantly reduces the profits from selling your own. At the same time, thanks to multimedia and high-speed Internet, the exchange of musical novelties became more efficient. In particular, for a long time, Ukrainian music was characterized by the same trends as in the West: song plots, rhythms, popular styles of music, etc. It should be noted that the demand for Ukrainian music increased after Russia's military aggression. The Russian product was banned. So, if similar trends unfold in the same way, Ukraine will continue to see the emergence of new talented collectives. It should be noted that pop and rock are promising directions of music development but rap also looks extremely promising.
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Sippel, Annika. "A forgotten collector: Archdeacon Smythe and his collection of British watercolours in New Zealand." Tuhinga 34 (November 14, 2023): 105–23. http://dx.doi.org/10.3897/tuhinga.34.106803.
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Francis Henry Dumville Smythe (1873–1966), a humble clergyman from England, spent a lifetime amassing his private collection of British watercolours. During the 1950s, he decided to gift the bulk of them to two art institutions in New Zealand – Dunedin Public Art Gallery and the National Art Gallery in Wellington. They were welcomed with open arms and celebrated as “the finest collection of water colour pictures in the Southern Hemisphere.” However, they soon fell out of favour as shifting aesthetic tastes and calls for a new national identity dominated the art scene in New Zealand during the latter half of the twentieth century. This paper will examine Smythe’s collecting habits and tastes in art, as well as the formation, gifting and reception of the collection in Wellington and Dunedin. It is based on two chapters from the author’s PhD thesis “A Matter of Taste: The Fate of the Archdeacon Smythe Collection of British Watercolours in New Zealand” (2021).
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Ye, Ping, Liu Qi Wu, and Duo Wang. "Landscape City: The Ideal Direction of Cities Development of 21st Century in China." Advanced Materials Research 243-249 (May 2011): 6660–63. http://dx.doi.org/10.4028/www.scientific.net/amr.243-249.6660.
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Landscape city is a new concept of city construction which is proposed by Chinese famous scientist Qian Xuesen.It contains many factors such as garden、culture、art 、technology . Landscape city covers the western modern urban theory, and at the same time Chinese culture connotation, it stands for 21st century Chinese socialist urban development ideal direction. In the early of 1990s, one of the famous scientists of China, Professor Qian Xuesen proposed the concept of landscape city, and it embodies Qian’s deeply expectation that the cities in the 21st century are landscape cities. What is the landscape city? From Professor Qian’ 68 pieces of articles, letters and interviews, we can conclude a formula that is: Landscape City = Garden City + culture city + art cities + modern technology city. Our cities have different natural and geographical conditions and also have different society function. But for most of them, should set landscape city as their development goal, this should be the Chinese nation’s noble ideals of the living environment in the 21st century.
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Zemīte, Ieva. "CHALLENGES FOR A 21st CENTURY CULTURAL ORGANISATION: CULTURAL ENTREPRENEURSHIP." Culture Crossroads 7 (November 14, 2022): 86–95. http://dx.doi.org/10.55877/cc.vol7.230.
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In parallel with the development of scientific discourse, a dialogue about the making of cultural entrepreneurship offer becomes more and more significant also among practitioners because the necessity to take a risk and attract resources to the achievement of artistic goals increases. Cultural organisations, which have been state subsidised so far, are often forced to function according to business principles, hence a need arises to define new notions and analyse the specific nature of these activities. It determines the main differences between activities of classical and cultural entrepreneurship. The cultural exception principle defined in the UNESCO Convention has created preconditions which ensure that culture sector institutions and organisations are not under the free market rule, and their contents are protected. At the same time a system is created which allows leaders of organisations, relying on their special status, to demand both financial and material resources which are necessary to ensure the functioning of cultural organisations and institutions. It does not always ensure development-oriented management. The distinction of pure art, culture industry, creative industry and related industries determines the most essential breakdown of the industry into sectors, which also marks the differences in funding their activities. However, entrepreneurship also means creating new values in the context of pure art. It means taking a risk and attracting the necessary resources to achieve the goals.
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Wilson, Geoff A., and P. Ali Memon. "Indigenous Forest Management in 21st-Century New Zealand: Towards a ‘Postproductivist’ Indigenous Forest–Farmland Interface?" Environment and Planning A: Economy and Space 37, no. 8 (August 2005): 1493–517. http://dx.doi.org/10.1068/a37144.
