Academic literature on the topic 'Visual arts practice'
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Journal articles on the topic "Visual arts practice"
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Breakell, Sue. "Archival practices and the practice of archives in the visual arts." Archives and Records 36, no. 1 (January 2, 2015): 1–5. http://dx.doi.org/10.1080/23257962.2015.1018151.
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Syed Abu Bakar, Syed Alwi, Azian Tahir, and Ishak Ramli. "The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal." Idealogy Journal 3, no. 2 (September 7, 2018): 69–74. http://dx.doi.org/10.24191/idealogy.v3i2.71.
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The increasingly challenging and competitive artwork production environment has prompted visual artists to have an arrangement of state-of-the-art art production practices. Currently, the system of production and marketing of works does not have a clear guideline in the industry that can help in the survival of professional visual artists in Malaysia. Therefore, this study is designed to get clear feedback from those who are already active in this industry related to the challenges faced and the marketability of the works of visual artists to continue to compete in the local and international art production stage. This paper aims to identify the non -technical practices required for the successful implementation and marketing of works of art in Malaysia. The results of this study will provide a detailed study of the practices of visual artists in the implementation and marketing that need to be considered by those who will venture into the arena of professional production. Through this paper, a framework has been developed through a comprehensive review from the point of view of literature as well as practical practice. Keywords: Non -technical practice, production of works, visual artists, visuals, art work.
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ADAR CÖMERT, Sibel. "VISUAL ARTS TEACHER CANDIDATES' VIEWS ON TEACHING PRACTICE." International Journal Of Eurasia Social Sciences 10, no. 36 (January 1, 2019): 581–92. http://dx.doi.org/10.35826/ijoess.2546.
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Guler, Ebru. "Visual Culture As a Teaching Practice in Visual Arts Education in Turkey: Practitioner Inquiry." Australian Journal of Teacher Education 46, no. 7 (July 2021): 22–52. http://dx.doi.org/10.14221/ajte.2021v46n7.2.
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The present research investigates the experiences of pre-service visual arts teachers in the planning and application phase of a course focusing on visual culture in the special teaching methods course. This course in Turkey provides information about how and with what type of methodologies arts-related topics should be taught in visual arts education. During the first semester, the course was conducted theoretically, and in the second semester the researcher focused on the application of these theories. In this research, visual culture is discussed as one of the special teaching methods of visual arts education. A total of five visual arts pre-service teachers were selected as participants using criterion sampling. The research used practitioner inquiry as a method and conducted during the 2017–2018 spring and 2018–2019 fall semesters, lasting 8 weeks in total. During the application process, the pre-service teachers taught their samples of course plans on visual culture that they created during their pre-service practice to the primary and secondary school students in 2 weeks of classes. The research data were obtained through semi-structured interviews, document review, and reflective notes and analyzed with descriptive methods. As a result of this research, the visual arts pre-service teachers saw the students gain a critical perspective, become more aware of issues in their daily lives, express themselves in a better way, and improve their inquiring skills with the application of a visual culture course plan. With the visual culture course plan, the pre-service teachers also gained several professional experiences and skills.
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Birkin, Jane, Ed D’Souza, and Sunil Manghani. "A visual, journal practice: Journal of Visual Art Practice, twenty years on." Journal of Visual Art Practice 20, no. 4 (October 2, 2021): 299–315. http://dx.doi.org/10.1080/14702029.2021.1995928.
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Vaughan, Kathleen. "Pieced Together: Collage as an Artist's Method for Interdisciplinary Research." International Journal of Qualitative Methods 4, no. 1 (March 2005): 27–52. http://dx.doi.org/10.1177/160940690500400103.
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As a visual artist undertaking doctoral studies in education, the author required a research method that integrated her studio practice into her research process, giving equal weight to the visual and the linguistic. Her process of finding such a method is outlined in this article, which touches on arts-based research and practice-led research, and her ultimate approach of choice, collage. Collage, a versatile art form that accommodates multiple texts and visuals in a single work, has been proposed as a model for a “borderlands epistemology”: one that values multiple distinctive understandings and that deliberately incorporates nondominant modes of knowing, such as visual arts. As such, collage is particularly suited to a feminist, postmodern, postcolonial inquiry. This article offers a preliminary theorizing of collage as a method and is illustrated with images from the author's research/visual practice.
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Anna Yu., Demshina. "Network culture and two vectors of development of visual arts." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 31–37. http://dx.doi.org/10.30725/2619-0303-2022-1-31-37.
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In the article, from the standpoint of the theory of network culture and the concept of «symbolic capital» by P. Bourdieu, the processes taking place in visual art practice under the influence of the development of the Internet are considered. Contemporary art practices and digital art explore the same symbolic capital from different conceptual positions. For contemporary artistic practice, the critical theory and idea of D. Kossuth about the search for the boundaries of art as such, the study of the socio-cultural reality of the here-and-now, and the formulation of the principles of identity remain the main ones. In digital practices, the focus is on the search for an individual style through the study of the structural features of the artistic language itself, autonomy from verbal commentary. The presence of these vectors is also associated with the redistribution of power capital under the influence of the development of network culture and the Internet, when the museum and gallery sphere is not able to control all the processes taking place in art practice. Not one of the participants in artistic communication possesses the integrity of power. Networks today have become a platform with their own power and authority. At the same time, rules from offline flow into the virtual environment and new restrictions are created, related both to the ontological features of digital logic and to the work of online communities.
