Dissertations / Theses on the topic 'Practice-based arts research'
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1
Green, Paul. "A framework for the consideration of narrative in creative arts practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11160.
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This research project is aimed at creative practitioners in art and design who choose to engage in postgraduate research and who recognise narrative to be an important aspect of their work. While the goal of narratology has been explicitly declared as an interest in understanding narrative in all its forms, this project responded to a perceived absence of art and design centred perspectives in the general literature on narrative. A general attitude has developed throughout the course of the twentieth century resulting in a view that narrative has become a dead issue for contemporary practitioners. Findings from the investigations conducted as part of this project demonstrate a contrary view and show that definitions of narrative tend to be weak unless anchored in specific practices or disciplines. The lack of scholarship to support contemporary art and design research practitioners produces a problem by giving the false impression that narrative is largely irrelevant to practice. It also inhibits new scholarship when what currently exists is poorly categorised. The research question asks how it is possible to support the creative practitioner doing postgraduate research to better articulate their position on narrative in a way that contributes to scholarship in the arts and consequently to knowledge about narrative in general. The thesis argues that approaches to narrative traditionally associated with the discussion of art continue to be relevant today but only account for practice in a marginalised way. It posits that theorisation of narrative in the social sciences provides additional opportunities for creative arts practitioners. In psychology, sociology and anthropology the focus has tended towards localised or personal narrative in accordance with the disciplinary interests in those fields. If small stories, in contrast to the great narratives of history or literary art, can be regarded as the prototype of narrative, then artists can draw on other academic resources which better reflect their own disciplinary interests. Having established narrative to be more relevant than it might otherwise appear in the existing traditional scholarship, the thesis proceeds to make use of my practice as a case demonstrating narrative possibilities to be considered in relation to the work of practicing artists. Since my work operates across fields of art and design it was necessary to use a mix of methods to reveal the understanding of narrative in the different cases. Finally, the thesis proposes a narrative framework which categorises narrative in creative practice in five classes which incorporate the work, its reception, and the social space in which it is experienced. In addition, the practitioner's perspective is a distinct class. The purpose of the framework is not to describe narrative in all the forms that could ever be imagined by creative practitioners. Instead it offers a way of thinking about narrative that is derived from practice and structured relative to theories traditionally used to discuss narrative and art.
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Wood, Toni A. "The Tornado Tree: Drawing on Stories and Storybooks." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3187.
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Storytelling has been used by many cultures to record events, research genealogy, and to teach moral lessons. Some cultures passed on their histories and important events through oral narration, papyrus, or cathedral stained glass windows. More modern cultures write personal histories, and use modern technology to communicate with each other. This study is an arts based project based on writing a storybook. It is an exploration of why storytelling is important from a cultural point of view using my experiences to write a storybook based on a true event from my family history.
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Stevens, Karen J. "Transition: Exchange establishing a visual arts practice based on personal pedagogy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89698/4/Karen_Stevens_Thesis.pdf.
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There is a perceived tension in the relationship between the roles of art teacher and artist that led to the question: can an art teacher use their professional training and experience to establish an authentic artistic identity? This self-study tracked and analysed how the process of making her own art enabled an art teacher to also identify as an artist.
Drawing on Lamina, the public exhibition of her multimedia artworks, the final exegesis proposes five conditions for art teachers in developing their own art practice: developing an identity as artist, using time and space mindfully, tolerating uncertainty, mentoring, and privileging the process.
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Kim, Min Sun. "Transformational jewellery : practice-based research on the relationship between transformation and emotional attachment." Thesis, London Metropolitan University, 2015. http://repository.londonmet.ac.uk/918/.
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The chief aims of this practice-based research are to investigate the nature of attachment between person and object in respect to transformation; to find ways in which objects (jewellery) can be transformed to engender a wearer’s emotional attachment; and to demonstrate the different ways of applying such transformations that are pertinent to jewellery. This research has developed a certain type of transformation, which slowly makes traces on the surface of jewellery over time, and is used as an effective way to engender a wearer’s emotional response. The research is situated in the field of contemporary jewellery, and is specifically related to emotion and sentiment; a category of jewellery that relates to the wearer’s emotional feeling. The scope of the study extends to research on emotional design since this research focuses on user experiences in developing emotional relationships with the object and on how the designer/maker can promote the formation of such an attachment to the object. Two practical experiments have been conducted in this research to determine and construct appropriate and effective characteristics of transformation that engender an emotional relationship between the jewellery and its wearer, through the examination of the transformational character of emotional objects and the interactions that people have with transformational jewellery. These two experiments involve the process of making in order to provide a way of thinking through the hand manipulating a material. The use of this material thinking, develops a more broader understanding of the relationship between the transformational object and emotional attachment. Towards the end of the research, a definition of transformational jewellery is constructed that identifies its four important elements. It also provides two sets of practice work that demonstrate the findings and that facilitate the communication of the author’s tacit knowledge gained from the experiential knowledge. This research expands the field of contemporary jewellery by involving studies of emotional design and applying the element of transformation to create an emotional relationship between jewellery and its wearer. This specific transformation, which has been identified in both text and practical works, constitute the main contribution to knowledge in the field of contemporary jewellery.
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Masing, Anna Sulan. "From the jungle : Iban performance practice, migration and identity : a practice-based PhD based on four-years of research, culminating in this thesis and a performance piece, 'From the jungle', May 2012." Thesis, London Metropolitan University, 2013. http://repository.londonmet.ac.uk/678/.
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This document provides an elaboration of the critical, contextual and methodological rationale for a practice‐based PhD research project undertaken at London Metropolitan University 2009-2013. This four‐year project was an exploration in identity, space and location. It looks at the transitions, journeys and stories of migrant women. Specifically this exploration has been developed through the language of the cultural practices of Iban women. The Iban are an indigenous group of people from Borneo, predominantly living within the Malaysian state of Sarawak. Significantly the Iban practices have migrated from the jungle, to urban areas, and globally, and inevitably the identity of these practices has developed as the locations have changed, much like the women performing them. My father is Iban and my mother white New Zealander, and I grew up in both Sarawak and New Zealand before coming to live in the UK in my 20s. My performance training has been within a Western context, both in New Zealand and the UK. This project has been a personal exploration, which has wider consequences in developing performance practice and understanding the discourses of home, belonging, migration and identity. This has led to questions around migrating Iban performance and cultural practices to a western contemporary context. These questions have been investigated through the cultural practices of the Iban pantun (chapter three), the Iban ngajat (chapter two), Iban weaving (chapter four) and the use of space in the Iban longhouse (chapter one). This project was an interdisciplinary investigation; in each chapter I pull together performance theory from western practitioners and post‐colonial feminist literature with the Iban performance practice. This project has asked the question: "Can Iban cultural and performance practices be ‘migrated’ to a contemporary western performance context in order to explore experiences of women’s migration?" My research question was central to the practice‐based research I conducted, the methodologies developed through practice as research, and are central to all the work covered in this thesis. Within this context the practice is submitted as an outcome alongside this written narrative. Additional details can be found on the website: www.fromthejungle.co.uk.
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Singh, Nicola. "On the 'thesis by performance' : a feminist research method for the practice-based PhD." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36132/.
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This doctoral project challenges the conventions of academic enquiry that, by default, still largely shape the procedures of practice-based PhDs. It has been submitted in the form of a ‘thesis by performance’ - a thesis that can only be realized through live readings that present knowledge production as something done in and around bodies and their contexts. The aim has been to reposition institutional and educational knowledge in an intimate, subjective relationship with the body, particularly the researchers own body. The ideas gathered together in this ‘thesis by performance’ address the body and its context using material that was sometimes appropriated, sometimes invented and sometimes autobiographically constructed. From the start, these approaches and sources were used to directly address those listening in the present, the ‘now’ in which words were spoken. An approach influenced by feminist thinkers in the arts, Kathy Acker, Chris Kraus, Katrina Palmer and Linda Stupart. The methodological development of the research has been entirely iterative – developed through the making and presenting of performance texts. Each text was presented live as part of mixed-media installations, experimenting with how language and voice can be visualised and choreographed. Consequently, the resulting ‘thesis by performance’ is a doctoral submission unimpeded by a printed script - only an introductory statement and two appendices are available outside of a live reading. In this way the process of performance can inspire new terms of reference in the field of postgraduate practice-led research entirely on its own terms.
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Lloyd, Cathryn Ann. "Artful inquiry : an arts-based facilitation approach for individual and organisational learning and development." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/43940/1/Cathryn_Lloyd_Thesis.pdf.
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The research undertaken in these two major doctoral studies investigates the field of artsbased learning, a pedagogical approach to individual and organisational learning and development, my professional creative facilitation practice and development as a researcher. While the studies are stand-alone projects they are intended to build on each other in order to tell the evolving story of my research and professional practice. The first study combines The Role of Arts-based Learning in a Creative Economy; The Need for Artistry in Professional Education the art of knowing what to do when you don’t know what to do and Lines of Inquiry: Making Sense of Research and Professional Practice. The Role of Arts-based Learning in a Creative Economy provides an overview of the field of arts-based learning in business. The study focuses on the relevant literature and interviews with people working in the field. The paper argues that arts-based learning is a valuable addition to organisations for building a culture of creativity and innovation. The Need for Artistry in Professional Education continues that investigation. It explores the way artists approach their work and considers what skills and capabilities from artistic practice can be applied to other professions’ practices. From this research the Sphere of Professional Artistry model is developed and depicts the process of moving toward professional artistry. Lines of Inquiry: making sense of research and professional practice through artful inquiry is a self-reflective study. It explores my method of inquiry as a researcher and as a creative facilitation practitioner using arts-based learning processes to facilitate groups of people for learning, development and change. It discusses how my research and professional practice influence and inspire the other and draws on cased studies. The second major research study Artful Inquiry: Arts-based Learning for Inquiry, Reflection and Action in Professional Practice is a one year practice-led inquiry. It continues the research into arts-based and aesthetic learning experiences and my arts-based facilitation practice. The research is conducted with members of a Women’s Network in a large government service agency. It develops the concept of ‘Artful Inquiry’’ a creative, holistic, and embodied approach for facilitation, inquiry, learning, reflection, and action. Storytelling as Inquiry is used as a methodology for understanding participants’ experiences of being involved in arts-based learning experiences. The study reveals the complex and emergent nature of practice and research. It demonstrates what it can mean to do practice-led research with others, within an organisational context, and to what effect.
