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Journal articles on the topic 'Visual and performative learning'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Sastre, Cibele. "Learning/teaching, creating and performing through LBMS." Journal of Dance & Somatic Practices 12, no. 1 (August 1, 2020): 95–106. http://dx.doi.org/10.1386/jdsp_00015_1.

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This article presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic‐performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of somatic serenities is introduced to develop an inner‐outer body connection state as an intimate experience with dance, which produces knowledge. This text considers performative dance practices and practice as research as an LBMS teaching methodology in dance courses in the south of Brazil.

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Grushka, Kathryn. "Conceptualising Visual Learning as an Embodied and Performative Pedagogy for all Classrooms." Encounters in Theory and History of Education 11 (November 28, 2010): 13–23. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.3167.

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The challenge for arts educators is to find language and conceptual framings for visual art education that resonate with the transformative and literacy aims of mainstream education and position visual learning as essential. The unique value of visual knowing is now an imperative in our ocularcentric culture where new technologies, consumerism and unprecedented mobility impacts on all students in the twenty first century. Visual creative adaptability and its culturally located critical and generative understandings draw from our sense-rich world of human experience. Grounded in the theories of communicative knowing (Habermas,1976), becoming as the experience of performing self (Deleuze, 2001, 2004), experience and creativity as personal agency (Semetsky, 2003) and informed by socio-cultural inquiry, visuality and art practice as research (Sullivan, 2005) the research connects explicitly to socio-cultural values. This paper presents a conceptual model of Visual Embodied and Performative Pedagogy as a renewed language for visual arts education. It is grounded in material embodied practices, socio-cultural learning and identities understanding as they emerge in an ethico-aesthetic learning space that contributes to participatory democracy. The paper argues that the embodied and performative visual experience is central to personal socio-cultural inquiry and subjectivity insights. The paper will foreground the theoretical arguments for Visual Embodied and Performative Pedagogy of self with empirical Australian visual education research, between 2004-2007 (Dinham, Grushka, MacCallum, Brown, Wright, & Pasco, 2007; Grushka, 2009). It centers the significance of images in society and the need for all students to develop visual communicative competencies. The benefits of socially embedded and embodied visual inquiry are argued. In so doing it calls into question the illustrative and often secondary role afforded to visual communicative proficiency found in visual arts education and its related learning outcomes. It argues that it is an essential way of knowing for the mediation of ideas and feelings in the new image oriented society.

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Owen, Craig, and Sarah Riley. "Teaching Visual Methods Using Performative Storytelling, Reflective Practice and Learning through Doing." Psychology Learning & Teaching 11, no. 1 (January 1, 2012): 60–65. http://dx.doi.org/10.2304/plat.2012.11.1.60.

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Visual images percolate our everyday lives, visual technologies are increasingly accessible and affordable, and visual methods are at the forefront of methodological innovation. If psychology students are to capitalise on these exciting developments, visual methods teaching needs to be integrated into ‘mainstream’ qualitative methods training. This report offers an example of how this has been done through the use of three pedagogical practices, namely performative storytelling, modelling reflective practice, and learning through doing. It describes how these practices inform the authors' teaching of visual methods, gives an example of how these have been applied, and offers suggestions to the reader for other ways of developing these principles in practice.

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Grushka, Kathryn. "Meaning and identities: a visual performative pedagogy for socio‐cultural learning." Curriculum Journal 20, no. 3 (September 2009): 237–51. http://dx.doi.org/10.1080/09585170903195860.

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Dolan, Jill. "Geographies of Learning: Theatre Studies, Performance, and the "Performative"." Theatre Journal 45, no. 4 (December 1993): 417. http://dx.doi.org/10.2307/3209014.

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Clifton, Shirley, and Kathryn Grushka. "Rendering Artful and Empathic Arts-Based Performance as Action." LEARNing Landscapes 15, no. 1 (June 23, 2022): 89–107. http://dx.doi.org/10.36510/learnland.v15i1.1066.

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There is a critical need to consider ways to enrich the educational experiences and well-being of adolescents when the lack of empathy in the world is high. This paper presents the concepts of Artful Empathy and Artful and Empathic Learning Ecology. The concepts are exemplified from a multi-site case study within Australian secondary visual art studio classrooms. The article demonstrates how learning and making art in an artfully empathic ecology can support the legitimacy of diverse and marginalized voices. Arts-based performative approaches may facilitate empathic knowing across disciplines with global traction.