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The critique of indigenous forest management in New Zealand in this paper contextualises the discussion in light of recent Eurocentric debates on the transition towards ‘postproductivist’ and ‘multifunctional’ agricultural and forestry regimes. The research findings confirm recent criticisms of Australian writers with regard to the direct transferability of the notion of a transition towards postproductivism developed by European researchers and also lend support to Holmes's (2002) notion of productivist and postproductivist occupance. Long-standing productivist demands continue to be made on New Zealand's indigenous forests, especially from economically marginalised stakeholder groups who depend on the continuation of logging for economic survival. We argue that the tension between the recent adoption of a ‘postproductivist’ conservation policy at government level and the continuing ‘productivist’ attitudes among some stakeholder groups explains why the protection of remaining indigenous forests continues to be contested. The New Zealand findings also provide further evidence for those persons criticising the implied linearity and dualism inherent in the Eurocentric postproductivist transition model. We argue that processes at the New Zealand forest–farmland interface support Wilson's (2001) notion of a territorialisation of productivist and postproductivist territories into a ‘multifunctional’ territory. From a social constructionist perspective, the results highlight the fact that a clear separation into productivist and postproductivist occupance may not be easy to conceptualise as our view of agricultural land as ‘productivist’ territory and unlogged or sustainably managed indigenous forest as ‘postproductivist’ territory is largely based on a Euro–American ‘deep green’ view of unaltered ‘nonhuman’ nature. This supports Mather's (2001) suggestion that postproductivism should be cast as part of a shifting mode of social regulation of forestry with particular stakeholder groups constructing images of nature according to their interests, and where western ideas of nature as a (postproductivist) wilderness embody cultural politics which arguably serve to marginalise the interests of indigenous communities.
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Mamadjanova, Elnora. "Musical Art of Uzbekistan in the 21st Century: Globalization and Preservation of Identity." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 57–60. http://dx.doi.org/10.30819/aemr.10-7.
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This article discusses meaning of era of globalization, new definitions, and concepts. Rapid changes and transformation music heritage and genres of traditional music in modern projects can lead to ineradicable consequences in future. What is the uniqueness of the musical art of Uzbekistan, and what changes should be expected in the new era? This article focuses on changes in music education, performing art in pandemic period, and its positive and negative consequences.
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Conn, Cath, Shoba Nayar, Margaret Hinepo Williams, and Radilaite Cammock. "Transforming public health education in Aotearoa New Zealand:." Pacific Journal of Technology Enhanced Learning 3, no. 1 (February 16, 2021): 25–26. http://dx.doi.org/10.24135/pjtel.v3i1.96.
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The face of public health is changing in response to local and global trends of rapid technological development, worsening inequities, and the prominent role of the COVID-19 pandemic (Mays et al., 2012; Dahlgren et al., 2015; Schleicher, 2020). Public health jobs reflect these shifts, emphasizing a need for greater online collaboration and project design, complex problem-solving, and more fluid work patterns. Concurrently, education globally is in a process of transformation reflecting similar concerns to that of the public health industry. This change is paradigmatic and evolving from that of factory model education (traditional Campus 101 in the university or higher education setting) to something which must now reflect 21st century employability (Trilling & Fadel, 2009; Bolstad et al, 2012; Robinson, 2020).
In 2020, COVID-19 brought rapid and significant change to the teaching of public health education in the Aotearoa New Zealand university setting. In this presentation we reflect on the short-term change that took place across higher education as delivery of existing curricula shifted from classroom to online; including in our own practice of public health education. Moreover, we consider the greater agenda of a transformative educational paradigm, broadly conceptualized as a shift from a factory model education to one of 21st century learning, with an emphasis on fostering creativity; heutagogical (student-driven) models underpinned by technology (Bolstad et al., 2012; Robinson, 2020); and real-world application of this involving problem and project-based learning in a changing health industry (Topol, 2015; Mesko, 2015). Such change has stemmed both from the impact of COVID-19 on the education system, and in response to a momentous transformation in public health careers and societal expectations of a public health workforce.
Prior to COVID-19, public health education primarily consisted of classroom based learning, online resources, and standardized assessment. These methods fulfilled the criteria of giving students much needed ‘knowledge’. However, the standardized nature of delivery and assessments (and indeed the non-digital nature of public health education) was also reflective of graduates being trained to enter an industrial workforce, which has complied with uniform 20th century organizational processes and norms. COVID-19 has demanded a complete change to delivery of education to encompass online methods. It also offers opportunities for the move towards creative, flexible and personalized learning that emphasizes student choice, personal identity and strengths, in a time where the nature of organisation and work is transforming. It is not yet clear whether Aotearoa New Zealand higher education will make the most of such opportunities. As society becomes more diffuse and complex with many different players joining in a complex multisectoral and interdisciplinary workforce that is bounded by the digital era; public health higher education, in partnership with community and industry, must undergo change to respond accordingly.
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McCormack, Abby. "International Gambling Conference – Gambling in the 21st century: The implications of technology for policy, practice and research." PsyPag Quarterly 1, no. 77 (December 2010): 14–16. http://dx.doi.org/10.53841/bpspag.2010.1.77.14.
