Journal articles on the topic 'Experiential creative arts'
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Travis, Raphael. "All Awareness and No Action: Can Social Work Leverage Creative Arts’ Potential?" Research on Social Work Practice 29, no. 6 (November 7, 2017): 708–20. http://dx.doi.org/10.1177/1049731517735178.
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Social work is grounded with an emphasis on promoting the well-being being of individuals and families with an explicit recognition of how the environment plays a significant role in the unfolding of well-being. Unfortunately, the profession’s commitment to maintaining the infrastructure for social work research, education, and practice that helps students and professionals focus on the environmental forces that create, contribute to, and address problems of the living sometimes feels superficial. These trends have made it difficult to realize the effectiveness and promise of integrating creative arts into social work practice. The present article discusses how social work efforts with creative arts will have limited influence if their context, underlying assumptions, and framing are misaligned with the experiential realities of clients; if gatekeeping is too rigid or biased to effectively grow the arts-based infrastructure; and if the underlying assumptions that define well-being outcomes are proportionately narrow, deficit oriented, and short-term focused.
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Reynolds, Frances. "Taking up Arts and Crafts in Later Life: A Qualitative Study of the Experiential Factors That Encourage Participation in Creative Activities." British Journal of Occupational Therapy 72, no. 9 (September 2009): 393–400. http://dx.doi.org/10.1177/030802260907200905.
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Background and aim: Creative occupations promote wellbeing among older people, but how people discover creative occupations in later life, or why they intensify their participation in certain creative occupations after retirement, is unclear. The aim of this study was to explore the experiential factors that older women perceive as encouraging their take-up of, and participation in, visual art-making during later life. Method: Twelve older women (aged 61–80 years) were recruited through a magazine for an older readership. Their interview transcripts were subject to interpretative phenomenological analysis. Findings: A variety of distal and proximal factors appeared to encourage the take-up of art-making in later life. Distal factors included pre-existing craft skills, family role models and positive attitudes to managing change. Proximal factors included the need to fill occupational voids and the sensitive encouragement of husbands and friends. Serendipitous events featured in some accounts. Conclusion: The participants did not uniformly regard themselves as creative. None had participated in the visual arts throughout adulthood. The multiplicity of influences that enabled these older women to participate in art in later life extends previous research findings and may encourage occupational therapists to help clients to regain wellbeing through exploring novel creative arts occupations.
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Yeo, Narelle, and Jennifer Rowley. "'Putting on a Show' Non-Placement WIL in the Performing Arts: Documenting Professional Rehearsal And Performance Using Eportfolio Reflections." Journal of University Teaching and Learning Practice 17, no. 4 (October 1, 2020): 62–79. http://dx.doi.org/10.53761/1.17.4.5.
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his study explores the utility of employing a student-created experiential narrative ePortfolio as a multimodal tool for reflective practice in WIL. It does so by examining a case study situated within the performing arts, where WIL discourses are rarely adopted, and few examples are present in the literature. This paper introduces a circular mentoring framework that extends Kolb’s experiential learning model, whereby learning is facilitated through the interchange of roles through rehearsal and reflection. In this study, participants prepared and performed an opera in a professional venue over a five-day period of intense creative studio work. The 2017 and 2018 Inclusion Project is an innovative teaching and learning opportunity that offered authentic industry-based experience to undergraduate music students in a closely monitored, non-placement WIL setting. Participants (n=18) undertaking a semester long elective, reported their experience through online journaling in an ePortfolio allowing them to create narrative responses. A qualitative analysis using narrative inquiry on the ePortfolio reflections indicated a direct benefit for student’s career readiness as creative artists.
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Niedderer, Kristina, and Linden Reilly. "New knowledge in the creative disciplines – proceedings of the first Experiential Knowledge Conference 2007." Journal of Visual Art Practice 6, no. 2 (October 3, 2007): 81–87. http://dx.doi.org/10.1386/jvap.6.2.81_2.
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Gray, Tonia, and Cameron Thomson. "Transforming Environmental Awareness of Students Through the Arts and Place-Based Pedagogies." LEARNing Landscapes 9, no. 2 (April 1, 2016): 239–60. http://dx.doi.org/10.36510/learnland.v9i2.774.
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Incorporating the Arts into immersive place-based education programs can increase connectivity with the environment and facilitate the development of socially responsible and pro-environmental learners. Increasingly, children and adolescents are alienated and detached from the natural world. Given this noticeable shift, educators working in the outdoor setting need to rethink their modus operandi. Past attempts to promote learner connection with the environment have centred upon short-term stays and risk-centric approaches that embrace high adrenaline activities. This is the antithesis of Touched By The Earth, a yearlong place-based enrichment program using multi-modal creative methods with young learners to delve into the impact of experiential learning and how the Arts promote a personal relationship with the environment.
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Reel, Candice. "ART TO LIFE: THE IMPACT OF AN EXPERIENTIAL ARTS PROGRAM ON ENGAGEMENT IN PERSONS LIVING WITH DEMENTIAS." Innovation in Aging 3, Supplement_1 (November 2019): S888. http://dx.doi.org/10.1093/geroni/igz038.3250.
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Abstract The Art to Life (ATL) program aims to improve the quality of life for persons living with dementia (PWD) through art therapy, intergenerational contact with college students, and life story preservation within an adult day service. This poster will present the results of an ongoing program evaluation to determine the effects of the intervention on PWDs’ engagement in (1) communication with others and (2) art/creative activity. A two-member analysis team independently coded ethnographic field notes utilizing operational definitions of PWDs’ observed behavior during momentary time sampling, and recording events of communication and art engagement using the modified ENGAGE measure (Hartmann et. al, 2017). Results across sessions (N=97) reveal communication engagement (M=28.30, SD=13.36) significantly exceeded art engagement (M=9.86, SD=5.56), t (96)=20.85, p=0.001). These results suggest that engagement in reminiscence via intergenerational contact is a fundamental feature in comparison to art and creative activity within the ATL program. Exploratory qualitative content analysis of ethnographic field notes by a three-member coding team identified two key themes within the communication engagements. These emergent themes included validation of personhood and reminiscence of family ties. More studies are needed to determine if the scope and reach of intergenerational interventions may be increased through the nationwide translation of the ATL program.
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Howard, Frances. "“It’s Like Being Back in GCSE Art”—Engaging with Music, Film-Making and Boardgames. Creative Pedagogies within Youth Work Education." Education Sciences 11, no. 8 (July 22, 2021): 374. http://dx.doi.org/10.3390/educsci11080374.
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Creative pedagogies within youth work practice are well established. Practitioners working with young people are often called upon to utilise their own personal and professional ‘toolboxes’, as a way of supporting ‘Creative Arts Youth Work’. However, within Higher Education (HE), creative methods for teaching and learning within the university context are often overlooked. The problem posed by this article is: how can HE ‘catch-up’ with more advanced pedagogies in the field of practice? Despite a recent focus on the personalisation of learning within HE, how can arts-based pedagogies, including digital storytelling, be drawn upon to enhance the learning experience? This article reports on three areas of pedagogical innovation engaged with by students undertaking the Youth Studies degree at Nottingham Trent University. Three experimental initiatives are explored, which assisted in educating informal educators, through creative learning techniques. Engaging with music, film-making and boardgames are given as examples of creative pedagogy, reporting on both my own practical experience in organising these activities and student feedback. Results showed that the symbiosis of creative pedagogies with relational and experiential learning, key tenets of youth work practice, offered expressive and authentic conditions for learning that are based upon student’s experiences. Therefore, there is much to learn from youth work courses within HE, not only in terms of engaging and encouraging students through creativity, but also setting the scene for the future of creative youth work practice.