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Sebiane Serrano, Leonardo José. "Mestizo Corporalities: Tropical/vibrant Latin American bodies." Journal of Dance & Somatic Practices 12, no. 1 (August 1, 2020): 107–25. http://dx.doi.org/10.1386/jdsp_00016_1.

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The research suggests understandings about the importance of activation (of/from/in) the body with the systems (culture/communication/health) through somatic‐performative experiences; by means of which the anaesthetized body is destabilized for an awakening of states of the Mestizo Corporalities in the (re)cognition of the tropical/vibrant body. The initiative has fostered the ecology of knowledge, as well as a decolonial education in a research proposal that aims to anthropofagize these experiences in movement of the performer-researcher for an activation/reactivation of diverse points of view incorporating several principles of the somatic‐performative approach, embracing the (inter)arts as an actuator of relationships with nature-life-world, their religious-ritualistic syncretisms and the day-to-day experiences, as well as the paths-identities of the performer-person-researcher. This narrative aims to incorporate completed performances and expose how these paths affect my identity networks; it is in this flow of interactions that articulate transpositions of learning and their different contributions to systems (culture‐communication‐health) that somatic‐performative experiences renew the awakening to the mestizo vibrational body and in some way force the presence of practice research for other methodologies for a decolonial education and knowledge ecology.

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Huebner, Emma June. "TikTok and museum education: A visual content analysis." International Journal of Education Through Art 18, no. 2 (June 1, 2022): 209–25. http://dx.doi.org/10.1386/eta_00095_1.

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Although TikTok has been downloaded 2.6 billion times and is widely used around the world, cultural organizations have been slow to join the trend. The few museums that use the app have had contrasting approaches to their content creation. This study employs a case study methodology to examine the use of TikTok by the Uffizi Gallery (Florence) and the Rijksmuseum (Amsterdam) through a visual content analysis of their posts. Considering theories of learning and teaching in the museum, as well as of connectivism, the central guiding questions are: how are museums using TikTok? In what ways do these short-form videos connect visitors with their collections? What are the implications for museum education? The findings from this study reveal that museums use either expository and didactic teaching practices on TikTok or performative TikTok practices, which include collaboration with youth. The study has implications for museum educators who wish to use TikTok as an educational tool.

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Trezise, Bryoni. "Performative pedagogies: feeling the experience of being (the) social in twenty-first century learning." Research in Drama Education: The Journal of Applied Theatre and Performance 25, no. 3 (July 2, 2020): 465–79. http://dx.doi.org/10.1080/13569783.2020.1789454.

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Zollinger, Rachel, Mariko O. Thomas, Hollis Moore, and Kaitlin Bryson. "Lichenizing Pedagogy: Art Explorations in More-than-Human Performance and Practice." Research in Arts and Education 2022, no. 1 (May 27, 2022): 23–33. http://dx.doi.org/10.54916/rae.116995.

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This project of performative writing and visual inquiry proposes the concept of “lichenizing” as a collaborative methodology for engaging with the lively pedagogy of the more-than-human. Looking to the multispecies mosaic of Lichen as teacher and ally, this arts-based, collectively produced foray considers transcorporeal, intermingled relationships as a pedagogical tool for fostering a radical, ecologically-centered curiosity for learning and making. To support our theorizing, we present two collaborative art projects where tenets of lichenizing were utilized to instruct process and form, and suggest further exploration and research on the practice of “lichenizing.”

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Taiwo, Olu. "Will metaversive technologies help writers to reclaim tacit knowledge?" Journal of Writing in Creative Practice 15, no. 1 (January 1, 2022): 73–80. http://dx.doi.org/10.1386/jwcp_00030_1.