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Miller, Kristina K. "Practicing a New Hospitality: The Interdependence of Partnership and Play in Theatrical Meaning-Making." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563489789729287.
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Francis, Bart Andrus. "Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3260.
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A high school visual art educator, along with 20 students enrolled in this teacher/researcher's Advanced Placement (AP) studio course, investigated the processes involved in creating artwork. Understanding artistic processes beyond skills and techniques is significant for curriculum development, but it is also key in conceptualizing art as a way of knowing. The arts based research strategy utilized in this study was a/r/tography, which focuses on the interconnectedness between artist, researcher, and teacher/learner. This highly reflective form of action research allowed the researcher and students to uncover new understandings of what it means to be an artist-researcher through a combination of knowing, doing, and making. Student-researchers learned several arts based forms of inquiry by analyzing the processes of contemporary artists. They were invited to record and reflect upon their own processes in a research journal as they generated artworks. The teacher-researcher also kept an intensive reflective journal concerning artmaking, but also included pedagogical concerns, questions, observations, and insights. At the conclusion of the semester, students were taught to analyze their own artistic process via their sketchbook entries by creating two visualizations: a mind map and an artwork as a data visualization of their process. Several important understandings are drawn from this study that transform this educator's practice as an artist-educator. These include the following concepts: not knowing as an artist, researcher, student and teacher; anxiety may be a necessary factor in artistic creation and pedagogy; and pretending is a strategy that allows one to productively move through uncertainty, ambiguity, and anxiety.
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Pedraza, Lynn. "An examination of the implementation of the Second step program in a public school system." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003183.
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Turk, Rebecca Baygents. "Costuming as Inquiry: An Exploration of Women in Gender-Bending Cosplay Through Practice & Material Culture." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1553514620815081.
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Tereso, Susana Isabel Lopes Claro. "Novo materialismo e investigação baseada nas artes no ensino de artes visuais." Master's thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/15837.
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Este relatório é constituído pelas componentes teórica e de análise da Prática de
Ensino Supervisionada, nas quais se revêm e questionam os conceitos a/r/tografia e
novo materialismo, à luz das motivações/vocações de cada aluno. Tendo como
objetivo estudar, na qualidade de artista/investigadora/professora, a relação entre
aluno como matéria agencial e o desenho/pintura, desenvolveu-se uma metodologia
experimental pessoal inspirada nos métodos a/r/tográficos de Rita Irwin, envolvendo
o diagnóstico e realização dos sonhos de cada aluno como co-investigadora dos
seus interesses. O projeto Claro – Escuro. Sombras. Sonhos do 8º A da Escola
Básica Cunha Rivara envolveu a grafite e carvão aguareláveis e a têmpera acrílica,
e o projeto Entre/Cores do 10º E da escola Secundária Rainha Santa Isabel
introduziu a cera líquida colorida e a recriação da têmpera com materiais locais. As
ilustrações de livro e cronologia, e as exposições finais, realizadas nas escolas
contribuem para a integração social das metodologias desenvolvidas; NEW MATERIALISM AND ARTS-BASED RESEARCH IN TEACHING VISUAL
ARTS
ABSTRACT:
This report is composed by the components theoretical and of the analysis of the
Supervised Teaching Practice, in which the concepts a/r/tography and new
materialism are reviewed and questioned, considering each student’s
motivations/vocations. Aiming to study, as artist/researcher/teacher, the relation
between the student as agential matter and the drawing/painting, a personal
experimental metodology was developed inspired in the Rita Irwin’s a/r/tographic
methods, involving the diagnosis and realization of dreams of each student as coresearcher
of his/her interests. Project Light – Dark. Shadows. Dreams of 8º A from
Escola Básica Cunha Rivara investigated the water-soluble graphite and charcoal
and acrylic tempera, and project Between/Colours of 10º E from Escola Secundária
Rainha Santa Isabel introduced colorful liquid wax and recriation of tempera with
local materials. Ilustrations of the schools’ book and chronology, and the final
exhibitions of students dreamed drawing/paintings, realized in the schools contribute
for the social integration of the developed methodologies.
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Van, Luyn Ariella. "The artful life story : the oral history interview as fiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60921/1/Ariella_Van_Luyn_Thesis.pdf.
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This practice-led PhD project consists of two parts. The first is an exegesis documenting how a fiction writer can enter a dialogue with the oral history project in Australia. I identify two philosophical mandates of the oral history project in Australia that have shaped my creative practice: an emphasis on the analysis of the interviewee’s subjective experience as a means of understanding the past, and the desire to engage a wide audience in order to promote empathy towards the subject. The discussion around fiction in the oral history project is in its infancy. In order to deepen the debate, I draw on the more mature discussion in ethnographic fiction. I rely on literary theorists Steven Greenblatt, Dorrit Cohn and Gerard Genette to develop a clear understanding of the distinct narrative qualities of fiction, in order to explore how fiction can re-present and explore an interviewee’s subjective experience, and engage a wide readership. I document my own methodology for producing a work of fiction that is enriched by oral history methodology and theory, and responds to the mandates of the project. I demonstrate the means by which fiction and the oral history project can enter a dialogue in the truest sense of the word: a two-way conversation that enriches and augments practice in both fields.
The second part of the PhD is a novel, set in Brisbane and based on oral history interviews and archival material I gathered over the course of the project. The novel centres on Brisbane artist Evelyn, who has been given an impossible task: a derelict old house is about to be demolished, and she must capture its history in a sculpture that will be built on the site. Evelyn struggles to come up with ideas and create the sculpture, realising that she has no way to discover who inhabited the house. What follows is a series of stories, each set in a different era in Brisbane’s history, which take the reader backwards through the house’s history. Hidden Objects is a novel about the impossibility of grasping the past and the powerful pull of storytelling.
The novel is an experiment in a hybrid form and is accompanied by an appendix that identifies the historically accurate sources informing the fiction. The decisions about the aesthetics of the novel were a direct result of my engagement with the mandates of the oral history project in Australia. The novel was shortlisted in the 2012 Queensland Literary Awards, unpublished manuscript category.
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Wood, Andrea. ""Wonderfully ordinary" words from a romantic archive of Elizabeth Jolley's writing for students : Creative process as a garland of fragments." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1008.
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This project, including the visual artworks and poetry developed for the exhibition Wonderfully Ordinary, is the outcome of practice-led research into the creative process. Through creative practice—and the development of a personal and fragmentary process of invention—it aims to generate knowledge about creative practice as a form of philosophy in action. Drawing on Paul Carter’s concept of material thinking and historical ideas arising from Western Australian author Elizabeth Jolley’s (1923–2007)creative process and writing, it explores ways in which Friedrich von Schlegel’s (1772–1829) philosophical conception of the Romantic fragment might be revealed as a continuing idea of interest and tool for contemporary art production. It also asks how a creative engagement with the archive and the past to which its materials give access, might facilitate the production of new creative works. Critical to this is a set of understandings of history and the archive found in the writings of historian Carolyn Steedman. These understandings address what we can and can’t know about the past, and the transmission and reconfiguration of ideas over time. Ink is used—falling as words, drawings or blots on paper, and dust is applied as a metaphor for the possible interconnectedness between artists and viewers, our relationship to ideas and to nature. An archive of ink-blots: material translations of connections made between creative process and the chance processes of evolution—an exploration of the shared past of Romanticism and science as naturphilosophie—is the result of time spent with the zoological specimen collection at the University of Western Australia. Jörg Heiser’s writing on Romantic Conceptualism, historical understandings of the ink-blot and the artistic practices of Victor Hugo, Bas Jan Ader, Xu Bing and Mark Dion also inform the project. Importantly, the research arises from female experience: the personal challenge of the work of an artist seeking wholeness in the midst of professional and family life, and the fragmentary or increasingly divided and interrupted nature of ordinary days. The fragment and working fragmentarily suggest an alternative to a stereotyped conception of creative production as a necessarily uninterrupted and somehow separate activity conducted at a distance from quotidian concerns.
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Knowles, Rachelle Marie Viader. "A translocal approach to dialogue-based art." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10269.