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Gu, Xin, and Justin O'Connor. "Teaching ‘tacit knowledge' in cultural and creative industries to international students." Arts and Humanities in Higher Education 18, no. 2-3 (May 2019): 140–58. http://dx.doi.org/10.1177/1474022218824554.
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Universities in Australia – as in many other Anglophone countries – have benefited from an influx of full fee paying international students. Cultural and Creative Industries (CCIs) as an increasingly desirable career for these students and associated with rising state investment has given Anglophone universities the privilege in this international educational market. The disembeddedness of these students from very different urban context impact further their learning experiences. The unprecedented growth of ‘internationals’ has also put the curriculum at odds with its original intent based on tacit knowledge training targeting local professionals. The Master of Cultural and Creative Industries at Monash University is illustrative of this multiplicity of conflicts and tensions. Via the two field trip units designed based on ‘experiential learning', the model for tacit learning, we lay out how conflicts on fundamental cultural values have been important in our course design as part of acquiring ‘a special kind of city knowledge'.
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Groth, Camilla, Margherita Pevere, Kirsi Niinimäki, and Pirjo Kääriäinen. "Conditions for experiential knowledge exchange in collaborative research across the sciences and creative practice." CoDesign 16, no. 4 (September 17, 2020): 328–44. http://dx.doi.org/10.1080/15710882.2020.1821713.
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Müller, Marguerite. "Little We Know of Each Other." Cultural Studies ↔ Critical Methodologies 19, no. 1 (January 2, 2018): 39–42. http://dx.doi.org/10.1177/1532708617750991.
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This performative text is rooted in arts-based inquiry and expressed as the textual portraits of five educators working at the University of the Free State (UFS), South Africa. These portraits were created as part of a collaborative research project in which participants shared their experiential knowledge of working toward antioppressive practice in higher education at the UFS between 2014 and 2016. The textual portraits highlight the contradictions, uncertainty, and messiness of educator identity in this complex and volatile space. Furthermore, the performative text serves as a creative expression of different ways of knowing and different ways of becoming.
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Burnside, Lee D., Mary Jane Knecht, Elizabeth K. Hopley, and Rebecca G. Logsdon. "here:now – Conceptual model of the impact of an experiential arts program on persons with dementia and their care partners." Dementia 16, no. 1 (July 26, 2016): 29–45. http://dx.doi.org/10.1177/1471301215577220.
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Community-based arts programs for persons with dementia and their care partners hold tremendous potential for increasing cognitive, social, and creative engagement and improving quality of life for these dyads. This is a qualitative, grounded theory analysis of here:now, a joint arts engagement program for persons with dementia and their care partners that involves gallery tours and art classes. Twenty-one care partners and 13 persons with dementia completed in-depth, semi-structured telephone interviews approximately two weeks following participation in the program. The program was well received by both persons with dementia and care partners as evidenced by high levels of engagement, mindfulness, social connection, and positive interactions. Factors identified as important to the experience included the museum space itself, the facilitation process, and socialization with other participants. Results form the basis for a conceptual model for assessing outcomes of arts programming and highlight the unique position of museums to support persons with dementia and their care partners in the community.
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Walter, Pierre. "Innovations in Teaching Adult Education: Living History Museums and Transformative Learning in the University Classroom." Adult Learning 30, no. 3 (February 10, 2019): 121–27. http://dx.doi.org/10.1177/1045159519826074.
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The difficult times in which we live require innovative, creative, and hopeful pedagogies of adult education. This article describes a nontraditional experiential, “empathy-invoking” approach to the teaching of a graduate course on the theory and research of adult learning. The approach begins with the building of a safe learning community, a familiar “knowledge curriculum,” and a structured syllabus with academic readings, small group discussions, student “theory-to-practice” facilitation of learning activities, and an academic mid-term paper. Both the teacher and students design and lead learning activities which elaborate, “unpack,” and critique readings, and develop students’ capacity for experiential, emotional, spiritual, arts-based, and bodily learning as well as group process, all the while reinforcing trust, deeper relationships, cooperation, and better knowledge of each others’ lives, personalities, capabilities, and identities. The class culminates in creative presentations where learners transform the classroom into “living history museums” representing the sites of adult learning they have investigated in field research. Visitors to living history museums engage in a rich array of informal adult learning; they gain new knowledge, participate in hands-on learning and role playing, and at times even experience transformative learning. In this class, the museum and its learning opportunities come into the classroom, and are created by learners themselves.
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Yta, Edisua Merab. "Beyond Watt Market Roundabout Audiences: Redesigning Tourists Oriented Theatres in Calabar." Jurnal Office 6, no. 1 (September 8, 2020): 71. http://dx.doi.org/10.26858/jo.v6i1.15008.
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Calabar, a coastal town in South-South Nigeria, has had a long-standing history of cultural tourist-oriented theatre performances. And today, its image as a tourist city has grown in leaps because of the Christmas Festival (A 32-day entertainment art and cultural events) it hosts annually plus other tourism products or attractions that complement the festival. Carnival seems to be a major attraction. Other attractions are not emphasized. This study explored how tourism-oriented theatres can be developed to add to existing attractions and increase varieties for tourists. The study used a combination of research methods including experiential theatre performances, participant observation, and focus group discussion. Findings show that local culture and arts and creative industries i.e., theatre can be used to promote destinations and enhance their attractiveness. They can help build the image of the city and promote indigenous arts and culture. This research significantly models the utility of theatre in the service of tourism and urban development. Some key recommendations this research makes include, the collaboration of the tourism industry, the performing arts sectors, and private business owners. Creating demand and market for specially packaged theatre products for tourists working with travel agencies to ensure that theatre is taken from the mainstream to the tourists.
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Yta, Edisua Merab. "Beyond Watt Market Roundabout Audiences: Redesigning Tourists Oriented Theatres in Calabar." PINISI Discretion Review 4, no. 1 (August 22, 2020): 73. http://dx.doi.org/10.26858/pdr.v4i1.14790.
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Calabar, a coastal town in South-South Nigeria, has had a long-standing history of cultural tourist-oriented theatre performances. And today, its image as a tourist city has grown in leaps because of the Christmas Festival (A 32-day entertainment art and cultural events) it hosts annually plus other tourism products or attractions that complement the festival. Carnival seems to be a major attraction. Other attractions are not emphasized. This study explored how tourism-oriented theatres can be developed to add to existing attractions and increase varieties for tourists. The study used a combination of research methods including experiential theatre performances, participant observation, and focus group discussion. Findings show that local culture and arts and creative industries i.e., theatre can be used to promote destinations and enhance their attractiveness. They can help build the image of the city and promote indigenous arts and culture. This research significantly models the utility of theatre in the service of tourism and urban development. Some key recommendations this research makes include, the collaboration of the tourism industry, the performing arts sectors, and private business owners. Creating demand and market for specially packaged theatre products for tourists working with travel agencies to ensure that theatre is taken from the mainstream to the tourists.