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This article challenges the assumption that traditional genres of academic writing are as appropriate for practice-based students of art, drama or design as they were for book-centred disciplines, such as the humanities or sciences. It argues that scholarly writing diminished the importance of embodied and situated aspects of human ‘knowledge’ within mainstream university art school courses, such as visual and performative arts. In the traditional book-centred disciplines, scholarly writing was useful for encoding declarative knowledge (e.g. ‘knowing that’) but is less effective for the kinds of procedural knowledge (e.g. ‘knowing how’) that are vital in creative, studio-/practice-based learning. Now that academic writing is aided by technologies offering automatic spelling and grammar checks, global text search, cut-and-paste this has further widened the gaps between the knowledges pertaining to head, heart and hand. Soon, however, the combined benefits of 5G, virtual reality, artificial intelligence and ambisonic technologies look likely to make ‘immersive’ and ‘experiential’ technologies almost ubiquitous. Given the appropriate research and development, the ‘metaverse’ could encourage students to think in ways that are more presently situated, relational, embodied and multidimensional.

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CLEMENTS, REBEKAH. "BRUSH TALK AS THE ‘LINGUA FRANCA’ OF DIPLOMACY IN JAPANESE–KOREAN ENCOUNTERS, c. 1600–1868." Historical Journal 62, no. 2 (October 30, 2018): 289–309. http://dx.doi.org/10.1017/s0018246x18000249.

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AbstractThe study of early modern diplomatic history has in recent decades expanded beyond a bureaucratic, state-centric focus to consider the processes and personal interactions by which international relations were maintained. Scholars have begun to consider, among other factors, the role of diplomatic gifts, diplomatic hospitality, and diplomatic culture. This article contributes to this discussion from an East Asian perspective by considering the role of ‘brush talk’ – written exchanges of classical, literary Chinese – during diplomatic missions from the Korean Chosŏn court to the Tokugawa Shogunate in Japan during the seventeenth through nineteenth centuries. Drawing upon official records, personal diaries, and illustrations, I argue that brush talk was not an official part of diplomatic ceremony and that brushed encounters with Korean officials even extended to people of the townsman classes. Brush talk was as much about ritual display, calligraphic art, and drawing upon a shared storehouse of civilized learning as it was about communicating factual content through language. These visual, performative aspects of brush talk in East Asian diplomacy take it beyond the realm of how alingua francais usually conceived, adding to the growing body of scholarship on how this concept applies to non-Western histories.

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Tullio-Pow, Sandra, Anna S. Yaworski, and Magdalena Kincaid. "Transgender fashion: Fit challenges and dressing strategies." Clothing Cultures 7, no. 1 (March 1, 2021): 35–47. http://dx.doi.org/10.1386/cc_00026_1.

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Clothing is part of our material culture and allows individuals to portray their self-image and articulate their personas to others. Clothing is performative and helps position individuals as their desired gender, which is why clothing is so important to transgender people. While the transgender medical experience has been examined, few have investigated wardrobe building for transgender people undergoing hormone replacement therapy (HRT). This research explored clothing worn by two trans women, and a trans man who experienced pregnancy, to answer the research question ‘What are the clothing issues and dressing strategies of transgender individuals?’. A convenience sample (n=3) was recruited using snowball methods. Data collection followed three phases to foster a empathy and learning utilizing a qualitative, human-centred approach. To better understand the market, research began with a competitive analysis of retailers and bloggers catering to this niche market. At-home wardrobe interviews utilized participant’s clothing as probes to discuss and demonstrate anatomy in relation to clothing choices and how participants felt when wearing the right clothing. Themes in the data included transition strategies, shopping and fit challenges as well as clothing solutions. Key outfits were photographed, providing insights regarding clothing assortment, fit criteria, as well as desirable/problematic design details and styling tips used to achieve the desired aesthetic/identity. The findings of this study offer empowering strategies to support wardrobe choices for transgender people and are important to designers, product developers and retailers.

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Goodman, Lizbeth. "Performing in the Wishing Tense: SMARTlab's Evolution on Stage, Online, and in the Sand." New Theatre Quarterly 23, no. 4 (November 2007): 352–75. http://dx.doi.org/10.1017/s0266464x07000279.