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This thesis is a practice-led investigation into a translocal approach to dialogue-based art. The research has been undertaken through the practice of the ‘artist/academic’, drawing on my professional experience in artistic research, academic leadership and teaching, each informing my methods and findings. The problem which emerged through the practice is how to devise an approach to dialogue-based art that is responsive to twenty-first century social relations and telecommunications and attendant to the politics of mobility that constrain and control human movement. The research develops and tests out the application of ideas from the interdisciplinary field of translocality to the practice of dialogue-based art through the production of three collaborative projects. I argue that the practice of dialogue-based art, when informed by translocality, is better placed to critically reflect and act upon the conditions of contemporary life within networked and globalised society. In Translocal Geographies: Spaces, Places and Connections (2011) Brickell and Datta argue for a multi-scalar understanding of translocality beyond the discourse of national borders and international migrations, deploying the term as an expression of “simultaneous situatedness across different locales” (2011: 4). Viewed this way, the theory and practice of translocality presents a framework to understand the activities and goals of artists and artist-led networks seeking to bridge difference towards shared spaces of meaning. As the translocal research perspective develops towards ideas of local-to-local connectivities and a discourse of circulations and transfers, so translocality as applied to dialogue-based art proposes an expanded understanding of dialogue-based art across spatial, temporal and cultural distance. Through three practice-based projects, QR Code Project, Let Me Tell You The Story Of My Neighbour and #3CityLink, presented within the thesis as case studies, the research reveals a set of characteristics that articulate a translocal approach to dialogue-based art. I argue that this approach enables the ‘translocal artist’ to draw on multiple modes of dialogue-based practice, contributing to understandings of ‘simultaneous situatedness’ within the translocal research perspective.
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Lee, James Ming-Hsueh. "似藝術-art-like : problems and contradictions in developing an artistic research." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12567.
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The main purpose of this research is to examine artistic thinking processes from my practical experience as an artist. This thinking process is discussed through my term: 似藝術-art-like in the context of 'practice-based research'. '似藝術-art-like' is an amalgamated form of Mandarin characters with English words; it is both a picture and a word that serves as a temporary conceptual framework that aims to keep possibility open and meaning mobile.' Significantly,似藝術-art-like is addressed through language and artworks together with an attempt to reinterpret the relation between thinking, outcomes of thinking, and the complexity of meaning in relation to art. 似藝術-art-like operates as a temporary conceptual framework for discussing the thinking process and demonstrating the problems and contradictions in art research. This is a practice-based study so that visual and written elements and the structure of the thesis are each approached as a form of 'practice'. In addressing 似藝術-art-like in the written elements of the thesis, a series of stratagems or gambits are employed that attempt to explain or find formulation for the developing thinking process in art research. Each gambit is a form of artifice that serves to demonstrate the pursuit of addressing thinking through language as an impossible task, and functions as a manoeuvre for opening a conversation in understanding the thinking process in art. To facilitate my understanding, I explore my questioning of thinking in relation to Jacques Derrida's supplement and différance, Gilles Deleuze and Félix Guattari's rhizome, Mieke Bal's, framing, Susanne Langer's distinction between art and language, and Immanuel Kant's disinterestedness and aesthetic idea. It becomes apparent that no one theory satisfactorily explains what happens; it is too complex. Presentation of the inadequateness and contradictions in my developing process provides an examination of there being no specific answer. As a result, I conclude that utilising written words and artworks in my thinking processes and demonstrating them as physical outcomes is a process of constant confrontation with contradictions. It is a provocation that makes an artist-based researcher/research-based artist, re-think, re-disturb, re-articulate, and re-consider the conceptual frameworks in relation to developing artistic research. Ultimately, this research responds to the problems surrounding the relationship between thinking and the outcomes of thinking and meaning in relation to art. It demonstrates the difficulties and complications for seeking mobile thinking and for exploring the possibilities of artistic research. As a whole, the research points out the complexity of the process in terms of employing thinking through artworks and written words together. This invites a suspension of preconceived concepts and questions what knowledge mightbe in the context of an art enquiry.
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Sharek, Elizabeth. "The unsettled object." Click here to access this resource online, 2007. http://hdl.handle.net/10292/421.
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The Unsettled Object is an installational art project that considers the instability of objects in regards to their assembly, classification, and presentation, underpinned by the context of the museum and supported by Michel Foucault’s notion of the classificatory grids he discusses in The Order of Things: an archaeology of the Human Sciences. (Foucault,1970) The artefacts are being fabricated as a response to the corporeal body-on-display; its surfaces, spaces and volumes. An underlying notion of temporality and mutability is indicated in the processes of making, the objects, material responsiveness and the devices employed in the presentation of the work.
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Andersson, Klara. "Det är väl bara att dansa? : en studie utifrån kön om mina upplevelser av att dansa Halling." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-603.
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This thesis is based on my own experiences of dancing Halling, a type of folk dance. Halling is commonly referred to as a male or masculine dance. This has been entangled in the problems I have had with the dance, as I have felt uncomfortable performing all the movements to their full extent. Therefore, I have researched my experiences of this dance through a practical study with a focus on specific movements that I have struggled with. Combining the findings of my practical study with theories about feminism, gender and masculinity has shown me that, while my problem is complex, it is nevertheless possible to structure into two parts of my own understanding. The first part concerns the movement that make up the dance. Through my research I was able to deal with some of the problems that I had with specific movements, and this led me to the conclusion that the movements of Halling in themselves do not have to be problematic in a gendered way. The second part concerns Halling within its context, and the way that its representation and the expectations surrounding it affect me and my dancing. The study has also shown me that being a pedagogical role model is a very complex situation where it is not only important for me to be aware of the choices I make but also the person I am in the teaching situation.En video presenterades även i samband med examination av arbetet och innehas av författaren.
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Beccue-Barnes, Wendy Davis. "War brides: a practice-based examination of translating women’s voices into textile art." Diss., Kansas State University, 2012. http://hdl.handle.net/2097/13632.
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Doctor of PhilosophyDepartment of Apparel, Textiles, and Interior Design
Sherry J. Haar
Research about military wives has been limited. In academia, most research centers on the soldier and/or the family as a unit. When literature does address only the wife’s perspective it rarely presents a positive portrayal of her life. However, it is not just literature that shows a gap in exposing the voice of the military wife. Art-based works rarely focus on her perspective; and methodologies, such as practice-based research, rarely utilize actual voices as inspiration. The aim of the current study was to discover the voice of the military wife, examine it through a feminist lens, and then translate those voices into artwork that represented the collective, lived experience of the women interviewed. Three methodologies were utilized to analyze and translate the voices of military wives into textile art. These three methodologies: practice-based research, phenomenology, and feminist inquiry provided a suitable structure for shaping the study to fulfill the project aim. Interviews conducted with 22 military wives revealed two overarching themes: militarization and marriage; as well as multiple subthemes. Three subthemes were recognized as being the most prominent: relationships, separation, and collective experience. These themes were used as the inspiration for the creation and installation of three textile art pieces. The current study serves to fill the gaps in both the literature and the artistic process by presenting both the positive and negative aspects of the military wife’s lived experience and using that lived experience as inspiration for textile art.
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Hope, Charlotte Sophie. "Participating in the 'wrong' way? : practice based research into cultural democracy and the commissioning of art to effect social change." Thesis, Birkbeck (University of London), 2011. http://hdl.handle.net/10059/2004.
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Through this practice based research I argue that cultural democracy as a way of thinking contests dominant models of commissioning art to effect social change. A method of generative metaphor of critical distance emerges through four projects based on a contextual and theoretical framework that tests the conditions for recognising cultural democracy as a critical practice. Cultural democracy is distinct from the democratisation of culture, which means providing free, accessible professional culture to all. The socially engaged art commission is, I argue, an example of the democratisation of culture based on predefined economic, aesthetic and social values. Cultural democracy disrupts expected forms of participation and communication of culture, drawing attention to these values. As an uninvited act of disobedience, it is thought and practised as individuals reclaim the right to express themselves, creating conflicts with expected norms of behaviour. This research project began in 2006, nine years into New Labour's administration, and reflects an urgent question of the time: what are the implications of increasing dependency on a culture of commissioning art to effect social change that might perpetuate, rather than radically rethink, social injustices' These concerns are even more significant in a political and economic climate where public funding for critical, non-conformist participation in culture slips further down the agenda. My own career is a symptom of New Labour's neoliberal policies of social inclusion and the arts. A new period of 'austerity' may imply fewer paid opportunities for this professional class of socially engaged art workers, coupled with a distancing of the recognition of cultural democracy as a possible alternative, with further reliance on free, precarious cultural labour. For this reason, I hope this research will be of use to those who also find it an urgent task to address these issues critically and practically.
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George, Atim Eneida. "Generative Leadership and the Life of Aurelia Erskine Brazeal, a Trailblazing African American Female Foreign Service Officer." Antioch University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1581697056034498.
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Ogilvie, Charles. "Outsider cosmology and studio practice." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ef82a0c5-c709-452e-8a24-a7a5ac915a69.
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This D.Phil constitutes an investigation led by studio practice and supported by archival and desk-based research into knowledge production through the building of complex cosmologies; specifically those created de novo in visual art practice and 'outsider science' oeuvres. It considers how these cosmologies relate to mainstream science, definitions of outsider art, and other complex cultural systems such as alchemy. Through a more detailed analysis of the work of the British artist John Latham and American outsider cosmologist James Carter, the thesis undertakes this investigation through discussions on the development of these systems and a consideration of the epistemologies these cosmologies reveal. The studio practice elements drive this investigation forward by interrogating themes including the relationship between culture and complex systems, alchemical epistemology, and the struggle to relate to unintuitive science.
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Parmar, Bharti. "A grammar of sentiment : thinking about sentimental jewellery : towards making new art about love and loss." Thesis, University of Wolverhampton, 2009. http://hdl.handle.net/2436/94259.
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This practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.
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Tuxill, Wendy Patricia. "A re-conceptualisation of contemporary sculptural ceramics practice from a post-minimalist perspective." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5333.