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Brewis, Deborah N., and Eley Williams. "Writing as skin: Negotiating the body in(to) learning about the managed self." Management Learning 50, no. 1 (September 28, 2018): 87–99. http://dx.doi.org/10.1177/1350507618800715.
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We draw on the notion of ‘skin’ to discuss the ways in which writing in management and organisation studies wrestles with two drives in its endeavour to represent the reality of our ‘organised’ lives: the drive to share internal lived experience, and the drive to externalise and abstract. Through exploring skin as a metaphor for a negotiating interface between these forces in our writing, we (a) argue that both are critical parts of writing, needed in order to learn about management and organisation and (b) explore different ways in which they might be brought into contact. Reviewing, synthesising and building on critiques of ‘scientific’ writing that have been made from within management and organisation studies, and on creative commentary from the arts, we think reflexively about the ways in which writing mediates learning by being both representative of experience and an experience in itself. A collaboration between management scholar and creative writer, the text of this article is a critical-creative experiment that outlines the experiential ‘skin-text’ while simultaneously producing an example of such a text.
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Encinias, Nevarez. "On self-extraction." Choreographic Practices 12, no. 1 (July 1, 2021): 11–28. http://dx.doi.org/10.1386/chor_00026_1.
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Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to ruminate broadly on artisanship as a creative model for dance-makers, and proposes an interdisciplinary frame-of-mind for choreographers, from a time when traditional live performance was on pause.
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Bleeker, Maaike, Nanna Verhoeff, and Stefan Werning. "Sensing data: Encountering data sonifications, materializations, and interactives as knowledge objects." Convergence: The International Journal of Research into New Media Technologies 26, no. 5-6 (July 22, 2020): 1088–107. http://dx.doi.org/10.1177/1354856520938601.
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Digital and networked media are characterized by a fundamental disconnection between the modes of operating of these media, the human sensorium and knowledge. In order for humans to consciously participate in this expanded domain of sensibility, additional mediation is required to ‘presentify’ what is not accessible to human perception. This situation has motivated the creation of manifold ‘data objects’ in the form of visualizations, soundscapes and sonifications, 3D materializations, and data-driven interactives in the neighboring domains of art, design, science, and humanities scholarship. These new knowledge objects, as we propose to call them, both produce and mediate knowledge in the process of making data experienceable. They turn that what essentially does not correlate to human sensory capacities into something that the human sensorium is capable of engaging with. As such, they can play a crucial role in providing access, and thereby modalities of critical and creative relating, to what Hansen (2015) describes as the expanded domain of sensibility. Yet, the effects and implications of the sensory specificities of these knowledge objects remain underacknowledged, as are the potentials of these modes of presentifying data. Here, we explore and compare a diversity of such knowledge objects and look at their different media modalities and different experiential qualities, and how these afford ways of knowing. By approaching several knowledge objects as ‘theoretical objects’ (Bal (2013); Damisch in Bois et al. (1998), we investigate which and how experimental sensory techniques are used for data presentification. With this, we want to draw attention to the onto-epistemological implications of the design of these knowledge objects, the main implications being relationality and performativity. Understanding the potential and implications of this performativity would benefit from what we call a creative humanities approach that combines insights from the critical and digital humanities with those from the fields of creative arts and design.
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Lemonchois, Myriam. "Artistic practical activities in art education." Palíndromo 13, no. 29 (January 1, 2021): 75–89. http://dx.doi.org/10.5965/2175234613292021075.
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Everyone agrees to put practical activities at the heart of artistic teaching. Whether or not there isan “artistic”, “aesthetic” or “poetic” dimension is a question that haunts these teachings. How can we be sure that artistic dimension is present, in particular during practical workshop activities? Since the early of the 19th century, democratization of arts has been the main aim of practicalartistic education, the artistic dimension is ensured by the development of creative imaginationand its support from artistic circles, just like our contemporary teachings. This article proposes to describe the place given to the artistic dimension in practical activities, by French and Quebec plastic arts programs at elementary and secondary levels and more generally in the teachingof drawing in the 19th and 20th centuries. Noting the limits of French-speaking practices and research with regard to practical artistic activities, we conclude with the presentation of research examples to develop a didactic of practical artistic activities, which seems essential to us, to whatwe could call an aesthetic experiential culture.
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Takhar, Jennifer. "The Voice Inside." Marketing Theory 20, no. 2 (December 30, 2019): 167–74. http://dx.doi.org/10.1177/1470593119897776.
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This in utero tale deconstructs the consumption and marketing of assisted reproductive technologies (ARTs). It aims to highlight the deep ambivalence and phantasmagoria that accompany such transbiological procedures which, though undertheorised by marketing scholars, especially through an introspective lens, are reshaping markets and fundamental understanding of life, death, health, kin, progress, hope, sex, capital and cure. The story also advances extant marketing research on autobiography and consumer introspection theory (CIT) by introducing ‘autobiological writing’, a genre of self-reflexive, creative life writing which foregrounds lived, biological and medicalised experiences, therefore exposing the emotional ‘truths’, ‘authentic voices’, volatile bodies and experiential insights that often prove difficult to access and capture for consumer researchers. As liberatory narratives for the writers themselves and the researchers who extrapolate meaning from them, autobiological accounts offer unique critical cultural perspectives, in this case, on complex reprogenetic consumption.
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Sclater, Madeleine. "Sustainability and learning: Aesthetic and creative responses in a digital culture." Research in Comparative and International Education 13, no. 1 (March 2018): 135–51. http://dx.doi.org/10.1177/1745499918771185.
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The research presented in this article strives to answer the question: how do we educate for sustainability? I have provided evidence that arts-based educational research methods and major cultural resources provide very rich learning experiences that extend across disciplinary boundaries and can be crafted into pedagogical practices that help orientate learners of all levels to issues of sustainability. The article addresses the challenge of developing pedagogies for socio-ecological sustainability across disciplines in higher education. I present three kinds of conceptual resources in support of this project: theoretical influences that provide a range of lenses through which I can focus on my research concerns and pedagogical developments; methodological innovations – the use of the Dérive combined with a narrative record; and real-world aesthetic resources derived from gallery visits, an architectural exploration and interactive, scientific visits to major botanical gardens in Europe. I also briefly outline the importance of research resources derived from my own interdisciplinary work in virtual worlds - technology enhanced learning (TEL). These resources have led to a fusion of ideas from my own empirical research and personal experiences and observations in the real world. The most significant outcome of my Dérive experiences is a reminder of the power of aesthetic and emotional responses in learning activities. The blending of digital and analogue conceptual resources has synergised my thinking about pedagogies of sustainability, and increased my understanding of the importance of engagement with the real world, the role of emotion in learning and the power of experiential learning. I argue that personal and collective responses to artwork can act synergistically, and that community learning and individual learning are linked in informal settings, as evidenced by the Dérives presented in this article.