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This paper evaluates the development of performative theories inspired by practice in the evolution of Lizbeth Goodman's research and SMARTlab's fifteen-year oeuvre. In this piece, Goodman outlines the methodology of ‘performing in the wishing tense’, analyzing the development of her own practice from television to live theatre to broadcast and multimedia to telematics and online learning ‘stages’, to radio, and then to web presence. As the subtitle of the article suggests, Goodman has evolved a methodology for her team that has been influenced by the work of one of her academic mentors, the late Clive Barker, author of Theatre Games, and that has been extended in parallel explorations of play, time, space, and voicing in the work of women, people with disabilities and disadvantaged groups worldwide, here discussed from earliest stages to current collaborations. This work has been extrapolated to show how those with disabilities that prevent free movement and speech can benefit from interactive screenic or telematic performance tools that empower a sense of movement and play: a ‘theatre games’ rubric translated into multimedia performance modes, using technology tools created by the team. She discusses the place of the (damaged or fractured) body of the theorist in relation to the bodies of the people she directs and whose words and movements she choreographs. Written specifically as a ‘response’ to Barker's work, this piece maps the journey of SMARTlab's performances around the globe and through the recent history of multimedia, ending with a postscript describing a collaborative game based on the role-play theories of Barker and on the ‘liveness’ of what Goodman calls ‘the wishing tense’ of lost languages, including body languages. Much of the performance material referred to is available online, and DVD versions can be provided upon request.

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Prepotenska, Maryna Petrovna. "Multipotentials in educational discourse." Filosofiya osvity. Philosophy of Education 26, no. 1 (December 25, 2020): 99–112. http://dx.doi.org/10.31874/2309-1606-2020-26-1-6.

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While responding to the challenges of globalization, the system of modern education often reduces the range of humanitarian disciplines, forming utilitarian programs in universities, but at the same time preserves such a vestige of the past as the priority of the academic format over the heuristic one. At the same time, the global world, a multiplex of events and opportunities, contributes to the emergence of a special type of a student in the educational discourse – a multipotential (MPL), who is capable of succeeding in several activities at once. The philosophical and methodological key to the reorganization of education within this context may be the idea of a “transversal self” of a student in the dynamics of diversity and creative self-development. In light of the theory of generations and multipotentiality, a balance of academism and new forms of university communication is becoming necessary because in the life of millennials and representatives of generation Z, reality and virtual space, modular thinking and multitasking, the dislike for reading and creativity, and independent judgments merge. Interactive, visual, virtual and performative forms of learning are the most effective solutions for them. Social cataclysms of the beginning of the 21st century also require special stress resistance, emotional intelligence, auto-reflection, and media literacy from participants of the educational process. This actualizes the resources of practical philosophy, psychology, sociology and other humanitarian disciplines for the comprehensive development, awareness and self-regulation of a person. A very constructive educational discourse is the communication of a multi-potential teacher with gifted students. One example can be the scientific and creative activities of Vanya Angelova, a professor at Velikotyrnovsky University. St. Cyril and Methodius, who emphasizes the value of the "return" of the book, the co-creation of teachers and students, and wide international cooperation within the context of the topic of multi-potentials.

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Fleiner, Micha, and Stefan Kriechbaumer. "First Performative Teaching and Learning Symposium." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 2 (July 1, 2013): 118–21. http://dx.doi.org/10.33178/scenario.7.2.11.

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On 13th and 14th September 2013, University College Cork (UCC) hosted a symposium which centred on performative practices across different disciplines. It was officially opened by David Ryan, Vice-Head for Teaching and Learning at the College of Arts, Celtic Studies and Social Sciences, UCC, who congratulated the Departments of German and Drama and Theatre Studies, UCC, on organising the first symposium of this kind in Ireland and thus engaging with theoretical perspectives and practices which aim at paving the way towards a new, performative teaching and learning culture. The organisers had formulated some guiding questions: What is the essence of the ‘performative’? Are there any indications of an increased ‘performative orientation’ in some of our disciplines? Could the ‘performative concept’ signal a whole new way of thinking and acting in the field of teaching and learning? What are the characteristic features of performative teaching and learning? How does one learn to teach in a performative way? The two-day symposium opened with a keynote address by Wolfgang Nitsch (Professor Emeritus of Education, University of Oldenburg & Honorary Professor, Nelson Mandela Metropolitan University (NMMU), Port Elizabeth), followed by eight papers, finishing with a panel discussion. In his keynote address Towards performativity as ...

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Parker, Simon, Marton Racz, and Paul Palmer. "Reflexive learning and performative failure." Management Learning 51, no. 3 (February 21, 2020): 293–313. http://dx.doi.org/10.1177/1350507620903170.