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This thesis examines the extent to which the 1960s process art strand of post-Minimalism can provide an analytical template for critical writing around contemporary ceramic art. A dearth of critical writing is an acknowledged problem in all types of ceramics practice and some of the reasons for this situation will be explored. In the past decade frequent calls have been made by artists, critics, academics, and curators for a body of critical writing to underpin contemporary work and connect with wider cultural debates. During this period, artists have begun to use the process of making the work to form part of the content. Such work has no relationship to traditional studio pottery, and critics have described it as difficult to write about and classify in normative ceramic terms. However, this area of ceramic practice shares characteristics with post-Minimalism, a movement of the 1960s that emphasised the behaviour of materials and the act of making. In The Archaeology of Knowledge the French philosopher Michel Foucault suggests that a new critical language may emerge from the appropriation of other discourses, providing new interpretations for subject areas not yet theoretically mapped out. Foucault’s notions on the formation of discourse are used as a methodological approach to investigate how process-led sculptural ceramics may be articulated by an understanding of post-Minimalist critical writings. A substantial body of critical writing developed around post-Minimalist process art, providing a context for radical new approaches which broke with modernist traditions and which expanded and changed traditional definitions of sculpture. Key post-Minimalist texts are investigated as an analytical template for a new critical discourse for process-led ceramic art. A study of the sculptural ceramics of Richard Deacon and Kosho is undertaken as a means of identifying process-led tendencies and the possibility of a re-conceptualisation from a post-minimalist perspective. An analysis of the role of process within my own practice is used to provide visual evidence of contemporary ceramic work that can be re-conceptualised from a post-Minimalist perspective. After twenty years of stagnant debate in the ceramics field, this research might provide a new critical context for process-led ceramic art. The project shows a way that artists may be empowered to develop a critical literacy in a field that has traditionally lacked a research based approach. It is hoped that it may well encourage other ceramics practitioners to explore new ways of presenting an academic critique of their own area of practice. The contribution to knowledge identifies a new critical context and approach to writing for the process-led area of ceramics practice that is currently described as being difficult to write about, as having no appropriate critical language of its own, and of being difficult to categorise in standard ceramic terms.
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Brunner, Thalia. "Suspension of disbelief: Animating believable 3D nebula visual effects utilising real-time technology." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/213208/1/Thalia_Brunner_Thesis.pdf.
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This practice-based research aimed to investigate and identify the key aesthetic and technical considerations for the creation of believable, real-time 3D nebula VFX as an individual animation practitioner. Real-time technology was utilised as an advancement of traditional VFX practices, improving the quality of outcomes through more creative control, faster render times and less reliance on computing power. Three cycles of creative practice were undertaken, resulting in three, 3D visualisations of nebula.
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Davis, Darrel R. "The model-based systematic development of LOGIS online graphing instructional simulator." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002271.
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Stockddale, Cynthia R. "A Comparison of Community-Based Centers versus University-Based Centers in Clinical Trial Performance." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002472.
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Charlton, James. "Catch | Bounce : towards a relational ontology of the digital in art practice." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10377.
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How might ‘the digital’ be conceived of in an ‘expanded field’ of art practice, where ontology is flattened such that it is not defined by a particular media? This text, together with an installation of art work at the Exhibition Research Lab, Liverpool John Moores University (13-24 March), constitutes the thesis submission as a whole, such that in the practice of ‘reading’ the thesis, each element remains differentiated from the other and makes no attempt to ‘represent’ the other. In negating representation, such practices present a ‘radical’ rethinking of the digital as a differentiated in-itself, one that is not defined solely by entrenched computational narratives derived from set theory. Rather, following Nelson Goodman’s nominalistic rejection of class constructs, ‘the digital’ is thus understood in onto-epistemic terms as being syntactically and semantically differentiated (Languages of Art 161). In the context of New Zealand Post-object Art practices of the late 1960s, as read through Jack Burnham’s systems thinking, such a digitally differentiated ontology is conceived of in terms of the how of practice, rather than what of objects (“Systems Aesthetics”). After Heidegger, such a practice is seen as an event of becoming realised by the method of formal indication, such that what is concealed is brought forth as a thing-in-itself (The Event; Phenomenological Interpretations 26). As articulated through the researcher’s own sculptural practice – itself indebted to Post-object Art – indication is developed as an intersubjective method applicable to both artists and audience. However, the constraints imposed on the thing-in-itself by the Husserlian phenomenological tradition are also taken as imposing correlational limitations on the ‘digital’, such that it is inherently an in-itself for-us and thus not differentiated in-itself. To resolve such Kantian dialectics, the thesis draws on metaphysical arguments put forward by contemporary speculative ontologies – in particular the work of Quentin Meillassoux and Tristan Garcia (After Finitude; Form and Object). Where these contemporary continental philosophies provide a means of releasing events from the contingency of human ‘reason’, the thesis argues for a practice of ‘un-reason’ in which indication is recognized as being contingent on speculation. Practice, it is argued, was never reason’s alone to determine. Instead, through the ‘radical’ method of speculative indication, practice is asserted as the event through which the differentiated digital is revealed as a thing-in-itself of itself and not for us.
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Moreno, Hugo Macêdo Serrão. "Poética da interpretação musical: a clarineta e o clarinetista." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8651.
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Outro
The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience.
O presente trabalho tem o objetivo discutir aspectos da pesquisa artística preconizada por Marcel Cobussen (COBUSSEN, 2007), pertinentes à criação artística musical e à performance à clarineta, especialmente no que se refere à relação entre a clarineta e o clarinetista. Pretendemos aqui discutir tal relação para além do enquadramento moderno tradicional da relação sujeito/objeto, inserida num contexto poético de investigação. Entendemos ser importante lançar um olhar crítico sobre a questão da produção do conhecimento artístico dentro da academia, além de refletir sobre a questão da verdade advinda desde a dimensão poética. Para tanto, compartilhamos do estatuto ontológico Heideggeriano como superação da exclusividade das relações de mundo e suas consequências no que diz respeito aos limites impostos pela ciência na produção de conhecimento. Tal limitação consolida-se por meio da dissociação no homem de terra e mundo; corpo e alma; inteligibilidade e sensibilidade, em relação ao trato artístico. Mais que um limite científico, esta dissociação ratifica a lida intra-mundana e teleológica do homem ocidental desde a perspectiva da concepção moderna cartesiana. A partir da perspectiva artística, poética – criativa –, investigamos o acontecer da performance do clarinetista. No entanto, não o fazemos considerando a relação que aí ocorre como fenômeno isolado e fechado, tampouco a partir do pré-conceito da crítica estética ou como resultado de aná-lise predeterminada. Numa abordagem poética, a arte reivindica sua manifestação imediata e singular, não por partes ou por representações. Tais representações só estabelecem relação com a obra por mediação racional, como na teoria do conhecimento. Construímos nossa investigação a partir das relações dispostas na interpretação desde o imediato dos sentidos (FOGEL, 2007), con-juntura de relações além, ou aquém, da objetividade cartesiana. O sentido da produção poética é o des-velamento da obra – Alétheia. A partir desta perspectiva, foram produzidos dois recitais com obras de compositores brasileiros, nos quais a interpretação do clarinetista emerge como manifestação sensível e coesa à obra, instaurando um sentido próprio, ou seja, a interpretação como fator inerente à obra de arte. Neste sentido, a verdade da obra é o processo de manifestação de um sentido próprio em sua realização. Afinal, a obra só é com a interpretação, esta faz parte do ser da obra. O des-velamento da obra, segundo Heidegger (HEIDEGGER, 2010), se manifesta na abertura de cada elemento envolvido no processo: obra, arte e artista. Esta abertura bem como as relações por ela dispostas empreenderam no caminhar desta investigação resultados impregnados na própria interpretação. Sob a relação tripartite na obra de arte apontada por Heidegger, percebemos que o artista experimenta uma série de relações ainda pouco discutidas, pois em geral há um favorecimento de uma compreensão técnica e analítica da performance e pouco se fala da ou pensa a experiência artística.
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McKewen, Daniel Luke. "The art of being a fan : complicity and criticality in contemporary art and fandom." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63778/1/Daniel_Luke_McKewen_Thesis.pdf.
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This practice-led research project aims to use contemporary art processes and concepts of fandom to construct a space for the critical and creative exploration of the relationship between them. Much of the discourse addressing the intersection of these spaces over the last three decades tends to treat art and fan studies as separate areas of critical and theoretical research. There has also been very little consideration of the critical interface that art practice and fandom share in their engagement with one another – or how the artist as fan might creatively exploit this relationship. Approaching these issues through a practice-led methodology that combines studio based explorations and traditional modes of research, the project aims to demonstrate how my 'fannish' engagements with popular culture can generate new responses to, and understandings of, the relationship between fandom, affect and visual art.
The research acts as a performative and creative investigation of fandom as I document the complicit tendencies that arise out of my affective relationship with pop cultural artefacts. It does this through appropriating and reconfiguring content from film, television and print media, to create digital video installations aimed at engendering new experiences and critical interpretations of screen culture. This approach promotes new possibilities for creative engagements with art and popular culture, and these are framed through the lens of what I term the digital-bricoleur.