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Martin, Paul C. "The Picture of Language in Seeing the Nature of God in Kabbalah and Tantra." Religion and the Arts 25, no. 1-2 (March 24, 2021): 5–34. http://dx.doi.org/10.1163/15685292-02501001.
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Abstract In this paper I aim to show how a meaningful correlation can be made between the two mystical traditions of Kabbalah and Tantra by drawing upon ideas from the philosophy of art and aesthetics, especially as it relates to the intersection of images and words. A common leitmotif is that both of these traditions nominate a perception of God which through its manifold expression can be realized as a work of art. It represents a creative response to envisioning or “seeing” the divine realm, one that is renderable by the artist-writer on the material support of the enunciation. As an intentional account of his experiential consciousness of being with God, the artifact is aesthetically designed for the edification of the reader. A comparative connection between the two traditions can be found in this depictive and linguistic endeavor.
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Hamilton, John, and Singwhat Tee. "The cone-of-learning: a visual comparison of learning systems." TQM Journal 28, no. 1 (January 11, 2016): 21–39. http://dx.doi.org/10.1108/tqm-09-2013-0111.
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Purpose – Four learning modes, interacting through students as different learning systems, are mapped into a cone-of-learning continuum that allows tertiary institutions to visually re-consider where within their cone-of-learning, they choose to position their learning approaches. Two forms of blended learning are also distinguished. The paper aims to discuss these issues. Design/methodology/approach – Undergraduate law, business, IT, and creative arts student perceptions are structural equation modelled (SEM) into traditional, blended-enabled, blended-enhanced, and flexible learning systems. Findings – Within the SEM derived learning cone-of-learning continuum, a migration from traditional learning systems towards blended and flexible learning systems typically offers higher-net levels of undergraduate student learning experiences and outcomes. Research limitations/implications – The authors do not capture learning system feedback loops, but the cone-of-learning approaches can position against chosen competitors. The authors recognise benchmark, positioning, and transferability differences may exist between different tertiary institutions; different learning areas; and different countries of operation. Cone-of-learning studies can expand to capture student perceptions of their value acquisitions, overall satisfaction, plus trust, and loyalty considerations. Practical implications – The cone-of-learning shows shifts towards flexibility as generating higher student learning experiences, higher student learning outcomes, and as flexible technologies mature this demands higher student inputs. These interactive experiential systems approaches can readily incorporate new technologies, gamifications, and engagements which are testable for additional student deep-learning contributions. Experiential deep-learning systems also have wide industrial applications. Social implications – Understanding the continuum of transitioning between and across deeper-learning systems offers general social benefit. Originality/value – Learning system studies remain complex, variable systems, dependent on instructors, students, and their shared experiential engagements environments. This cone-of-learning continuum approach is useful for educators, business, and societal life-long learners who seek to gauge learning and outcomes.
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Cattafi, Carmelo. "Teaching Methods In International Law." Journal of International Education Research (JIER) 14, no. 2 (December 20, 2018): 9–16. http://dx.doi.org/10.19030/jier.v14i2.10238.
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This research presents the effect of innovation in the educational methodology applied to the teaching of topics in different areas, especially in public international law, trying to demonstrate how learning can be stimulated through artistic awareness. When comparing the different generations of students, we wonder if it is possible for teachers to follow the step of digital natives. In order to fill this generation gap, Tecnológico de Monterrey proposed to support projects of experimentation in educational innovation in various topics related to improving the teaching-learning process. Based on this premise, a group of teachers generate a model of educational innovation training, to facilitate learning for students through the development of creativity in how, when and where to generate learning, integrating challenging and interactive experiences through activities within the teaching practice. The use of traditional methods has led to the overwhelm of teachers, fatigue and pressure, therefore, the contribution of this project is aimed at the teacher to internalize his innovative and creative work, and see himself as a leader transformative in its teaching practice, establishing new teaching-learning spaces. Implementing learning activities through the imagination and measuring the impact on the student of the use of creative activities allows us to improve what we currently do. For this, an interdisciplinary workshop was created (thought and word, mind and body, music, visual arts) where the teacher, through practical and experiential activities, stimulates his imagination, recognizes his talents in creative and innovative thinking and develops resources which then leads to their teaching practice, by designing challenging learning experiences that inspire the student to creatively solve tasks and projects. In order to carry out the objective, we gathered eight professors from different areas (law, international relations, political science, languages, architecture, art, cultural diffusion) convinced that creativity improves the teacher’s performance who rethinks its activities to allow learn more dynamically. It was sought to improve the performance of students who appreciated the approach to the subjects through didactic methods that the teacher had modified according to the passions observed outside the classroom.
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Alexeyeff, Kalissa, and Geir Henning Presterudstuen. "Fashioning culture: Transforming perspectives from Oceania." Critical Studies in Fashion & Beauty 12, no. 1 (June 1, 2021): 5–24. http://dx.doi.org/10.1386/csfb_00018_2.
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In this introductory article we discuss what might be gained from examining more familiar areas of anthropological research such as cloth, dress or material culture through fashion as an analytical category and, in turn, how insights from Pacific clothing cultures can broaden understandings of fashion. Our aim is to unsettle the ethnographic gaze that is often brought to bear on non-western cultures of fashion, cloth, clothing, style and innovation. Fashion, as we conceive of it, spans from the physical production and design of garments and objects to everyday appearances, the desire to be ‘in vogue’ and the consumption of aesthetic objects that are considered popular. From this starting point we move analyses of fashion from the systemic to the experiential, reflecting ethnographic sensitivity to everyday embodied practice and the constant political and creative negotiation of values and norms that takes place in quotidian social relations. We situate these analyses in a region that is often perceived to be at the very edge of the world economy and invite further discussion about the relationship between fashion and the global flow of people, ideas and commodities.
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Dodds, Sherril. "Embodied Transformations in Neo-Burlesque Striptease." Dance Research Journal 45, no. 3 (May 22, 2013): 75–90. http://dx.doi.org/10.1017/s0149767713000016.
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This article both argues for and contests the discourses of transformation that characterize the production and reception of neo-burlesque striptease. Through an experiential, ethnographic, and critical methodology, I reflect on how this genre engenders performances of transformation through the passage of dress to undress, at the performer–spectator exchange, and through shifting corporeal values, changing representations of female eroticism and the reclaiming of a nostalgic femininity within the neo-burlesquemise-en-scène. Yet in line with critical debates in cultural studies, I seek to question the extent to which utopian notions of transformation occur beyond the level of the “performance text” to incorporate change in the economic and social realities of neo-burlesque performers and audiences. In response I argue that neo-burlesque striptease is a site of class privilege in which performers have the necessary economic and intellectual capital through which to stage a critique of the striptease body, which could not necessarily be replicated in other sites of production. Yet I also recognize that neo-burlesque performance offers important opportunities for personal and social transformation through the ways in which women experience their disrobed bodies in an affirmative public space and through the creative control they exercise in the construction of their bodily display.