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In this article, we emphasize the importance of context for student learning. Based on reflective logs and interview data, we explore how students learn outside of the classroom as they undertake an experiential dissertation project. We identify three different forms of reflexive learning and critique, all triggered by some form of performative failure; scholarly critique, engaged critique and engaged action. Drawing on Butler’s theory of performativity, we illustrate how reflexivity is not purely the action of any individual student, rather it is a practice that is co-created within a certain context. As such, we contest individualistic understandings of reflexivity and encourage a careful consideration of the places students and managers are encouraged to be reflexive.

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Rickenbacker, Shawn L. "Performative Surfaces." Journal of Architectural Education 57, no. 2 (November 2003): 18–21. http://dx.doi.org/10.1162/104648803770558941.

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Tait, Peta. "Unstable Performative Elements." New Theatre Quarterly 14, no. 53 (February 1998): 89–90. http://dx.doi.org/10.1017/s0266464x00011775.

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Abenia, Tiphaine, Mathilde Chénin, Christopher Dell, Matthieu Duperrex, Daniel Estevez, Marion Howa, and Fanny Léglise. "Une architecture performative." Perspective, no. 2 (December 30, 2021): 67–86. http://dx.doi.org/10.4000/perspective.24955.

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Pentcheva, Bissera V. "The Performative Icon." Art Bulletin 88, no. 4 (December 2006): 631–55. http://dx.doi.org/10.1080/00043079.2006.10786312.

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Cox, Lorraine Morales. "A Performative Turn." Women & Performance: a journal of feminist theory 17, no. 1 (March 2007): 59–87. http://dx.doi.org/10.1080/07407700701246109.

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Woodhouse, Fionn. "Sticky Impact – Building Teaching and Learning on Performative Practice." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (July 1, 2018): 74–75. http://dx.doi.org/10.33178/scenario.12.2.11.

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Based on research into the long term impact of participation in drama-based workshops focusing on goal setting, this workshop hoped to investigate how we can make the performative more ‘sticky’. How can performative approaches be combined with other modes of learning, methods of teaching to allow students and teachers new pathways to learning? Taking inspiration from the symposium question – ‘Wherein exactly lies the benefit of applying performative approaches?’ – this workshop asked participants to play with, and reflect on, different approaches to performativity in the classroom/seminar/lecture setting, with the aim of allowing participants to create ‘sticky impact’ – impact from participation that stays with the learner. The workshop was a practice based session with a focus on performative exercises and activities that have been/could be used in a teaching and learning context. The session began with an initial introduction via slides outlining the workshops themes, theoretical contexts, and the practice based nature of the workshop. Following this the workshop section began with participants engaging in a series of performative drama activities that allowed participants to suggest/influence/lead how the activity developed. An initial ‘warm up’ activity of a name game involved participants individually saying their name followed a sound and ...

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McKenzie, Jon. "The Performative Matrix:Alladeenand Disorientalism." Performance Research 13, no. 2 (June 2008): 26–36. http://dx.doi.org/10.1080/13528160802639235.

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Simpson, Barbara, Rory Tracey, and Alia Weston. "Traveling concepts: Performative movements in learning/playing." Management Learning 49, no. 3 (March 19, 2018): 295–310. http://dx.doi.org/10.1177/1350507618754715.

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This article examines the generative interplay between learning and playing in managing and organizing by taking a performative approach that theorizes learning/playing as an assemblage in which playing and learning emerge as co-evolving processes in practice. Addressing the methodological challenges associated with this performative approach, the learning/playing assemblage is probed using traveling concepts, which attend to the dynamic movements rather than the stabilities of organizing, functioning as proposed by Vygotsky as both a research tool and an emergent result of research. This notion of “travelling concepts” is developed empirically by engaging with Mead’s “sociality,” which he defined as the simultaneous experience of being several things at once. Three interweaving strands of sociality—relational, spatial, and temporal—are elaborated in the context of traveling with and through four artisan food production sites, each of which sought to engage differently with the esthetics and functionality of the food we consume.

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Kassem, Ayman. "A Performative understanding of spatial design, learning from exhibitions." SHS Web of Conferences 64 (2019): 03006. http://dx.doi.org/10.1051/shsconf/20196403006.

