Relevant bibliographies by topics / Art practice

Academic literature on the topic 'Art practice'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 March 2023

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Journal articles on the topic "Art practice"

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Brenifier, Oscar. "The Art of Philosophical Practice: Philosophical Attitudes." Socium i vlast, no. 1 (2018): 73–79. http://dx.doi.org/10.22394/1996-0522-2018-1-73-79.

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Broom, Kate. "Art Practice, Anyone?" Probation Journal 44, no. 2 (June 1997): 119. http://dx.doi.org/10.1177/026455059704400219.

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Rushforth, Bruno. "Art: British Art Show 8." British Journal of General Practice 66, no. 644 (February 25, 2016): 152. http://dx.doi.org/10.3399/bjgp16x684109.

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Lütticken, Sven. "Autonomy as Aesthetic Practice." Theory, Culture & Society 31, no. 7-8 (February 6, 2014): 81–95. http://dx.doi.org/10.1177/0263276413496853.

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This essay examines various conceptions of autonomy in relation to recent artistic practices. Starting from the apparent opposition between modernist notions of the autonomy of art and theorizations of political autonomy, the text problematizes the notion of the autonomy of art by using Jacques Rancière’s notion of the aesthetic regime. Focusing on the importance of the act and performance in the art of the last decades, it is argued that while political and artistic autonomy may never quite converge, aesthetic acts can under certain circumstances function in both the political and the artistic register, simultaneously or successively. The aesthetic act thus stages a passage from the artistic to the political, and vice versa.
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Turner, Trevor. "Art: The Art of Bedlam: Richard Dadd." British Journal of General Practice 66, no. 643 (January 28, 2016): 96. http://dx.doi.org/10.3399/bjgp16x683701.

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Carroll, Noël. "Art, Practice, and Narrative." Monist 71, no. 2 (1988): 140–56. http://dx.doi.org/10.5840/monist198871212.

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Roseman-Halsband, Janet Lynn, Pradnya Brijmohan Bhattad, Michael Durkin, Lauren Fine, Vijay Rajput, Jia Jennifer Ding, Frederick DiCarlo, et al. "Art in Clinical Practice." Alternative and Complementary Therapies 27, no. 3 (June 1, 2021): 124–33. http://dx.doi.org/10.1089/act.2021.29332.jlr.

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Gawthrop, Rob. "Politics Practice Pedagogy Art." Performance Research 21, no. 6 (November 2016): 37–43. http://dx.doi.org/10.1080/13528165.2016.1240925.

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Knowles, Alison, Eleanor Heartney, Meredith Monk, Linda Montano, Erik Ehn, and Bonnie Marranca. "Art as Spiritual Practice." PAJ: A Journal of Performance and Art 24, no. 3 (September 2002): 18–34. http://dx.doi.org/10.1162/15202810260186620.

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Philip, Kavita. "Art and Environmentalist Practice." Capitalism Nature Socialism 19, no. 2 (June 2008): 69–74. http://dx.doi.org/10.1080/10455750802091560.

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Dissertations / Theses on the topic "Art practice"

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Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.

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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.
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Martin, Anne. "Automatism and art practice." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/2209.

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The research project is to develop an understanding of the use of automatism in the practice of art derived from an interrelationship between the material process of art and critical text. As these practices converge in their vocabularies of the psychic and the somatic, they formulate a discourse of interpretation. The critical textual inquiry has identified an expanded language of interpretation for automatism within the vocabularies of three particular areas of investigation in, 1. Psychoanalysis, 2. Phenomenology and certain currents of thought in Existentialism, and in 3. The theory and criticism of art. I have laid down an account of the field of research and my reading of it through six constituent writers: Freud, Ehrenzweig, Merleau-Ponty, Breton, Bataille and Rosenberg, determined from the artist-practitioner's perspective to be central contributors to an understanding of automatism. Four key terms have recurred in the material which I have identified in the research process as phenomena of automatist art practice; trauma, repetition, excess and gesture. As thinking continues in a contextualisation of art and critical theory they have provided further links to the theoretical language of current psychoanalysis and criticism by writers including: Agamben, Barthes, Foster, Krauss, Lacan and Lyotard. The focus of the practical inquiry rests upon an exploration of the communion between the unconscious mind and the body in automatism, derived from a studio practice with emphasis on a modelling and casting process. It is developed through the four key terms used as bridges in a critical exchange between the material practice and textual theory including original automatic writing. The theorising function of the art practice has been to initiate the four phases of the process of automatism as phenomena to be re-theorised through the four key terms as they are exemplified by a reflexive studio practice of automatist methodology in action. The body of art presented for examination selects works in series completed from 1996-2006, in the following materials: bronze, paint, plaster, laser print and wax.
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Cable, Courtney Paige Davids. "An art practice sustained." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/227.