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Bennett, Dawn, Anne Power, Chris Thomson, Bonita Mason, and Brydie-Leigh Bartleet. "Reflection for learning, learning for reflection: Developing Indigenous competencies in higher education." Journal of University Teaching and Learning Practice 13, no. 2 (April 1, 2016): 99–118. http://dx.doi.org/10.53761/1.13.2.7.
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Reflection is an essential part of students’ critically reflective development within experiential-learning contexts; it is arguably even more important when working cross-culturally. This paper reports from a national, arts-based service-learning project in which students in creative arts, media and journalism, and pre-service teachers worked with Aboriginal people in urban and rural areas of Australia. The paper uses Ryan and Ryan’s (2010) 4Rs model of reflective thinking for reflective learning and assessment in higher education to ascertain the effectiveness of the project work toward engendering a reflective mindset. The paper discusses how students learned to engage in critical self-monitoring as they attended to their learning experiences, and it describes how they “wrote” their experiences and shaped their professional identities as they developed and refined the philosophy that related to their developing careers. Examples taken from the narratives of students, community partners and academic team members illustrate the principal finding, which is that through a process of guided reflection, students learned to reflect in three stages: a preliminary drawing out of existing attitudes and expectations; a midway focus on learning from and relating to past experiences; and a final focus on reciprocal learning, change and future practice. The three stages were apparent regardless of program duration. Thus, program phase rather than academic year level emerged as the most important consideration when designing the supports that promote and scaffold reflection.
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CHIZZONITI, Domenico Giuseppe. "THE STRUCTURE OF SPACE: CUBISM AND MODERNISM. FIGURES AND ICONS IN JOSEF GOČÁR’S WORK." JOURNAL OF ARCHITECTURE AND URBANISM 41, no. 1 (March 27, 2017): 9–21. http://dx.doi.org/10.3846/20297955.2017.1296793.
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This research paper relates to a number of works by Josef Gočár, a Bohemian architect who was active in a time period between “Cubist” vanguardism and “Rationalist” modernism. The theme regards the search for a general method which evaluates the key elements of the structure of space in architectural design. The main asset of architectural composition has traditionally been the close association between the syntactic order of the elements and a semantic perception of space. The aim of this essay is to explore the relation between the role of the experimental design regarding the multiple and changeable architectural experience and the creative process of architectural work. The methodological experience hereby demonstrated refers to a specific case study that belongs to the scientific research carried out by Gočár and his researchers’ group at the Prague Fine Arts Academy (AVU). His work is hereby re-interpreted in an effort to explore the experiential contribution to the architectural design discipline, and the figurative aspect, by reexamining various characteristics of his practical experience as an architect involved in the civic priorities of the city, from the scale of urban settlement to the individual design work.
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Damsgaard, Janne Brammer, and Anita Jensen. "Music Activities and Mental Health Recovery: Service Users’ Perspectives Presented in the CHIME Framework." International Journal of Environmental Research and Public Health 18, no. 12 (June 21, 2021): 6638. http://dx.doi.org/10.3390/ijerph18126638.
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Internationally, mental health service developments are increasingly informed by the principles of recovery, and the availability of arts and creative activities are becoming more common as part of provision. Mental health service users’ experiences, reflecting on the complex nature of using music participation in recovery are, however, limited. This essay considers literature that explores how music can support mental health service users in a recovery process. We have selected studies that include a broad spectrum of music activities, as well as literature considering various concepts about recovery. The conceptual recovery framework CHIME, that includes five important components in the recovery process, is used as the backdrop for exploring music activities as a contribution to recovery-oriented practice and services in mental health care. Eleven key components are identified in which music can support the recovery process: Feelings of equality; Social and emotional wellbeing; Tolerance; Hope and social agency; Triggering encounters; Redefining and reframing; A social practice; Moments of flow and peak experiences; Moments of meaning; Continuity; and Potentials instead of limitations. This essay concludes that the experiential knowledge of music activities from service users’ perspectives is essential knowledge when developing and using music activities in mental health recovery services. While this essay acknowledges that music activities can also produce unintended negative outcomes, the focus is on the positive contributions of music to mental health recovery processes.
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Macdonald, Geraldine (Jody), and Judith A. MacDonnell. "6. Transforming Diversity Tensions: Shifting Knowledge Through Arts-Based Practices." Collected Essays on Learning and Teaching 1 (July 1, 2011): 35. http://dx.doi.org/10.22329/celt.v1i0.3175.
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In this paper, the authors engage in a dialogue to illustrate their teaching practice with experiential arts-based diversity learning. The adult education theoretical frameworks of transformative learning/unlearning and experiential learning frame the paper. Examples of experiential arts-based diversity learning include: participating in experiential role-playing during the ‘animal game,’ creating paper figures that represent participant diversities, and creating an impromptu human installation.
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Camlin, Dave, Laura Caulfield, and Rosie Perkins. "Capturing the magic: A three-way dialogue on the impact of music on people and society." International Journal of Community Music 13, no. 2 (June 1, 2020): 157–72. http://dx.doi.org/10.1386/ijcm_00017_1.
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This article sets out a dialogue on the impact of music on people and society. The perspectives of three researchers, from different experiential and methodological backgrounds, are presented. The article explores: how we define concepts of impact; how we seek to measure the impact of engaging with music, providing examples from our own recent work; and tensions in attempting to capture or measure the ‘magic’ of music, including how to meet the needs of different audiences and how to develop new ways to capture impact. The authors reflect on the political climate in which music interventions operate, including the need to ask different questions at different times for different audiences, concluding that it is vital to measure both whether there is any impact, how this impact was achieved, and people’s experiences of engaging with music. We found consensus about the need to move evidence forwards through both the use of arts-based creative methods that focus on the music-making process itself as well as through collaborations that bring together varied perspectives, experiences, disciplines and research methods. We also argue that – as there is considerable evidence about the impact of music, on different people, in different ways and in different settings – researchers should now aim to take stock of the evidence base. Finally, we posit that there is merit in engaging with a reflective dialogue like the one presented here, as a tool to help challenge, disrupt and influence our own thinking.
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Sansom, Matthew, and Zi Siang See. "Translating performative mediated art into virtual reality: A case study." Virtual Creativity 11, no. 1 (June 1, 2021): 53–65. http://dx.doi.org/10.1386/vcr_00042_1.
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Park benches are distinctive public spaces that invite a temporary pause for thought and time out from everyday activities and worldly preoccupations. Park Bench Sojourn is a multimodal arts project that explores the uniqueness and universality of these spaces and the kinds of experiences they foster. It asks what it means to be human; surrounded, as we are, by computer technologies and digital media, living lives that are perpetually ‘connected’ and dispersed through the cloud. It reflects on how our technologically determined lives and lifestyles conspire against us to find opportunities to stop, reflect and be witnesses to lived experience. It is a conceptually playful creative work that shares concerns for health and well-being arising from the contemporary mindfulness movement and the traditional practices and worldviews upon which mindfulness draws. The project is based around a range of experiential sojourns, which require participants to find a bench to sit on and then take a sojourn, or a number of sojourns from the project’s website, which may include audio, video, spoken word, or just listening. Other iterations of the project have included a multimedia gallery installation juxtaposing content from a variety of sojourns. Regardless of the format, context or specific content, the project explores ways in which we ‘perform’ ourselves and mediate experience via digital technologies. In this article, we describe the process of translating this mediated and performative artwork into a VR prototype and directions for future work.