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Budoiu, Oana Bălan. "12. New Concerns in Musical Art Pedagogy Necessary Guidelines for 21St Century Artists." Review of Artistic Education 25, no. 1 (March 1, 2023): 73–82. http://dx.doi.org/10.2478/rae-2023-0012.
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Abstract In the context of the world’s new order in music, artists search, negotiate, sell, and justify their importance through the power of their art and through the skill with which they attract attention to themselves. We hear ever more often of approaches to new artistic products, conventional and unconventional repertoires, to preserving and encouraging tradition or finding new ways of artistic survival, by bringing creation closer to the (increasingly limited) capacity of the uninformed audience to understand classical music works. This paper discusses the necessity to guide art pedagogy towards a new horizon that may increase the degree of relevance that artists evince on the large cultural market. The suggestions we offer stem from the conclusions of several case studies in which the alumni of Romanian conservatories detect certain flaws of their professional training when they seek employment or try to be their own managers after graduation. The material is completed by a set of interviews with managers of cultural institutions which highlight the importance of supporting new guidelines in music pedagogy.
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Pratt, Douglas. "Secular New Zealand and Religious Diversity: From Cultural Evolution to Societal Affirmation." Social Inclusion 4, no. 2 (April 19, 2016): 52–64. http://dx.doi.org/10.17645/si.v4i2.463.
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About a century ago New Zealand was a predominantly white Anglo-Saxon Christian nation, flavoured only by diversities of Christianity. A declining indigenous population (Maori) for the most part had been successfully converted as a result of 19th century missionary endeavour. In 2007, in response to increased presence of diverse religions, a national Statement on Religious Diversity was launched. During the last quarter of the 20th century the rise of immigrant communities, with their various cultures and religions, had contributed significantly to the changing demographic profile of religious affiliation. By early in the 21st century this diversity, together with issues of inter-communal and interreligious relations, all in the context of New Zealand being a secular society, needed to be addressed in some authoritative way. Being a secular country, the government keeps well clear of religion and expects religions to keep well clear of politics. This paper will outline relevant historical and demographic factors that set the scene for the Statement, which represents a key attempt at enhancing social inclusion with respect to contemporary religious diversity. The statement will be outlined and discussed, and other indicators of the way in which religious diversity is being received and attended to will be noted.
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Lai, Kwok-Wing. "Transforming New Zealand schools as knowledge-building communities: From theory to practice." Set: Research Information for Teachers, no. 1 (May 1, 2014): 33–41. http://dx.doi.org/10.18296/set.0309.
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Future-oriented pedagogies should focus on supporting students to be creative, innovative, and capable of creating knowledge, both individually and collaboratively, at the community level. This article discusses how a group of teachers have come to understand and use the knowledge-building model developed by Scardamalia and Bereiter (2006) to support secondary students to develop as knowledge creators of the 21st century. Findings from knowledge-building research conducted in New Zealand classes are used to illustrate how the knowledge-building model can be implemented. The PROGRESS practice model is introduced to guide teachers to implement the knowledge-building approach in their classes.
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Glinternik, Eleonora M. "Russian Design Graphics in Art Studies of the 19th–21st Centuries." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 166–87. http://dx.doi.org/10.21638/spbu15.2023.108.
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The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for the next twenty years; 1960s–1990s, a period of professional self-determination; the first decades of the 21st century, when the digital age begins and new horizons of research open up. The characteristics of each period are given from the point of view of the development of graphic design as a phenomenon of artistic creativity. The paper’s novelty is determined by the topic itself: the specifics of design in general and graphic design in particular have not yet been studied. It takes into account, basically, the range of problems studied in the Russian conventional history of art. The main tasks of the work: to show the path of development of art criticism in the work of Russian researchers; to systematize the volume and problems of the latest studies of art history over the past decades; to contribute to the formation of a more complete picture of the authors and the amount of accumulated research material. The article shows the path of development of art criticism in the work of Russian researchers — from artistic-critical to historical-theoretical comprehension throughout the 19th and 21st centuries. The foundations of fundamental research of the late 20th — early 21st century are revealed are systematized for the first time.
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Beck, Mirja. "A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’." Arts 12, no. 1 (January 17, 2023): 16. http://dx.doi.org/10.3390/arts12010016.
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This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.
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Johns, David, Ian Munro, Aimee Redknap, and Sarah Ricketts. "Maungarei-o-Tamaki in 2050 — A town within a city." Ekistics and The New Habitat 69, no. 415-417 (December 1, 2002): 288–89. http://dx.doi.org/10.53910/26531313-e200269415-417352.
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The authors are Bachelor of Planning students at the University of Auckland, New Zealand. The text that follows is the summary of apresentation made by all four authors in a special session on Education and Research at the World Society for Ekistics Symposion "Defining Success of the City in the 21st Century," Berlin, 24-28 October, 2001.