The research will be primarily contextualised by examining other artists' practices as well as selected theoretical frameworks that traverse my investigative terrain. The key artists that are discussed include Douglas Gordon, Candice Brietz, Pierre Huyghe, Paul Pfieffer, and Jennifer and Kevin McCoy. The theoretical developments of the project are drawn from a pluralistic range of ideas ranging from Johanna Drucker's discussion of critical complicity in contemporary art, Matt Hills' discussion of subjectivity in fandom and academia, Nicolas Bourriaud's discussion of Postproduction art practices, and Jacques Rancière's ideas about aesthetics and politics. The methodology and artworks developed over the course of this project will also demonstrate how digital-bricolage leads to new understandings of the relationships between contemporary art and entertainment. The research aims to exploit these apparently contradictory positions to generate a productive site for rethinking the relationship between the creative and critical possibilities of art and fandom. The outcomes of the research consists of a body of artworks – 75% – that demonstrate new contributions to knowledge, and an exegetical component – 25% – that acts to reflect on, analyse and critically contextualise the practice-led findings.
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Dumont, Danielle Myriam. "Histeria: poética da interpretação na performance das cenas de loucura em ópera." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7412.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work is a practice-based research which consists in bonding a poetic-philosophical reflection about the interpretation of mad scenes in opera and the performance of the spectacle Hysteria: an operistic madness. As a method, this work intends to make poetics and interpretation as a path to performance and, therefore, as a path to artistic knowledge. Thereunto, is necessary to comprehend the interpreter as a co-creator, for while the interpreter brings the artwork to the present moment, any possible results of the interpretation are always measured by one’s senses and comprehension, by one’s manner to feel-think, by one’s body and soul. The human being’s way to feel and think is always non-transferable and authentic. The authenticity, that is, the originality of permitting to feel and think, and therefore, to be, is madness. Apart from a common-sense behavior while install authenticity of human being, madness is a call to immerse in a interpretive path, the poetical making of oneself: it is a path to life. The singer, as interpreter, installs a world. While one lends one’s voice to the muses, the singer creates, measuring oneself by the divine. Installing oneself, becoming authentically isn’t just a divine act of the human being, but also a madness act. Madness is always transgression of a pattern to a original and authentic way of being. By the way, women are the culminating figure of transgression and madness: they are the hysterical and disobedient ones, at the same time they are the loving mothers and life generators in body dimension. The feminine body is poetic. In it resounds the poetic voice, the creating voice. It is from the relation between madness, feminine, poetic voice and performance that the spectacle Histeria is born. This operistic solo spectacle, divided in two acts, tells a story of a feminine trajectory in madness and of a poetic birth of the character Lúcia. In a completely original composition of plot and vocal-scenic performance, the spectacle groups own texts??, other author’s texts and operas’ mad scenes arias from several composers: Ophelia’s mad scene (from Ambroise Thomas’ Hamlet), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; the great Lucia’s aria (from Gaetano Donizetti’s Lucia di Lammermoor), Il dolce suono... Spargi d’amaro pianto; the aria Ah! non credea mirarti (Vincenzo Bellini’s La Sonnambula); O rendetemi la speme... Vien, diletto…, from Elvira (I Puritani, also Bellini’s); Ombre légère (from Giacomo Meyerbeer’ Dinorah or Le Pardon de Ploërmel); and Glitter and be gay (Leonard Bernstein’s Candide). Hysteria is the feminine creative power flowering through voice and body.
Este trabalho é uma pesquisa artística que consiste na conjugação entre uma reflexão poético-filosófica acerca da interpretação de cenas de loucura em ópera e a performance do espetáculo Histeria: uma loucura operística. Enquanto método, procura-se fazer da poética e da interpretação um caminho para a performance e, portanto, para o saber artístico. Para isso, é preciso compreender o intérprete enquanto co-criador, pois enquanto nele a obra se apresenta, qualquer resultado possível de sua interpretação será sempre na medida de seus sentidos e de sua compreensão, de seu sentir-pensar, de seu corpo e de sua alma. O sentir e o pensar do homem são sempre intransferíveis e autênticos. A autenticidade, isto é, a originalidade de se permitir sentir e pensar, e portanto, ser, é também loucura. Enquanto é distanciamento de um padrão e um instaurar autêntico do ser humano, a loucura é convite para o caminho interpretativo, para o poetizar-se; é caminho para vida. O cantor, no papel de intérprete, é também instaurador de mundo. Enquanto empresta sua voz às musas, ele cria, mede-se com o divino. Instaurar-se a si mesmo, vir-a-ser, autenticamente, é não só um ato de divinização do próprio ser humano, mas também um ato de loucura. A loucura é sempre transgressão do padrão para um modo de ser originário e autêntico. As mulheres, por sua vez, são a figura culminante da transgressão e da loucura: elas são as histéricas e desobedientes, ao mesmo tempo que são as mães amorosas e geradoras da vida no corpo. O corpo feminino é poético. Nele ressoa a voz poética, criadora. É da relação entre a loucura, o feminino, a voz poética e a performance que nasce o espetáculo Histeria. Este espetáculo operístico solo, dividido em dois atos, conta a trajetória feminina da loucura e do vir-a-ser poético da personagem Lúcia. Numa composição de enredo e performance cênico-vocal completamente original, o espetáculo reúne textos próprios, de outros autores e árias de cenas de loucura em ópera de diversos compositores: a cena de loucura de Ofélia (da Ópera Hamlet, de Ambroise Thomas), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; a grande cena de Lucia (da Ópera Lucia di Lammermoor, de Gaetano Donizetti), Il dolce suono... Spargi d’amaro pianto; a ária Ah! non credea mirarti (La Sonnambula, de Vincenzo Bellini); O rendetemi la speme... Vien, diletto…, de Elvira (I Puritani, também de Bellini); Ombre légère (Dinorah ou Le Pardon de Ploërmel, de Giacomo Meyerbeer); e Glitter and be gay (Candide, de Leonard Bernstein). Histeria é o florescimento da potência criativa feminina, por meio da voz e do corpo.
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Combrink, Anneretha. "Die rol van oraliteit en identiteit in die bevordering van gemeenskapseie woordkuns in Suid–Afrika / A. Combrink." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4819.
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Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word.
Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika.
As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry.
Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien.
Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik.Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.
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Norris, Jessica R. "FOOD LANDSCAPES: A CASE STUDY OF A COOKING AND ART- FOCUSED PROGRAM FOR TEENS LIVING IN A FOOD DESERT." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3575.
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This study constructs themes and propositions about the experiences of youth participants in the fall 2013 Food Landscapes program at the Neighborhood Resource Center in Richmond, Virginia. During the program, youth participated in cooking-based volunteerism with adults with disabilities and created short videos about their experiences. In this study, I analyzed pre- and post-program participant interviews, twice-weekly program observations, and facilitator reflections to understand how Food Landscapes affected youths’ conception of community engagement and communication strategies. This case study offers insight into how youth experience after-school programming of this design. Based on my findings, youth develop and rely upon a sense of togetherness in out-of-school programs. Togetherness as a bridge to commitment strengthens participation. Individually, youth need to form personal connections to and/or empathy with the content areas of the program in order to derive meaning, critically reflect, and problem solve. Furthermore, the youth articulated their perceptions of the community and the program by developing, organizing, and voicing their ideas of cooking/food, volunteering, and art making. By sharing research about the experiences of youth in after-school programming, organizations and educators can better construct, facilitate, and sustain youth participation and engagement.
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Verban, Alison Jane. "A porous field : immersive inter-media installation and blurring the boundaries of perception." Thesis, Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Full textAbstract:
Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.
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Verban, Alison Jane. "A porous field: immersive inter-media installation and blurring the boundaries of perception." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19237/.
Full textAbstract:
Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.
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Crum, Melissa R. "Creating Inviting and Self-Affirming Learning Spaces: African American Women's Narratives of School and Lessons Learned from Homeschooling." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397824234.
Full text
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Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
Full textAbstract:
Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
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Fenollosa, Artés Felip. "Contribució a l'estudi de la impressió 3D per a la fabricació de models per facilitar l'assaig d'operacions quirúrgiques de tumors." Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667421.