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Thomas, Bigi, and Chandrik Rajdeep. "Life Skill Education: Enhancing Empowerment among Rural Primary School Children in Gujarat, India." Space and Culture, India 8, no. 4 (March 26, 2021): 22–32. http://dx.doi.org/10.20896/saci.v8i4.898.
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At a time when there is an unprecedented surge in reported cases of abuses against children in its all forms in India and the legal, social as well as educational system continue to fail in either protecting them or empowering them to face their challenges, it is essential to equip them to learn life skills because such initiatives provide the children with a variety of alternative and creative ways of solving problems of everyday life. In this study, the authors attempt to assess the changes witnessed among rural primary school children after three months of life skill education. Improvement in their communication, participation, perception, values, behaviour, and academic performance was included in the assessment areas.
Activity-based participatory learning techniques like games, role plays, drama, drawing, and reflections were included in the modules of life skills, which were used in teaching them in a non-threatening atmosphere. The experiential learning method, which gives opportunities to the subjects to have a first-hand encounter with the phenomenon under consideration instead of simply imagining the situation or merely looking into the prospect of doing something about it, helped children to have a clear understanding about these life skills and its applicability in real-life situations. Reflective sessions after hearing, observing, and practicing each skill, enabled children to think loudly about their performances and understanding about each session. Children could learn a lot from others’ viewpoints, observations, and ideas too.
Detailed narration with specific activities as well as games practiced, of each module of life skill education taught to children is included in this study. Results proved that there is an improvement in life skills among children in the areas of communication, participation, perceptions, and values after having life skill education.
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Clevenger, Hannah. "“Ask for a Miracle”: Memory, Manipulation, and Displacement in the Cooper-Young Neighborhood." Reconceptualizing Educational Research Methodology 11, no. 1 (May 8, 2020): 28–40. http://dx.doi.org/10.7577/rerm.3852.
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Through a combination of walking, archival, and arts-based research methodologies, this paper expands the experiential process of creating a visual representation of the changes that have taken place in the Cooper-Young neighborhood of Memphis, Tennessee. Combined, these (visual) elements highlight the disparities between the dominant and hidden narratives of Cooper-Young’s history.
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Schneiderman, Bette E. "Creating a Learning Space That Is Virtual and Experiential." Journal of Aesthetic Education 42, no. 2 (2008): 38–50. http://dx.doi.org/10.1353/jae.0.0003.
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Van Winkle, Christine M., and Jill N. H. Bueddefeld. "Service-dominant logic and the festival experience." International Journal of Event and Festival Management 7, no. 3 (October 10, 2016): 237–54. http://dx.doi.org/10.1108/ijefm-12-2015-0046.
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Purpose The purpose of this paper is to understand the process of value co-creation by examining festival attendees’ perspectives of their festival experiences. Service-dominant logic (SDL) is used as a framework to understand the how value is co-created in the festival setting. Design/methodology/approach Using a SDL approach and personal meaning mapping methods, this research offers insight into how value is co-created by the attendee, festival, and influential others. Findings This research found that personal, social, cultural, physical, place, and arts presentation domains come together to add value to the festival experience. Research limitations/implications This research adds insight into the value co-creation process if festival settings. SDL is examined in relation to findings and re-conceptualized based on findings. This research was not intended to generalize all performing arts festivals but instead provided a detailed descriptive account of the experiences offered by performing arts festivals examined. Practical implications These findings contribute to the understanding of how co-created experiences can be developed, marketed and managed and provide insight into areas of future research to better understand the co-creation process in event contexts. Originality/value By providing a framework for understanding the festival experience, employing SDL, and using of experiential assessment methods across festivals, this research fulfils an identified need for an in-depth understanding of the co-created meanings of festival experiences.
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Ciuciura, Helena, Mark Dickinson, Michelle Mohammed, Tarndeep Pannu, and Dylan Pineo. "Creating an Escape Room: A Discussion on Experiential Learning and Interdisciplinary Studies." Canadian Theatre Review 178 (March 2019): 38–43. http://dx.doi.org/10.3138/ctr.178.007.
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Taylor, Gretel, and Deborah Warr. "Touchy Art: A phenomenological approach to artistic practice in stigmatised neighbourhoods." Conjunctions. Transdisciplinary Journal of Cultural Participation 5, no. 1 (May 24, 2018): 1–16. http://dx.doi.org/10.7146/tjcp.v5i1.105290.
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This paper outlines an artistic method combining a socially engaged and site-responsive arts practice with sociological discursive reflection that aimed to challenge the stigmatising stereotypes associated with many low-income neighbourhoods in Australia. We characterise our approach as ‘touchy’ to draw attention to issues that informed our approach: the sensitivity of the topic of stigma for residents; the need for a phenomenological method that sensitised participants to see/perceive beyond stereotypes; and aims of creating experiential and tactile artworks that could engage local and wider audiences in the issues. The paper discusses our rationale for the method and explicates components of the approach – excursions, workshop activities and exhibitions – and draws on artefacts, artworks and interview material to visualise and give voice to participants’ experiences of the project. Artistic and social outcomes were suggestive of the potential of this approach to develop alternative, experiential portrayals that might challenge the persistently negative stereotyping of low-income neighbourhoods.
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Jaquet, Daniel, Claus Frederik Sørensen, and Fabrice Cognot. "Historical European Martial Art a crossroad between academic research, martial heritage re-creation and martial sport practices." Acta Periodica Duellatorum 3, no. 1 (May 1, 2015): 5–35. http://dx.doi.org/10.1515/apd-2015-0001.
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Abstract Historical European martial arts (HEMA) have to be considered an important part of our common European cultural heritage. Studies within this field of research have the potential to enlighten the puzzle posed by past societies, for example in the field of history, history of science and technology, or fields related to material culture. The military aspects of history are still to be considered among the most popular themes of modern times, generating huge public interest. In the last few decades, serious HEMA study groups have started appearing all over the world – focusing on re-creating a lost martial art. The terminology “Historical European Martial Arts” therefore also refers to modem-day practices of ancient martial arts. Many of these groups focus on a “hands-on” approach, thus bringing practical experience and observation to enlighten their interpretation of the source material. However, most of the time, they do not establish inquiries based on scientific research, nor do they follow methodologies that allow for a critical analysis of the findings or observations. This paper will therefore propose and discuss, ideas on how to bridge the gap between enthusiasts and scholars; since their embodied knowledge, acquired by practice, is of tremendous value for scientific inquiries and scientific experimentation. It will also address HEMA practices in the context of modern day acceptance of experimental (or experiential) processes and their value for research purposes and restoration of an historical praxis. The goal is therefore to sketch relevant methodological and theoretical elements, suitable for a multidisciplinary approach, to HEMA, where the “H” for “historical” matters.
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Kälviäinen, Mirja. "The Significance of ‘Craft’ Qualities in Creating Experiential Design Products." Design Journal 3, no. 3 (November 2000): 4–15. http://dx.doi.org/10.2752/146069200789390097.