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Image makers are often--and rightly--held to task for what they produce. This is a necessary lesson, but the time has come for us to cast a critical eye on the processes that lead up to the creation of that image in the first place, especially as it relates to sustainability and environmental cost. When asking the question of "what does this work say and who is it saying it to?" we must concurrently ask "what is the environmental cost of making this work and is that cost balanced by what it is saying?"
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Michael, Maureen K. "Precarious practices : artists, work and knowing-in-practice." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/21879.

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This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists.
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Parker, Vincent. "For a socialist art practice." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.256407.

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Espinosa, Amaris. "Art As A Mindfulness Practice." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1537904782837034.

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Brierley, Donald. "Reflexivity imagined as art practice." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15006.

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A consideration of the relationship between conscious self-aware systems and art. I introduce my art practice and demonstrate the connections language has to self-conscious reflexivity. The document of research can be considered part of a creative practice that also uses language as a material. Being able to imagine re-duplications and proceed with reiterations using available materials including existing ideas is correlated with my art practice. This adaptive and emergent methodology uses a group of simple components and a flexible recursive process that can be modified to suit changing contexts. The research describes a circular two-way methodological framework that informs my art practice, where perceptions of the environment that surround me are repeatedly folded back into the process. Ideas about the origins of conscious self-awareness from Julian Jaynes and Humberto Maturana Romesín are introduced. The use of available materials, that includes working with pre-existing ideas, considerations of process and outcome based methodologies citing the artist Kim Jones and the anthropologist Claude Lévi-Strauss. The term ‘spiritual masochism’ used by the philosopher/anthropologist, Bruno Latour is compared and contrasted with the ‘Holy Fool’ from philosopher, artist, Michael Leunig in a discussion about the indirect search for antidotes and the subversion of human endeavor. Selected viewpoints from the cybernetician Norbert Wiener and artist Santiago Sierra elaborate the influences that have contributed to the strategic use of restriction and access as part of my art practice. The specialist use and subversive manipulation of information in science and art as practiced in the service of culture are discussed to show how this informed the creation of Access Restricted-Operational Reasons as a response to my environment.
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Warner, Lachlan Phillip. "Art Practice as Buddhist Practice: A Soteriology through Suffering." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/17924.

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The thesis examines the Buddhist concept of suffering, portrayed through visual art. The central questions are how can art be used to understand Buddhist suffering and, conversely, how can Buddhist suffering be used in the creation and perception of visual art. My thesis is based on an understanding of suffering (Dhukkha) described in the Early Buddhist Texts. Suffering is addressed through the Khandhas; collective processes that recognize human subjectivity as shifting. The Khandhas show that we are just processes of cause and effect. The Khandhas also bridge divides between reason and affect, mind and body, drawing on the work of Sue Hamilton and Peter Harvey. These theorists describe a Buddhism that has been termed modernist, where there is a renewed focus on suffering. The 4 artworks use the Buddha’s principle metaphor for suffering; of being on fire. The first two suites show seated bodies burning, portraying the universality of suffering. The third suite has nuns standing in a panorama of gold, representing immanent enlightenment. The fourth suite utilizes an image of my ‘self’ as the site of suffering. The dissertation compares Dhukkha to the works of Theodor Adorno, Susan Sontag, Mieke Bal and Mark Ledbetter as theorists of suffering. Adorno saw the representation of suffering as gratuitous, reinforcing existing systems of repression. For Bal, representations of suffering are only possible through inflection; changing forms so that exploitation is removed but art remains. Buddhism however sees suffering as intrinsic to all representation. Ledbetter then posits suffering as one part of a larger process of seeing that includes voyeurism. Works by six artists are paired and compared to understand different ways of articulating suffering. Colombian artist Doris Salcedo uses materials that speak of the lives of people missing in war torn Colombia. In contrast Oscar Munoz uses video to invoke the suffering and transience of both life and images. The work of Bill Viola is examined to show immediacy in the apprehension of pain and suffering. Viola’s works are juxtaposed with Zhang Huan who uses ash to invoke existential suffering. Finally, late works by Mark Rothko and Richard Serra are analyzed to understand the transformation and ending of suffering through abstracted forms. The artworks are lastly compared to a history of Buddhist self-sacrifice, including suicide and self-immolation. Both the artworks and these acts relate to the Buddhist understanding of ‘self’. Ultimately that ‘self’ is a delusion. The understanding of the delusion provides release from suffering, which is the aim of Buddhism.
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Carter, Kevin. "Expanding community art practice : an analysis of new forms of productive site within community art practice." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yyz5/expanding-community-art-practice-an-analysis-of-new-forms-of-productive-site-within-community-art-practice.