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The terms ‘Performative’ and ‘Performance’ are more and more emerging in the spatial design discourses, from exhibition, to interior, arriving to urban design. These notions are not clearly defined yet. They are characterized by a semantic width and multiple applicative possibilities. Between the different interpretations and uses of ‘performance’ and ‘performative’ in architectural discourses, this paper will focus on two main dimensions of a particular importance: The first refers to the concepts of the scenic, the narrative, and the theatrical qualities in architecture. The second relates to the ‘event-character’ of spatial interventions, and the relation between event, and soft intervention, which tackles the concept of the ‘transformative power of the performative’, which indicates to the capacity of architecture to activate spaces and processes.

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O'Hara, Morgan. "Live Transmission/Performative Drawing." PAJ: A Journal of Performance and Art 36, no. 2 (May 2014): 2–5. http://dx.doi.org/10.1162/pajj_a_00188.

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Lichtblau, Dorothy. "Theatre of Possibility: Performative Inquiry as Heuristic, Holistic, and Integrative Learning." LEARNing Landscapes 2, no. 2 (February 2, 2009): 255–73. http://dx.doi.org/10.36510/learnland.v2i2.308.

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This paper illustrates what Performative Inquiry, an embodied, interpretive and dialectical means of investigating curriculum, may contribute to teaching and learning. By contextualizing the discourse in a workshop on drama as a way to study Anne Frank’s Diary of a Young Girl, I demonstrate that Performative Inquiry builds on learners’ experience and knowledge and recognizes their perceptions of who they are within certain contexts. I show, too, that this educative practice provokes critical thinking, increases self-understanding, and permits greater integration of mind and body. My overarching aim is to demonstrate that Performative Inquiry is a practice that fosters personal and community development

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Taylor, Diana. "Bush's Happy Performative." TDR/The Drama Review 47, no. 3 (September 2003): 5–8. http://dx.doi.org/10.1162/105420403769041365.

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Browning, Barbara. "The Performative Novel." TDR/The Drama Review 62, no. 2 (June 2018): 43–58. http://dx.doi.org/10.1162/dram_a_00747.

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From the highly lauded ERS production Gatz to the Danish initiative of humanlibrary.org , theatrical representations of “human books” appear to be proliferating, even as novelists are attempting to blur the boundaries between performance and text. What can the approximation of novels and theatrical productions teach us about the performative possibilities of fiction?

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SHUSTERMAN, RICHARD. "Photography as Performative Process." Journal of Aesthetics and Art Criticism 70, no. 1 (January 2012): 67–78. http://dx.doi.org/10.1111/j.1540-6245.2011.01499.x.

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Theodoridou, Natalia. "Hysteria and Trance: Performative Synergies." Contemporary Theatre Review 19, no. 2 (May 2009): 195–203. http://dx.doi.org/10.1080/10486800902765697.

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Smith, Phil. "Performative walking in zombie towns." Studies in Theatre and Performance 34, no. 3 (September 2, 2014): 219–28. http://dx.doi.org/10.1080/14682761.2014.961364.

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O’Brien, Mia. "Fostering a Creativity Mindset for Teaching (and Learning)." LEARNing Landscapes 6, no. 1 (June 1, 2012): 315–33. http://dx.doi.org/10.36510/learnland.v6i1.589.

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Teaching is a creative practice that requires the kind of open-minded, whole-hearted, flexible, improvisational (yet knowledgeable), and performative orientation that I refer to as the "creativity mindset." Fostering such a mindset amongst preservice teachers can be challenging, since they often see their future teaching-selves as altruistic yet authoritarian subject matter experts. Underpinning these views are narrow conceptions of teaching, and of how we learn. To what extent can an experience of creative, performative pedagogy transform these views, and foster a creativity mindset for teaching (and learning) amongst preservice teachers?

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Wilder, Kelley. "Flash! A Literary and Visual Culture of Performative Technology." Journal of Victorian Culture 23, no. 4 (July 7, 2018): 503–7. http://dx.doi.org/10.1093/jvcult/vcy044.

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Redaelli. "Educating for Participation: Democratic Life and Performative Learning." Journal of General Education 64, no. 4 (2015): 334. http://dx.doi.org/10.5325/jgeneeduc.64.4.0334.

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Radaelli, Eleonora. "Educating for Participation: Democratic Life and Performative Learning." Journal of General Education 64, no. 4 (2015): 334–53. http://dx.doi.org/10.1353/jge.2015.0029.