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Resurreccion, Analiza D. "May There Be Peace: Teaching- Learning Approaches and Strategies in the Cultivation of Lasallian Peace Culture." Asian Journal of Social Science Studies 2, no. 1 (November 15, 2016): 20. http://dx.doi.org/10.20849/ajsss.v2i1.83.
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<p>This study sought to identify teaching- learning approaches and strategies in the cultivation of peace culture in De La Salle Lipa, Philippines. Interviews were conducted among selected professors in the College of Education, Arts, and Sciences who carry out peace initiatives through courses they teach. Content analysis of the syllabi of the courses that carry out peace concepts was also done. The findings identified holistic, participatory, cooperative, humanist, and experiential approaches evident in teaching courses that carry out peace concepts. It was recommended that the institution formalizes peace efforts if it is really committed to creating a condition conducive to peace whether at an intrapersonal, interpersonal, intergroup, national, or international level.</p>
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Modrowski, Kathleen A. "Blending Cultures of Pedagogy." International Journal of Chinese Education 5, no. 1 (July 13, 2016): 85–103. http://dx.doi.org/10.1163/22125868-12340062.
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Liberal arts schools and university programs are flourishing in India. Over the past decade economic growth and the ability to pay for education have spurred the creation of private and public liberal arts schools. As internationalization of higher education and cross-border movements of students become increasingly more common, a new generation of students is now familiar with global education and corresponding western pedagogies. Along with the increase in study abroad programs is the rise in demand for quality liberal arts institutions at home. This study of O.P. Jindal Global University, founded in 2007, and the Jindal School of Liberal Arts and Humanities (jslh) examines the contradictions and challenges inherent in supplanting long-held traditional teaching methods and classroom culture with the western concept of liberal education. The jslh faculty consists of Indian and foreign instructors while all students are Indian. Applying qualitative research methods of direct observation, interviews with faculty and students and surveys, the author examines changes in the traditional classroom power dynamics and the acceptance and resistance to new pedagogies. One strategy for addressing challenges, such as the faculty’s resistance to change was through in-depth discussion among faculty of the merits and limitations of traditional education and experiential learning. Foreign faculty benefitted from co-teaching with Indian faculty as all parties made a conscious effort to recognize cultural differences in student-teacher relations.
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Robichaud, Lise. "ArTSchives: un tremplin vers divers types de musées et vers la création artistique." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (October 17, 2016): 90. http://dx.doi.org/10.26443/crae.v43i1.19.
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Abstract: The article introduces arTSchives, a visual art teaching model that integrates the concepts of museum, archives, and experiential learning. Its purpose is to help understand contemporary artwork of the archival type while proposing artistic creation channels that integrate the concept of archives. The author conducted a content analysis of visual art installations that resulted in a list of potential archive sources. This particular type of teaching promotes the visiting of contemporary art museums as well as natural sciences, human sciences and other types of specialised museums.KEYWORDS: Contemporary; museums; teaching model; Acadian cultural context; art appreciation; archival art; artistic creation; art galleryRésumé: L’article présente un modèle d’enseignement des arts visuels intitulé arTSchives qui intègre les notions de musée, d’archives et d’apprentissage expérientiel. Le but est de faciliter la compréhension des œuvres d’art contemporain de genre archivistique tout en proposant des pistes de création artistique intégrant le concept d’archives. L’auteure a procédé par une analyse de contenu d’installations en arts visuels ce qui a mené à l’énumération d’une liste d’exemples de sources d’archives possibles. Ce type particulier d’enseignement encourage la fréquentation des musées d’art contemporain ainsi que des musées de sciences naturelles, sciences humaines et autres musées spécialisés.MOTS CLES: Contemporain; musées; modèle d’enseignement; contexte culturel acadien; appréciation artistique; art archivistique
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Young, Jimmy A., Justin S. Lee, and Pamela J. Kovacs. "Creating and Sustaining an Experiential Learning Component on Aging in a BSW Course." SAGE Open 6, no. 4 (October 2016): 215824401667971. http://dx.doi.org/10.1177/2158244016679711.
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Regardless of their particular field of practice, social workers increasingly serve the growing population of older adults in the United States. This article describes the process of integrating an experiential component into a Baccalaureate Social Work (BSW) course involving 75 BSW students. Reflections on the strengths and challenges during 3 years of the course and a successful sustainability strategy are discussed. Three methods of curriculum infusion were added to a required course: (a) guest speakers, (b) required volunteer hours, and (c) written reflections and class presentations. We discovered that students’ attitudes toward working with older adults were changed following their experience in this course. Cognizant of the difficulty introducing additional hours and content to a full course agenda, we advocate for curriculum change that includes an experiential component together with classroom discussion and activities. We provide details of our process of implementation and sustainability that might help guide similar course adaptations to increase BSW student exposure to working with older adults.
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Mulvaney, Donald R. "427 Creating experiential learning through roundtable discussion and debate exercises in an animals and society course." Journal of Animal Science 97, Supplement_3 (December 2019): 181. http://dx.doi.org/10.1093/jas/skz258.372.
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Abstract An Animals and Society (AS) course has been in place departmentally for over 20 years. Similar courses and resource materials across academia are found in liberal arts arenas and may have titles of Anthrozoology, Human Animal Studies or Human Animal Interactions, among others. An examination of texts and learning resources for these classes reveal substantial depth and breadth and pervasiveness of the biases toward animal activism and anti-animal agriculture sentiments. Collectively, these indicators support the need for pedagogy to deeply investigate and deliberate ethical aspects of topics within AS courses. In our present course design, students participate in an in-class discussion activity, designed to simulate a well-informed town hall meeting where discussion and active participation are expected. Roundtable Discussion Panel exercises (RTDPs) and debates around a pre-determined topic were evaluated on exchange of ideas, information, cooperativity and solutioning using rubrics. A 20 question survey was administered to ascertain students’ perceived value and impact of the Debate vs RTDP exercises for dimensions of experiential learning. Participants built basic discussion skills, developed keen understanding of important animal issues and explored how groups can pool knowledge to reach consensus and solve problems. Participants were more engaged productive thinkers rather than emotional persuaders and assisted the larger group in creating ways to implement solutions discussed and highlighted organizational involvement in those actions/steps. Sixty-four percent preferred debate and 68% found it most challenging yet learned most from the RTDP. For debates, students saw themselves as cooperators but in panels, a majority viewed themselves as leaders. Well-designed RTDP’s and debates are a valuable pedagogy for animals and society courses.
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Jelinek, Julia-Sophie. "Art as strategic branding tool for luxury fashion brands." Journal of Product & Brand Management 27, no. 3 (May 14, 2018): 294–307. http://dx.doi.org/10.1108/jpbm-01-2017-1408.