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This practice-based research is a reflection upon a community art practice mediated via the social use of digital technologies such as social media, Free Libre Open Source Software (FLOSS) and open data. In combining existing community art methods and methodologies, with those taken from the social use of digital technologies, an attempt has been made to expand community art to include these social sites productively within its practice. Over the past 40 years, community-focused art practice has produced a significant and mature body of critique derived from a range of issues such as community, identity, co-option by external agendas as well as the artists role and identity; all of which have sought to question the currency of its practice. Is it possible then that methods and methodologies, suggested by the social use of digital technologies, may in part ameliorate some of these critiques and in the process expand the productive sites offered to community art? As part of this practice based research a community-focused artwork, Landscape- Portrait, was created. This work featured an explicit engagement with these new sites of social interaction. As an exemplar of an expanded community art practice, Landscape-Portrait combined methods and methodologies borrowed from the social use of digital technologies alongside those of critical community art practice, incorporating a network of virtual and non-virtual sites in both its production and dissemination. In accordance with my research methodology the artworks production and its outcomes were recorded and reflected on. The material generated informed my research outcomes. As a result, this research advocates caution in the championing of the sites made use of by Landscape-Portrait. It argues instead that these sites need to be considered against a set of critical questions regarding their operational culture, terminology, privacy, accessibility, ownership, agency and autonomy; all of which problematise their easy inclusion as productive sites within an expanded community art practice. In response this research proposes an understanding of site as derived from a complex network of virtual and non-virtual constituents. From this understanding a set of speculations, qualifications and methods have been produced that attempt to map the means by which an expanded community artwork, one that employs particular methods and methodologies taken from the social use of digital technology and critical community art practice, might be used to interrogate the constitutional structure of a site, as part of its consideration as a productive site within an expanded community focused art work.
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Evans, Stephen W. "Art unto death." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5750.

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As people living in 2017, what, if anything, have we come to know about art as a whole? What can we say about the artistic impulse? What is art for, and what does it stand to show us about ourselves today? In this paper, I try to address these questions, from the standpoint of both an artist and a human being. Examining art as ancient as the prehistoric cave paintings, as well as art of the present day, I discuss certain ontological traits that art-making has both lost and maintained over the years. Through Heidegger’s philosophy of Being, Tillich’s theology of New Being, and Stephen King’s depictions of the uncanny, I explore the idea that all creative acts ultimately point us back to our own mortality and finitude.
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Books on the topic "Art practice"

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Baldwin, Michael. Art & language in practice. Barcelona: Fundació Antoni Tàpies, 1999.

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burrough, xtine, and Judy Walgren. Art as Social Practice. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003169109.

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1942-, Liebmann Marian, ed. Art therapy in practice. London: J. Kingsley, 1990.

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Ford, Emma. Falconry: Art and practice. London: Blandford, 1992.

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G, Ocvirk Otto, ed. Art fundamentals: Theory & practice. 8th ed. [Boston?]: McGraw-Hill, 1998.

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B, White Robert. The art of trial. Aurora, Ont: Canada Law Book, 1993.

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Cann, Richard Du. The art of the advocate. London: Penguin, 1993.

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G, Ocvirk Otto, ed. Art fundamentals: Theory and practice. 6th ed. Dubuque, IA: Wm.C. Brown Publishers, 1990.

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Alders Pike, Amanda. Eco-Art Therapy in Practice. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003091004.

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Optical art: Theory and practice. New York: Dover Publications, 1996.

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Book chapters on the topic "Art practice"

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Morrow, Paul. "Contemporary art practice and inclusive art practice." In Cultural Inclusion for Young People with SEND, 82–100. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003122258-9.

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Schuermann, Eva. "Seeing Art." In Seeing as Practice, 173–204. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14507-1_9.

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Candy, Linda, and Ernest Edmonds. "Practice." In Explorations in Art and Technology, 69–83. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_5.

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Baldacchino, John. "Art’s deschooled practice." In Art as Unlearning, 63–78. Abingdon, Oxon; New York, NY : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [2019] |: Routledge, 2018. http://dx.doi.org/10.4324/9780429454387-4.

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Leeson, Loraine. "Situating the Practice." In Art : Process : Change, 133–44. New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315617527-11.

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Marstine, Janet, and Oscar Ho Hing Kay. "Curating as a relational practice." In Curating Art, 1–6. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-1.

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Crawshaw, Julie. "What practitioners say about practice." In Art Worlding, 29–46. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003046752-2.

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Edmonds, Ernest. "Structure in Art Practice." In Explorations in Art and Technology, 105–10. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_8.

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Edmonds, Ernest. "Structure in Art Practice." In Springer Series on Cultural Computing, 51–57. London: Springer London, 2018. http://dx.doi.org/10.1007/978-1-4471-7367-0_4.