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Leigh, Brooke. "Trace and catharsis: Embodied drawing." Drawing: Research, Theory, Practice 7, no. 1 (April 1, 2022): 79–98. http://dx.doi.org/10.1386/drtp_00080_1.

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For the past decade, my artistic research practice has explored the performative aspect of drawing. Recently, I have come to realize how the performative process can function as an experience of catharsis. By examining a selection of works from my practice, Cassils, Louise Bourgeois, Ana Mendieta and Tracey Emin, that exemplify the act of mark making through processes of encountering intense states of the body, ‘Trace and catharsis: Embodied drawing’ explores the concept of drawing as the residue of performance. I will investigate catharsis as a performative gesture in itself ‐ the release of internalized distress through acts of externalization and exertion. This gesture ‐ immediate, impulsive and compulsive in nature ‐ draws a direct relationship to Aristotle’s notions of catharsis and the bodily manifestations of anxiety that Sigmund Freud describes. Through Amelia Jones’s and Catherine de Zegher’s ideas of mark making, I will examine how traces produced by this gesture can be performative in its materiality and evocation of the artist’s body.

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Thomsen, Bo Stjerne. "Performative Environments: Architecture Acting with Flows." Architectural Theory Review 13, no. 3 (December 2008): 320–36. http://dx.doi.org/10.1080/13264820802488283.

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Marini, Hari. "A Performative Falling into the Cityscape." Performance Research 18, no. 4 (August 2013): 133–42. http://dx.doi.org/10.1080/13528165.2013.814347.

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Schroeder, Franziska. "The Body Skinned: Rethinking performative presence." Performance Research 14, no. 4 (December 2009): 60–64. http://dx.doi.org/10.1080/13528160903552949.

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IVERSEN, MARGARET. "AUTO-MATICITY: RUSCHA AND PERFORMATIVE PHOTOGRAPHY." Art History 32, no. 5 (December 2009): 836–51. http://dx.doi.org/10.1111/j.1467-8365.2009.00707.x.

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Levin, Laura. "The Performative Force of Photography." Photography and Culture 2, no. 3 (November 2009): 327–36. http://dx.doi.org/10.2752/175145109x12532077132473.

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Göksel, Eva, and Stefanie Giebert. "6. SCENARIO Forum Symposium Report." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (July 1, 2018): 57–62. http://dx.doi.org/10.33178/scenario.12.2.7.

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The symposium entitled 'Are Universities on the way towards a performative teaching, learning and research culture?' centred on the following questions: What exactly do we understand by a performative teaching and learning culture? Wherein exactly lies the benefit of applying performative approaches? How can we make university administrators and lecturers more aware of the immense innovative potential of going performative in higher level education?1 *This dialogue represents a subjective impression of the SCENARIO Forum Symposium as expressed by two fictional characters. It is best enjoyed when read aloud and taken with a grain of salt. Emily is typing. E: (reading aloud) Okay. On September 21 and 22nd the 6th SCENARIO Forum Symposium took place in Hanover. It was organised by the Fachsprachenzentrum of Hannover University and the Staatstheater Hannover in conjunction with SCENARIO. (Sabine enters, listening to Emily. She is obviously not very pleased by what she hears.) E: The title of the conference was... S: What are you doing?! I thought you were writing a report about a conference on performative teaching and learning. E: Yes, that is in fact what I am doing. S: You need to liven it up a bit! E: What do you mean? S: ...

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Jogschies, Bärbel, Manfred Schewe, and Anke Stöver-Blahak. "Recommendations for Promoting a Performative Teaching, Learning, and Research Culture in Higher Education." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (July 1, 2018): 52–56. http://dx.doi.org/10.33178/scenario.12.2.6.