Full textAbstract:
La present tesi doctoral s’ha centrat en el repte d’aconseguir, mitjançant Fabricació Additiva (FA), models per a assaig quirúrgic, sota la premissa que els equips per fer-los haurien de ser accessibles a l’àmbit hospitalari. L’objectiu és facilitar l’extensió de l’ús dels prototips com a eina de preparació d’operacions quirúrgiques, transformant la pràctica mèdica actual de la mateixa manera que en el seu moment ho van fer tecnologies com les que van facilitar l’ús de radiografies. El motiu d’utilitzar FA, en lloc de tecnologies més tradicionals, és la seva capacitat de materialitzar de forma directa les dades digitals obtingudes de l’anatomia del pacient mitjançant sistemes d’escanejat tridimensional, fent possible l’obtenció de models personalitzats. Els resultats es centren en la generació de nou coneixement sobre com aconseguir equipaments d’impressió 3D multimaterials accessibles que permetin l’obtenció de models mimètics respecte als teixits vius. Per facilitar aquesta buscada extensió de la tecnologia, s’ha focalitzat en les tecnologies de codi obert com la Fabricació per Filament Fos (FFF) i similars basades en líquids catalitzables. La recerca s’alinea dins l’activitat de desenvolupament de la FA al CIM UPC, i en aquest àmbit concret amb la col·laboració amb l’Hospital Sant Joan de Déu de Barcelona (HSJD). El primer bloc de la tesi inclou la descripció de l’estat de l’art, detallant les tecnologies existents i la seva aplicació a l’entorn mèdic. S’han establert per primer cop unes bases de caracterització dels teixits vius -sobretot tous- per donar suport a la selecció de materials que els puguin mimetitzar en un procés de FA, a efectes de millorar l’experiència d’assaig dels cirurgians. El caràcter rígid dels materials majoritàriament usats en impressió 3D els fa poc útils per simular tumors i altres referències anatòmiques. De forma successiva, es tracten paràmetres com la densitat, la viscoelasticitat, la caracterització dels materials tous a la indústria, l’estudi del mòdul elàstic de teixits tous i vasos, la duresa d’aquests, i requeriments com l’esterilització dels models. El segon bloc comença explorant la impressió 3D mitjançant FFF. Es classifiquen les variants del procés des del punt de vista de la multimaterialitat, essencial per fer models d’assaig quirúrgic, diferenciant entre solucions multibroquet i de barreja al capçal. S’ha inclòs l’estudi de materials (filaments i líquids) que serien més útils per mimetitzar teixits tous. Es constata com en els líquids, en comparació amb els filaments, la complexitat del treball en processos de FA és més elevada, i es determinen formes d’imprimir materials molt tous. Per acabar, s’exposen sis casos reals de col·laboració amb l’HJSD, una selecció d’aquells en els que el doctorand ha intervingut en els darrers anys. L’origen es troba en la dificultat de l’abordatge d’operacions de resecció de tumors infantils com el neuroblastoma, i a la iniciativa del Dr. Lucas Krauel. Finalment, el Bloc 3 té per objecte explorar nombrosos conceptes (fins a 8), activitat completada al llarg dels darrers cinc anys amb el suport dels mitjans del CIM UPC i de l’activitat associada a treballs finals d’estudis d’estudiants de la UPC, arribant-se a materialitzar equipaments experimentals per validar-los. La recerca ampla i sistemàtica al respecte fa que s’estigui més a prop de disposar d’una solució d’impressió 3D multimaterial de sobretaula. Es determina que la millor via de progrés és la de disposar d’una pluralitat de capçals independents a fi de capacitar la impressora 3D per integrar diversos conceptes estudiats, materialitzant-se una possible solució. Cloent la tesi, es planteja com seria un equipament d’impressió 3D per a models d’assaig quirúrgic, a fi de servir de base per a futurs desenvolupaments.La presente tesis doctoral se ha centrado en el reto de conseguir, mediante Fabricación Aditiva (FA), modelos para ensayo quirúrgico, bajo la premisa que los equipos para obtenerlos tendrían que ser accesibles al ámbito hospitalario. El objetivo es facilitar la extensión del uso de modelos como herramienta de preparación de operaciones quirúrgicas, transformando la práctica médica actual de la misma manera que, en su momento, lo hicieron tecnologías como las que facilitaron el uso de radiografías. El motivo de utilizar FA, en lugar de tecnologías más tradicionales, es su capacidad de materializar de forma directa los datos digitales obtenidos de la anatomía del paciente mediante sistemas de escaneado tridimensional, haciendo posible la obtención de modelos personalizados. Los resultados se centran en la generación de nuevo conocimiento para conseguir equipamientos de impresión 3D multimateriales accesibles que permitan la obtención de modelos miméticos respecto a los tejidos vivos. Para facilitar la buscada extensión de la tecnología, se ha focalizado en las tecnologías de código abierto como la Fabricación por Hilo Fundido (FFF) y similares basadas en líquidos catalizables. Esta investigación se alinea dentro de la actividad de desarrollo de la FA en el CIM UPC, y en este ámbito concreto con la colaboración con el Hospital Sant Joan de Déu de Barcelona (HSJD). El primer bloque de la tesis incluye la descripción del estado del arte, detallando las tecnologías existentes y su aplicación al entorno médico. Se han establecido por primera vez unas bases de caracterización de los tejidos vivos – principalmente blandos – para dar apoyo a la selección de materiales que los puedan mimetizar en un proceso de FA, a efectos de mejorar la experiencia de ensayo de los cirujanos. El carácter rígido de los materiales mayoritariamente usados en impresión 3D los hace poco útiles para simular tumores y otras referencias anatómicas. De forma sucesiva, se tratan parámetros como la densidad, la viscoelasticidad, la caracterización de materiales blandos en la industria, el estudio del módulo elástico de tejidos blandos y vasos, la dureza de los mismos, y requerimientos como la esterilización de los modelos. El segundo bloque empieza explorando la impresión 3D mediante FFF. Se clasifican las variantes del proceso desde el punto de vista de la multimaterialidad, esencial para hacer modelos de ensayo quirúrgico, diferenciando entre soluciones multiboquilla y de mezcla en el cabezal. Se ha incluido el estudio de materiales (filamentos y líquidos) que serían más útiles para mimetizar tejidos blandos. Se constata como en los líquidos, en comparación con los filamentos, la complejidad del trabajo en procesos de FA es más elevada, y se determinan formas de imprimir materiales muy blandos. Para acabar, se exponen seis casos reales de colaboración con el HJSD, una selección de aquellos en los que el doctorando ha intervenido en los últimos años. El origen se encuentra en la dificultad del abordaje de operaciones de resección de tumores infantiles como el neuroblastoma, y en la iniciativa del Dr. Lucas Krauel. Finalmente, el Bloque 3 desarrolla numerosos conceptos (hasta 8), actividad completada a lo largo de los últimos cinco años con el apoyo de los medios del CIM UPC y de la actividad asociada a trabajos finales de estudios de estudiantes de la UPC, llegándose a materializar equipamientos experimentales para validarlos. La investigación amplia y sistemática al respecto hace que se esté más cerca de disponer de una solución de impresión 3D multimaterial de sobremesa. Se determina que la mejor vía de progreso es la de disponer de una pluralidad de cabezales independientes, a fin de capacitar la impresora 3D para integrar diversos conceptos estudiados, materializándose una posible solución. Para cerrar la tesis, se plantea cómo sería un equipamiento de impresión 3D para modelos de ensayo quirúrgico, a fin de servir de base para futuros desarrollos.
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Morey, Connie Michele. "Resonance, ecology and imagination: a practice-based enactment of imagining as an eco-ontological process." Thesis, 2016. http://hdl.handle.net/1828/7600.
Full textAbstract:
By situating ecology as an ontological position, this dissertation adapts Jan Zwicky’s notion of resonance to probe imagining as a complex collaborative process involving diverse emergent variables. As a practicing artist, writer, teacher and researcher, I combine theoretical research and (visual arts) practice-based research to posit a sense of imagining that is unsituatable. The structure of this dissertation is grounded in the form of the essay (as a “try” or an “attempt”) which adapts explanatory text, metaphorical text and visual elements as a way to expand qualitative practices that have engaged critically with the politics of accepted forms and structures of academic writing. The project is intended for an off-line format, as a series of six distinct yet interdependent hand-made books that focus on: (1) An Emergent Methodology; (2) Ontology, Form and a Reconstitution of the Individual; (3) Zwicky, Thisness, Ecology & Ontological Ethics; (4) Zwicky, Imagination and the Image; (5) An Envisioning of Imagining as a Resonant Ecological Process and lastly, (6) Moments of Engaging Eco-Imagining in the Post-Secondary Classroom. The research-writing expands a body of work, through visual-textual, theoretical-metaphorical form, to enact imagining as a resonant ecological process that unfolds through the emergence of a complex co-mingling of a deluge of variables.Graduate
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Palmiter, Erica Maria. "The artist as researcher : a narrative case study of Lead Pencil Studio." 2013. http://hdl.handle.net/2152/21404.
Full textAbstract:
This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program.
The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research.
While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines.text
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Truman, Sarah E. "Writing Affect: Aesthetic Space, Contemplative Practice and the Self." Thesis, 2013. http://hdl.handle.net/1807/42652.
Full textAbstract:
In this thesis I explore writers and their writing practices as embodied, contingent, and affected by aesthetic environments and contemplative practices. I discuss contemplative practices as techniques for recognizing the co-dependent origination of the self/world, and as tools for disrupting the trifurcation of body, mind and word. I explore the written word’s role in the continuous production of new meaning, and as part of the continuous production of new “selves” for writers, and readers. I use narrative auto-ethnography to situate myself as a researcher, sensory ethnography and interviews to profile four practicing writers, and arts-informed Research-creation to document my own writing and contemplative practices. I also consider whether a post-pedagogy view of educational research might produce/allow space for more creative approaches to educational theorizing.
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Wodak, Josh. "Interrogating Interactive Interfaces: On balance in the evocation of environmental responsibility in the creation of Responsive Environments." Phd thesis, 2010. http://hdl.handle.net/1885/9231.
Full textAbstract:
This Practice Based Research PhD concerns how Responsive Environments may be created to evoke environmental responsibility. As a diverse constellation of practices within Interactive Art, participation, interactivity and responsivity form the poles of Artist-Artwork-Audience relations in Responsive Environments. Within these artforms, responsibility may be evoked to the physical environment of the artwork itself and/or in the social responsibility arising from the interaction between artist, artwork and audience.
This study is conducted in two interrelated domains: a dissertation and my solo and collaborative creation of a suite of artworks. Dissertation and artworks form a combined exploratory journey through questions arising from and refined by practice. Both explore context- and content-appropriate approaches for evoking environmental responsibility according to the relationship between an artworks’ responsivity and the responsibility thus created for audiences.
The iteratively designed artworks produced for this PhD include a series of sight-specific plastic art installations, a non-linear single channel electronic artwork, a multi-channel semi-immersive performative-installation and a full scale multi-channel immersive installation. They were staged in exhibitions, performances and installations in Australia between 2004-2009.