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Purpose This study aims to understand the lasting relationship between luxury fashion and art. The purpose of the paper is to explore whether the application of art, the cooperation with artists, the implementation of experiential strategies focusing on retail spaces and shows embedded in the strategic concept of a luxury brand lead to a competitive advantage and to a sustained value creation for luxury brands. Design/methodology/approach Based on the literature, the strategic role of art and the importance of experiential marketing for the value creation of European luxury fashion brands was explored through empirical data collection, consisting of 26 semi-structured in-depth interviews. The gained data have been analysed through a thematic analysis approach and triangulated to avoid bias. Findings The exploratory study revealed that when art is applied as a strategic tool, it is of relevance to achieve an authentic fit to the brand. When integrating art consistently and authentically within the whole value chain system, it leads to a higher brand equity. Practical implications The paper provides a guide for both academics and marketers as theoretical frameworks are examined, analysed and future recommendations are given, which are suited to be applied within the brand management principles. Originality/value The outcome contributes to a wider delineation regarding the future of luxury brands. The study reveals novel viewpoints concerning the integration of arts in luxury brand marketing and adds to existing literature.
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Rowe, Anthony. "Within an Ocean of Light: Creating Volumetric Lightscapes." Leonardo 45, no. 4 (August 2012): 358–65. http://dx.doi.org/10.1162/leon_a_00410.
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This paper documents explorations into an alternative platform for immersive and affective expression within spatial mixed reality installation experiences. It discusses and analyzes experiments that use an advanced LED cube to create immersive, interactive installations and environments where visitors and visuals share a common physical space. As a visual medium, the LED cube has very specific properties and affordances, and optimizing the potential for such systems to create meaningful experiences presents many interlinked challenges. Two artworks exploring these possibilities are discussed. Both have been exhibited internationally in a variety of settings. Together with this paper, the works shed some light on the design considerations and experiential possibilities afforded by LED cubes and arrays. They also suggest that LED grids have potential as an emerging medium for immersive volumetric visualizations that occupy physical space.
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Shan, Gongbing, Peter Visentin, and Tanya Harnett. "A Novel Use of 3D Motion Capture: Creating Conceptual Links between Technology and Representation of Human Gesture in the Visual Arts." Leonardo 43, no. 1 (February 2010): 34–42. http://dx.doi.org/10.1162/leon.2010.43.1.34.
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As an unfolding of time-based events, gesture is intrinsically integrated with the aesthetic experience and function of the human form. In historical and contemporary visual culture, various approaches have been used to communicate the substance of human movement, including use of science and technology. This paper links the understanding of human gesture with technologies influencing its representation. Three-dimensional motion capture permits the accurate recording of movement in 3D computer space and provides a new means of analyzing movement qualities and characteristics. Movement signatures can be related to the human form by virtue of trajectory qualities and experientially and/or culturally dependent interactions.
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Dulencin, Juraj. "Detail in architecture: Between arts & crafts." Selected Scientific Papers - Journal of Civil Engineering 11, no. 1 (June 1, 2016): 71–76. http://dx.doi.org/10.1515/sspjce-2016-0008.
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Abstract Architectural detail represents an important part of architecture. Not only can it be used as an identifier of a specific building but at the same time enhances the experience of the realized project. Within it lie the signs of a great architect and clues to understanding his or her way of thinking. It is therefore the central topic of a seminar offered to architecture students at the Brno University of Technology. During the course of the semester-long class the students acquaint themselves with atypical architectural details of domestic and international architects by learning to read them, understand them and subsequently draw them by creating architectural blueprints. In other words, by general analysis of a detail the students learn theoretical thinking of its architect who, depending on the nature of the design, had to incorporate a variety of techniques and crafts. Students apply this analytical part to their own architectural detail design. The methodology of the seminar consists of experiential learning by project management and is complemented by a series of lectures discussing a diversity of details as well as materials and technologies required to implement it. The architectural detail design is also part of students’ bachelors thesis, therefore, the realistic nature of their blueprints can be verified in the production process of its physical counterpart. Based on their own documentation the students choose the most suitable manufacturing process whether it is supplied by a specific technology or a craftsman. Students actively participate in the production and correct their design proposals in real scale with the actual material. A student, as a future architect, stands somewhere between a client and an artisan, materializes his or her idea and adjusts the manufacturing process so that the final detail fulfills aesthetic consistency and is in harmony with its initial concept. One of the very important aspects of the design is its economic cost, an actual price of real implementation. The detail determines not only the physical expression, it becomes the characteristic feature from which the rest of the building is derived. This course motivates students to surpass mere technical calculations learned from books towards sophistication and refinement, pragmatism and experimentation, and encourages a shift from feasibility to perfection.
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BAILES, SARA JANE, ALEXANDRINA HEMSLEY, ROYONA MITRA, RAJNI SHAH, ARABELLA STANGER, and JEREMY TOUSSAINT-BAPTISTE. "Unsettling Sound: Some Traces." Theatre Research International 46, no. 2 (July 2021): 230–45. http://dx.doi.org/10.1017/s0307883321000134.
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Unsettling Sound examined the at once destabilizing and liberatory experiential dimensions of sounding through three dialogue-events, opening up possible meanings, sensations, ideological and bodily potentialities of the sonic, and the sonic potentialities of bodies. This series of conversations, co-devised by Sara Jane Bailes and Arabella Stanger, took place remotely and online. Here, traces of the events are gathered into print. Alexandrina Hemsley reflects on their exchange with Seke Chimutengwende and Xana in the midst of creating an audio version of the stage show, Black Holes (2018). Rajni Shah and Royona Mitra share voice letters on the impossibilities of anti-racist institutions and dreaming new worlds. Jeremy Toussaint-Baptiste shares a new conceptual score, Étude for Not Knowing #1 (2021).
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Di Puppo, Lili, and Jesko Schmoller. "Introduction: Normative orders and the remaking of Muslim spaces and selves in contemporary Russia." Ethnicities 20, no. 4 (February 18, 2020): 653–66. http://dx.doi.org/10.1177/1468796820905156.
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The aim of this special issue is to explore, from the perspective of various notions of space, the manifold ways in which Muslims in Russia live and practice their religion. We aim to analyse how Muslims in Russia are confronted in the practice of their religion with various conceptual and experiential realms. These realms correspond to certain divisions that they must negotiate and navigate. Examples of these include the boundaries between the secular and the religious; the public and the private; the official and the informal or unofficial; the local and the translocal/transregional/transnational; halal and haram, etc. Looking at Islam through the lens of space allows us to explore the dynamic ways in which Muslims in Russia have continued to creatively redefine, negotiate, reinforce, alter and dissolve these boundaries and divides since the fall of the Soviet Union. Diverse experiences and perceptions of Muslim spaces further help us to relate the question of the (re)appearance of these Muslim spaces to the process of de-secularisation that is currently taking place in post-Soviet Russia. In particular, we aim to clarify how the relationship between the secular realm and the Islamic religion is being reconfigured by examining how Muslim lives integrate, transcend and alter the normative dichotomies that are present in official discourses on Islam. We thus want to look ethnographically at the relationship between the ways in which normative categories define and delimit certain realms and the ways in which Muslims live their religion by creatively shaping and experiencing spaces that go beyond these normative divisions. In addition, this special issue explores the question of how the (re)creation of Muslim spaces is linked to processes of becoming Muslim, of cultivating a Muslim self and of experiencing different (but often simultaneous) identities and forms of personhood.