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The twenty-first century is the century of the performative.1 Claire Colebrook (2018) A performative teaching, learning, and research culture can emerge wherever an academic discipline enters into a constructive dialogue with the performing arts. Many challenges of the 21st century (see the Sustainable Development Goals of the UN)2 require creative solutions. Creativity is, however, not yet sufficiently promoted at universities, thus an artistic reorientation in teaching and research is imperative. As early as 2006, at the UNESCO World Congress in Lisbon and again in Seoul in 20103, there were calls to strengthen the role of the arts in education. Implementation of these recommendations has, however, been very limited thus far. Studies in cognitive science show that performative teaching and learning cultivates a deeper understanding of content and improved long-term retention of knowledge.4 In fact, it has been shown that the use of performative teaching and learning approaches leads to more creative, better learning outcomes; students relate more strongly to their studies and drop-out rates decrease. In addition, overall willingness to learn within the university context has been documented, as well as increased complexity and closer connection to practice in higher education, thus affording graduates better job placement opportunities. At the ...

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Jalving, Camilla, and Marie Laurberg. "Performative utopier i samtidskunsten." K&K - Kultur og Klasse 40, no. 114 (December 20, 2012): 109–22. http://dx.doi.org/10.7146/kok.v40i114.15706.

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PERFORMATIVE UTOPIAS IN CONTEMPORARY ART | The article deals with the current interest in the notion of utopia within contemporary visual art and theory. It is argued that utopia as a concept and area of investigation has returned on the contemporary art scene, albeit in a remarkably new way. If modernism presented utopia as a final vision for a better society, utopia is now articulated in a less ambitious way, in the vein of the much more modest question “what if”? Basing its argument on art projects by Andrea Zittel, Olafur Eliasson, Francis Alÿs and Tomàs Saraceno among others, the article puts forward the notion of a “performative utopia” – a utopia that is enacted rather than represented, and which is thus contextually and situationally defined. In the article the notion of a performative utopia is related to Nicolas Bourriaud’s idea of the “microutopia” and Fredric Jameson’s distinction between utopia as program and impulse. In conclusion it is stated that in as much as the contemporary utopia does not necessarily describe a fixed reality, its main objective is to project new visions. Hence, its criticality is not descriptively based, but lies in its ability to present a counter-image that calls on the imagination of the viewer. A plea is made for this kind of criticality as it is argued that challenging the boundaries of our imagination in itself constitutes a true cultural transformation.

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Cabañas, Kaira M. "Yves Klein's Performative Realism." Grey Room 31 (April 2008): 6–31. http://dx.doi.org/10.1162/grey.2008.1.31.6.

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Sorto, Pedro. "Theoretical foundations for a performative art and visual culture education." Communication Design 5, no. 1-2 (July 3, 2017): 145–64. http://dx.doi.org/10.1080/20557132.2017.1398925.

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Krushinskiy, Andrei A. "The iconic performativity of Chinese mantic diagrams." Philosophy Journal, no. 3 (2021): 142–61. http://dx.doi.org/10.21146/2072-0726-2021-14-1-142-161.

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The article traces and discusses the philosophically significant consequences of the rootedness of the ancient Chinese thought in the original iconicity of Chinese hieroglyphic writing. The phenomenon of performativity is investigated on the Chinese material. In the course of the study, a fundamental methodological difference between performative statements and performative declarations is introduced. In light of the proposed difference, a pronounced performative declarativeness of the famous Confucian concept of zhengming (“correcting of names”) is revealed. This rarely studied aspect of the “correcting of names” should not be confused with the currently well-known performative naming implied by the setting to zhengming. The main result of the proposed methodological distinctions and exegetical analysis is the identification of the non-verbal prototype of the concept of zhengming (the hexagram “Family”). The paradigmatic nature of the prototype of the hexagram graphics in relation to the verbal formulation, which endows the performative status of the original visual image with the verbal explication of this image, allows the author to generalize this particular observation to the fundamental final hypothesis according to which the performative effectiveness of the word is secondary in comparison with the initial performativity of the mantic diagrammatism.

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Borhani, Maya Tracy. "Walking, Talking, Performing in Place: Learning from/with/on the Land." LEARNing Landscapes 13, no. 1 (June 13, 2020): 67–75. http://dx.doi.org/10.36510/learnland.v13i1.1003.

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This autoethnographic essay describes an ambulatory workshop with fellow graduate students, a walking tour to remote parts of campus where we paused to consider writing prompts and to create short performative sketches highlighting the nature of our relationships to the land around us. In this reflection on our “walk and talk,” I consider how teachers and students co-create what we learn together, the mysteries of engaging in interactive drama and poetry methods, and the performative ways in which we might come to know the places where we live and work more intimately and more imaginatively.

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