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Macdonald, Abbey, and Tim Moss. "The Art of Practice." In The Future of Educational Research, 99–110. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-512-0_9.

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Conference papers on the topic "Art practice"

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Benyon, Margaret, and John Webster. "Pulsed Holographic Art Practice." In O-E/LASE'86 Symp (January 1986, Los Angeles), edited by Tung H. Jeong and Jacques E. Ludman. SPIE, 1986. http://dx.doi.org/10.1117/12.961017.

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Hatanaka, Tomoko. "Integrating digital art practice and art history studies." In ACM SIGGRAPH 2007 educators program. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1282040.1282051.

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Troyanov, Yury Andreevich. "About interior art." In IX International Research-to-practice conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-113033.

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Cornish, Chris. "Media archaeology in art practice." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.40.

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Velios, Athanasios, Sebastian Faubel, and Moritz Eberl. "Artivity: Documenting Digital Art Practice." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.24.

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Sung, Jooeun. "MAPO ART MADANG, MAPO ART TANK." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.01.

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Christou, Elisavet. "Internet Art, Google and Artistic Practice." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.23.

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Maslennikova, Tatyana. "Regional Aspects Of Art Education On The Theme “Bashkir Folk Art”." In Humanistic Practice in Education in a Postmodern Age. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.72.

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Novikova, Marina Mikhailovna. "Primitive and Traditional Art in Modern Art Theory and Practice." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-551494.

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The article is devoted to identifying the points of contact between primitive and modern cultures. The subject matter is based on the theory and practice of artistic creativity, its origins and aesthetic potential. The article reveals the degree of influence of the figurative-semantic and symbolic content of primitive and traditional culture on modern artistic creativity: on stylistic, formal techniques, themes, images; in General, on artistic thinking.
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"Cover Art." In 2014 6th International Workshop on Empirical Software Engineering in Practice (IWESEP). IEEE, 2014. http://dx.doi.org/10.1109/iwesep.2014.20.

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Reports on the topic "Art practice"

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Warren, Griffin L. Logistics in the Practice of the Operational Art. Fort Belvoir, VA: Defense Technical Information Center, February 1994. http://dx.doi.org/10.21236/ada279633.

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Aizenman, Joshua, Yothin Jinjarak, and Huanhuan Zheng. Chinese Outwards Mercantilism – the Art and Practice of Bundling. Cambridge, MA: National Bureau of Economic Research, April 2015. http://dx.doi.org/10.3386/w21089.

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Kinney, Francis X. The Malvinas Conflict: Argentine Practice of the Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada234161.

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Xochihua, Alexis. Looking to the Future of Education: A Social Art Practice Pedagogy. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.302.

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Thompson, Michael R. Do We Practice What We Preach? Recent Exercises and the Operational Art. Fort Belvoir, VA: Defense Technical Information Center, April 1991. http://dx.doi.org/10.21236/ada235123.

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Aston, Thomas, and Marina Apgar. The Art and Craft of Bricolage in Evaluation. Institute of Development Studies, October 2022. http://dx.doi.org/10.19088/ids.2022.068.

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This CDI Practice Paper by Tom Aston and Marina Apgar makes the case for ‘bricolage’ in complexity-aware and qualitative evaluation methods. It provides a framework based on a review of 33 methods to support evaluators to be more intentional about bricolage and to combine the component parts of relevant methods more effectively. It discusses two cases from practice to illustrate the value added of taking a more intentional approach. It further argues that navigating different forms of power is a critical skill for bricolage, and that doing so can help to ensure rigour.
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Johnson, Darfus L. Wizards of Chaos and Order: A Theory of the Origins, Practice, And Future of Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 1999. http://dx.doi.org/10.21236/ada370245.

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8

Daniellou, François, Marcel Simard, and Ivan Boissières. Human and organizational factors of safety: a state of the art. Fondation pour une culture de sécurité industrielle, January 2011. http://dx.doi.org/10.57071/429dze.

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Abstract:
This document provides a state of the art of knowledge concerning the human and organizational factors of industrial safety. It shows that integrating human factors in safety policy and practice requires that new knowledge from the social sciences (in particular ergonomics, psychology and sociology) be taken on board and linked to operational concerns.
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Singh, Reshma, Baptiste Ravache, and Dale Sartor. Transforming State-of-the-Art into Best Practice: A Guide for High-Performance Energy Efficient Buildings in India. Office of Scientific and Technical Information (OSTI), April 2018. http://dx.doi.org/10.2172/1433127.

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10

Healey, Patrick. The Social Sculpture in Practice: Joseph Beuys, Waldo Bien and the Free International University World Art Collection, A Report. Edited by Gerhard Bruyns. FIUWAC, October 2020. http://dx.doi.org/10.31182/001.

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