The dissertation contextualises my strategies amongst the broader challenges to creating Responsive Environments according to relevant practitioner-theorists. Both exegesis and dissertation highlight balance as the pivot point for all such strategies, wherein artists negotiate trade-offs between the seemingly mutually exclusive properties of authority-control, determinacy-indeterminacy, simplicity-complexity and narrativity-interactivity. The dissertation discusses three principle ‘ingredients’ that determine the balancing act between these properties: content, form and Interaction Design. How these ‘ingredients’ may be combined with one another to evoke environmental responsibility is explored over the career trajectories of three solo (Garth Paine, Jon McCormack and David Rokeby), and two Interactive Art collectives (Transmute Collective and FoAM).
Combining these case studies with the account of my own practice contributes to understanding the challenges intrinsic to evoking environmental responsibility in Responsive Environments. Together, the suite of artworks and dissertation contributes to the small, but growing, interest in bridging gulfs between art, science and technology; analogue and digital art; and environmentalism and Interactive Art.
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Hickey, Kelly Lee. "Tender places: unsettling settler-colonial relationship to land through place-based, creative, and pedagogical practice." Thesis, 2022. https://vuir.vu.edu.au/44409/.
Full textAbstract:
Humanity is living through a time of major ecological crisis exemplified by anthropogenic climate change and planetary-wide ecological system collapse. This is a driver for widespread and intersecting humanitarian and social crises including resource wars, famine, mass migration, and displacement. These entwined ecological and social crises are underpinned by global colonial capitalism that fuels systems of violent and inequitable extraction of wealth and resources from lands, people, and creatures. Indigenous and settler scholars acknowledge that addressing and dismantling colonialism is essential to effective action on the impacts and drivers of climate change, and other ecological and social crises, and the development of sustainable societies for the future.
The research proposes that for settler individuals and communities to take action against ecological and social violence, they must develop ways of being, doing, and knowing that attend to the issues of colonialism and extractivism. For settler-colonists, engaging with and through place is particularly important due to the centrality of land and the subsequent ongoing role of colonialism in severing, masking, ignoring, and denying the relationship between land and people’s embodied identities and lived experiences.
Tender places uses creative and pedagogical practices to examine the moral responsibilities of settler people in the time of ecological and social crisis. The research seeks to develop tools, processes that support anti-racist and anti-colonial creative practice that respond to ecological crises. The development of these tools and process has occurred through iterative engagement with a constellation of feminist, anti-colonial, Indigenous and queer scholarship including the work of Deborah Bird Rose, Max Liboiron, Claire Land, Ambelin Kwaymullina, Eve Tuck and Wayne Yang. The practices and ethics of engagement with anti-colonial and Indigenous literature are outlined within the exegesis.
This doctoral research is undertaken as creative practice led research, with a 50/50 split between the creative product and the exegesis. I recommend viewing the work after reading the exegesis. As the creative works were created in three iterations, presented in multiple locations, and include an ephemeral durational installation, I’ve produced a website to create a permanent record of the work for assessment and documentation purposes. You can view the creative work here: https://tenderplaces.net/.
The creative practice was undertaken at the Ilparpa Claypans, a series of 12 ephemeral claypans, located on ‘crown land’, 13 km southwest of the township of Mparntwe/ Alice Springs, in the Northern Territory, Australia. The popular recreational site was chosen due to my decade-long relationship with this place, and my distress over the impacts of dumping, four-wheel driving, and invasive weeds witnessed over this time. I undertook this research through the lens of Australian settler culture, as a queer, female, fourth generation Northern Territory settler of Irish, Scottish, and German descent. I bring my lived experience as an artist and activist to this inquiry.
Through the research, I developed a practice of reading, walking, and making at the Ilparpa Claypans, as a method by which to investigate the use of critical race and environmental humanities literature as an agent of defamiliarisation, with the aim to disrupt the settler gaze within place. I documented new ways of seeing and being with/in place, which emerged from this disruption through field notes, photos, and creative works. These creative translations informed the development of three artworks reflecting on the impacts and responsibilities of settler people and cultures to the Ilparpa Claypans.
Postcards from the Claypans was the first iteration of creative practice at the Ilparpa Claypans, which took place from May to June in 2019. In this iteration, individual walks were documented on individual postcards and mailed to individual peers in different parts of the world.
The second work, Shadow Work is an autoethnographic map of settler experience and the impact on the Ilparpa Claypans was developed in January, 2019. This map is comprised of twelve cyanotypes created from dumped refuse and weeds found at the claypans.
The third work, Testing Ground, was an 18-day durational performance installation, which positions the researcher’s body in service to place through daily visits to the Ilparpa Claypans to remove buffel grass (an invasive weed) and dumped items. These recovered items were used to create an installation that made visible the impacts of the ecological harms on the Ilparpa Claypans, alongside a soundscape created from field recordings and a public process journal of the 18-day practice.
The exegesis locates the research inquiry theoretically and methodologically, and articulates the process, findings, and impacts. The autoethnographic component of the exegesis draws on the creative works, reflective writing, field notes, and formal research documents, to examine the development and use of arts and place methodologies and methods as a research process. Creative and reflective writing are used throughout the exegesis as a mode by which to locate the reader with my lived experience of place and process throughout the research lifespan.
This exegesis, Tender Places, identifies and contributes processes for settler people to reflect on their complicity individually and collectively in ongoing colonial and extractivist drivers of entangled ecological and social violence. The methods and methodologies utilised in this project can aid the development frameworks of moral responsibility for the action that addresses these violences in order to restore social and ecological justice.
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Moore, Brett. "Situated Learning in a School–University Partnership: Integrating Partnership-Based Teacher Education With School-Based Educational Change." Thesis, 2021. https://vuir.vu.edu.au/42970/.
Full textAbstract:
The author investigates how a school–university partnership involving pre-service teachers (PSTs), mentors, teacher educators and students impacts the learning and engagement of participant stakeholders. The examination considers the purpose of an educational partnership in the context of a school’s transformation and improvement.
The study is premised on an assumption that an effective partnership between a school and university in site-based teacher education, has the potential to improve the learning of students; enhance the quality of the practicum experience for PSTs; and promote opportunities in professional learning and growth for practising teachers, school leaders and teacher educators.
The partnership raises questions about what learning looks like in a contemporary school setting; by enhancing a culture of continuous learning and new knowledge, through sustained collaboration, practitioner research and inquiry, innovation, and change.
The author demonstrates that a school–university partnership can enable all stakeholders who participate to learn: primarily, the students through the developing contributions of PSTs; the PSTs as they work in authentically demanding practice; school leaders and teacher educators as they work together to achieve common goals; and the teachers, whose professional understandings and practices are developed through taking on the primary responsibility of mentoring the PSTs.
The research draws on Jean Lave and Etienne Wenger’s (1991) theory of situated learning and Etienne Wenger’s (1998) theory of communities of practice. The study acknowledges the social nature of schools and a view of knowledge being socially generated through participant engagement in communities of practice. An exploration of the social and situated dimensions of learning offers insights into those elements of partnership-based teacher education that enhance PST professional knowledge, practice, and agency through ongoing contact with students and their learning.
The selection of a case study methodology is a means through which to explore situated learning within communities of practice. This methodology provides an exploration of the way in which the culture, structures, and processes within the school–university partnership facilitated professional agency—creating the conditions for effective teaching and learning. The research uses quantitative and qualitative methods of data collection and analysis to obtain a rich spectrum of views. The case study methodology combining quantitative and qualitative data collection and analysis allows concepts to be wholly explored, ensuring all aspects of the phenomenon (school–university partnership) are reflected on and understood.
The research explores the potential for a school–university partnership to create an alternative discourse and pathway to raise school and student outcomes. The study reveals how a school–university partnership can produce adaptive and discursive practices, countering the normalising influence of a system regime’s focus on compliance, performance, and accountability. This study explores how a partnership with a university provides the school with a vehicle to create a unique school culture, catering for local challenges within Departmental accountabilities.
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Ransbeeck, Samuel Van. "Composition with complex data : a contribution on the mapping problem through practice-based research." Doctoral thesis, 2015. http://hdl.handle.net/10400.14/20510.
Full textAbstract:
Composition with complex data is a field of computer music
composition/interactive art that uses extra-musical data from various sources like stock
exchange data, weather data or seismic data. Despite the fascination that one can have in
his exciting field of composition, there is still a lack of data management applications for
artistic use. Hence, one is generally forced to create one’s own applications, at the expense
of the time that should be spent in the artistic side of the work. As the technology can be
part of the work but never the sole constituent, we decided to develop a toolbox,
DataScapR, which allows artists to work easily with data, helping them in focusing on the
artistic side. This toolbox will help the user to quickly advance beyond the technical
development and focus on the artistic side of the project.
This project consists of four components: a theoretical framework for sonification
art, a state of the art and discussion on mapping techniques, the development of a
sonification toolbox for composers who wish to use complex data (more specifically stock
market data) as the source material for their music and a series of works as case studies to
show the capabilities of the toolbox.
Bringing theory and practice, art and technology together, this project can be seen as
a practice-based one embedded within a theoretical framework.Nesta dissertação, abordo o tema da sonificação em contexto artístico. Sonificação, a tradução de dados en sons, é um largo campo de investigação e existe todo o interesse na exploração deste domínio num contexto artístico. Esse projecto visa contribuir para a criação de um ramo teórico para a arte da sonificação e, em simultâneo, apresentar uma aplicação que facilite o uso de sonificação em contexto artístico. Com efeito, actualmente, existem poucas aplicações que permitam usar sonificação na composição musical de uma forma acessível. Por esta razão, um compositor pode ter que aplicar um tempo considerável no desenvolvimento de uma aplicação própria o que muitas vezes, pode ter um efeito prejudicial na criação da obra em si. Se o compositor tem que aplicar demasiado tempo no desenvolvimento tecnológico pode correr o risco de considerar a aplicação como sendo a obra em si, o que não é o caso: pode ser uma parte mas nunca a obra. Para combater o pequeno leque de aplicações acessíveis criei uma caixa de ferramentas, DataScapR, desenvolvido em Max, e disponibilizada para o público em geral. DataScapR é um projecto aberto: o utilizador pode estendê-lo livremente e adaptá-lo às suas necessidades. Todos os patches são comentados extensivamente para facilitar a sua edição e extensão. O uso prático de DataScapR é exemplificado através de Através de estudos de caso demonstrando que a sonificação pode ser uma prática interessante integrada num contexto artístico. Nesse projecto de doutoramento foco um tipo de dados especifico: dados da bolsa das acções. Isso vem dum interesse pessoal e no dinamismo inerente à bolsa. Sempre considerei a bolsa fascinante e penso que pode ser interessante para usar os dados para sonificação. A dissertação consiste em quatro partes. A primeira parte aborda questões teóricos: procuramos uma definição de arte de sonificação e integramos essa prática no contexto da composição. Tratamos da questão da natureza e definição de dados e como eles podem ser aplicados na música. Depois de construída uma base teórica, descrevemos o estado da arte. Nesse segundo capítulo descrevemos obras que usam sonificação como componente importante da própria existência e discutimos os diferentes métodos de mapping. Seguidamente, discuto o software existente bem como a necessidade duma nova aplicação. No terceiro capítulo apresento DataScapR, um dos componentes práticos do doutoramento. DataScapR é uma caixa de ferramentas para sonificação de dados da bolsa de acções. Assim, apresento os três módulos que permitem usar dados em tempo real e dados históricos. Os métodos de mapping são explicados e a estrutura interna dos patches é apresentada. Finalmente, no quarto capítulo apresento as obras realizadas usando DataScapR: For A Fistful Of Data (flauta de bisel), 4D Brokers (instalação), Vapourwaves (instalação), Mirage (obra sobre suporte). Para cada caso, apresento a obra, discuto a sua estrutura, os mappings utilizados e as questões técnicas e termino com uma avaliação da obra. No final do capítulo concluo com uma avaliação geral das peças. Na discussão final realizo uma avaliação do trabalho feito e aponto direcções para trabalho futuro. A dissertação é da caixa de ferramentas DataScapR, de quatro estudos de caso e dois blogs: datascapr.wordpress.com onde o DataScapR está disponível e sonifcationart.wordpress.com onde discuto vários projectos de sonificação. Esse projecto de doutoramento mostra apenas uma das posições possíveis em arte de sonificação e, por esta razão, deve ser considerado como uma abertura para novos caminhos a explorar.
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Smith, Lindsey Scott. "The student-artist based tour: determining gallery teaching practice beneficial for an art museum tour centered on students as artists." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1213.
Full textAbstract:
The purpose of this study is to provide the fields of art education and museum education with gallery teaching practice that uses students’ prior knowledge of art making as the means to guide interpretation of art in the museum. This study develops touring methods that maintain the identity of the student artists in the context of adult artists’ works in the museum. This investigation is an action-based research study of how a museum educator can develop touring practice to use art objects to enable students to think reflectively on their art making. The results of this study identify the characteristics of an art museum tour that is centered on students and art making. This study demonstrates a framework for teaching in the museum that incorporates constructivist learning theory, social and active learning, a concepts-based approach to art learning, and develops student cognition.text
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Clark, Vanessa Sophia. "Gathering: an A/R/Tographic practice for teaching in early childhood care and education." Thesis, 2017. https://dspace.library.uvic.ca//handle/1828/8927.
Full textAbstract:
The purpose of this dissertation is to enact and poetically story the nonlinear emergence of an
a/r/tographic practice called gathering—a situated art practice of storying, doing, and making as
researching and thinking—in multiple contexts, including early childhood teacher education and
imperial and settler colonialism in Canada.
Over two years, I sustained a ritual of gathering where I (re)read texts (e.g., Indigenous
theories, Chicana feminisms, antiracist theories, postcolonial theories, and subaltern theories)
and (re)walked the neighbourhood of my apartment on the stolen territories of the Lkwungen people, who are one of the Coast Salish peoples, on southern Vancouver Island, British Columbia. While I walked and as I read, I attended to how other artists, animals, and I gathered objects and ideas, the effects of the environment and weather, and the theoretical orientations and contexts of the ideas and objects. The poetic stories in this dissertation entangle bits of the ideas and objects I gathered during my walks and readings.
I also story how my personal artistic process of gathering unfolded into teaching an
inclusive practice course in the Early Childhood Care and Education Department at Capilano
University. I and my class of preservice early childhood educators gathered on and around the
Capilano campus, located on the traditional territories of Coast Salish peoples, including the
Tsleil-Watuth, Skwxwú7mesh, shíshálh, Lil’Wat, and Musqueam Nations.
With this a/r/tographic research, I offer a pedagogical and aesthetic way with which to
attune to the process, conditions, and situations of engaging multiple theories. I inquire into
different ways of relating with and taking responsibility for others and into what kinds of partial,
incomplete, and imperfect regenerations, possibilities, and futures present themselves through
gathering within a context of imperial and settler colonialism in Canada.Graduate
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Tilse, Julianne. "Riparian life: a visual navigation of the Hunter River Estuary." Thesis, 2016. http://hdl.handle.net/1959.13/1317449.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)The Hunter River Estuary is defined as the intertidal zone of river that stretches from the Newcastle delta to the Oakhampton floodplains at Maitland Vale in New South Wales. This research of the Hunter River Estuary is unique in its integration of both objective and subjective research. The environmental history and science of the river brings to light many examples of pre-colonial riparian life and colonial antecedents. However, there has been no previous research that visually documents the dynamic nature of the estuary or that investigates this riparian environment in a creative exchange across empirical known and subjective unknown components of research. This riparian landscape has previously not been examined in the context of interdisciplinary creative practice. This interdisciplinary research project examines components of empirical knowledge that interconnect with the less known encounters of a practice-based researcher, shifting beyond traditional disciplinary models of research. The project builds awareness of the dynamic natural history and changing ecology of the Hunter River Estuary. New and less recognized aspects of knowledge and fresh perceptions of the river emerge with creative arts praxis and practical encounters of being in and moving through this specific riparian landscape. The liminal nature of the riparian environment is experienced from within and upon the river, across times and tides. In spite of the specificity of observed riparian sites, the contents often transcend the known and become windows into subliminal unknowns. This study has addressed these issues through art, as art is able to bring things forward, raise concerns and initiate new ways to think about and respond to some of the complexities of nature and being. The author puts forward a liminal dynamic position where the objective and subjective are not opposed and the qualities of both are realized and interwoven. This non-linear approach is attuned to the riparian environment and is uninhibited by disciplines or linear hierarchy, as the unknown is embraced along with the known and multiple components of knowledge co-emerge synchronously. Research outcomes provide a visual navigation of the dynamic nature of the Hunter River Estuary.
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Neto, Werther Teixeira de Azevedo. "Blendwave: uma ferramenta de sound design para autores audiovisuais." Master's thesis, 2018. http://hdl.handle.net/10400.2/7890.
Full textAbstract:
Esta dissertação apresenta a ferramenta de suporte à criatividade (CST) Blendwave, produto de
uma investigação baseada na prática com enfoque na desmistificação e democratização do
processo de sound design dentre autores de obras audiovisuais. Partindo da hipótese de que a
criação do som se tornou inacessível para usuários não especializados em razão da inadequação
e/ou complexidade das ferramentas digitais disponíveis, a investigação inicia-se pela análise do
estado da arte do ferramental dedicado à sonoplastia, identificando possíveis pontos de atrito
para usuários inexperientes. Após a apresentação da abordagem metodológica, segue o relato
do processo de design e construção de um artefato digital para prototipagem rápida do som,
ideologicamente ancorado na simplicidade de outras ferramentas populares. Por fim,
obedecendo a uma abordagem de desenvolvimento iterativo, o software é testado e avaliado
qualitativamente e quantitativamente, tanto em termos de usabilidade, como em sua
capacidade de fornecer suporte criativo ao ato de projetar novos sonsThis document presents Blendwave, a creativity support tool (CST), product of a practice-based research focused on demystifying and democratizing the sound design process among authors of audiovisual works. Starting from the hypothesis that sound creation has become inaccessible to non-specialized users due to the inadequacy and/or complexity of available digital tooling, the research starts with a state of the art analysis of the current sound design toolset, identifying possible points of friction for inexperienced users. Following the presentation of the methodological approach, we report on the process of designing and building a digital artifact for the rapid prototyping of sound, grounded on the simplicity of similar popular tools. At last, by following an iterative development approach, the software system is tested and evaluated, both qualitatively and quantitatively, in terms of usability and its capacity to support the creative act of designing new sounds.
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Grobler, Diek 1964. "Narrative strategies in the creation of animated poetry-films." Thesis, 2021. http://hdl.handle.net/10500/27666.
Full textAbstract:
Text in English, with abstracts and keywords in English and SesothoThis doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context.
Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa.
Art and Music
Ph. D. (Art)