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Wu, Jiayue. "Promoting Contemplative Culture through Media Arts." Multimodal Technologies and Interaction 3, no. 2 (May 21, 2019): 35. http://dx.doi.org/10.3390/mti3020035.
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This paper presents the practice of designing mediation technologies as artistic tools to expand the creative repertoire to promote contemplative cultural practice. Three art–science collaborations—Mandala, Imagining the Universe, and Resonance of the Heart—are elaborated on as proof-of-concept case studies. Scientifically, the empirical research examines the mappings from (bodily) action to (sound/visual) perception in technology-mediated performing art. Theoretically, the author synthesizes media arts practices on a level of defining general design principles and post-human artistic identities. Technically, the author implements machine learning techniques, digital audio/visual signal processing, and sensing technology to explore post-human artistic identities and give voice to underrepresented groups. Realized by a group of multinational media artists, computer engineers, audio engineers, and cognitive neuroscientists, this work preserves, promotes, and further explores contemplative culture with emerging technologies.
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Crowley, Suzanne. "Making Visible the Invisible." Art/Research International: A Transdisciplinary Journal 7, no. 1 (March 26, 2022): 156–85. http://dx.doi.org/10.18432/ari29618.
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This article documents how I came to combine autoethnographic accounting with visual arts practice. I developed this mixed methods approach for my PhD study which explores the interdisciplinary possibilities offered by combining visual arts practice with STEM (science, technology, engineering, and mathematics). Visual arts practices as narrative forms tend toward the non-linear (Anae, 2014), whilst autoethnography offers self-reflection. Writing an autoethnographic account for an artwork has the potential to generate a wealth of data, some of which are visible, some of which are not. The invisible data become available only when the artist speaks to/writes about the artwork. If some content/context of a visual artwork is only visible through background information provided by the art maker, this discovery troubles another issue concerning our notions of what a good visual artwork is. Finally, I test this article’s autoethnographic authenticity against Adam’s four characteristics of autoethnography.
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Häikiö, Tarja Karlsson. "Potentials and Problem Areas in Assessment in Visual Arts Education in Sweden." Educare - vetenskapliga skrifter, no. 2 (March 2, 2021): 68–112. http://dx.doi.org/10.24834/educare.2021.2.4.
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The focus of the study is teaching, and assessment in visual arts in Swedish compulsory school analysed and discussed in relation to the national evaluations (NU-92, NU-03, NÄU-13), assessment research and research in the subject field. The article aims at highlighting and problematising assessment and grading in visual arts education in relation to teachers’ assessment practices. The study is based on group discussions and seven interviews with visual arts teachers on assessment practice carried out in connection with the production of two National Assessment Guides in visual arts, and supplementary films on assessment on behalf of The Swedish National Agency for Education (Sw. Skolverket) in 2012 and 2014. The result of the study indicates an ambivalence among the visual arts teachers concerning assessment. The author points at problem areas affecting teaching, assessment and grading in visual arts education. However, the author also points out potential strengths concerning assessment in the subject field and presents arguments for the significance of the subject visual arts for school and general assessment research.
Dissertations / Theses on the topic "Visual arts practice"
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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
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Daniels, Marcel. "Ambivalent realities : postcolonial experiences in contemporary visual arts practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68049/1/Marcel_Daniels_Thesis.pdf.
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This practice-led research project investigates how new postcolonial conditions require new methods of critique to fully engage with the nuances of real world, 'lived' experiences. Framed by key aspects of postcolonial theory, this project examines contemporary artists' contributions to investigations of identity, race, ethnicity, otherness and diaspora, as well as questions of locality, nationality, and transnationality. Approaching these issues through the lens of my own experience as an artist and subject, it results in a body of creative work and a written exegesis that creatively and critically examine the complexities, ambiguities and ambivalences of the contemporary postcolonial condition.
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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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Le, Kim. "Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.
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This research project examines how transitional multiculturalism, cultural hybridity and transformative-repair are practiced by a professional artist-researcher and novice artists. Transitional multiculturalism and cultural hybridity are examined through a series of artworks by a Vietnamese-born artist-researcher. This series of artwork, which reflects 35 years of creating art in both Vietnamese and Australia, demonstrate a personal engagement with issues of cultural diversity, upbringing, and related aesthetic studies. The intention of this exhibition is to chart the characteristics of the artist's expression, which is culturally hybridised. This part of the study aims to identify those artistic conventions associated with specific visual traditions that have been incorporated into the artist-researcher's paintings. The main influences identified originate from both Eastern arts traditions (Viet nam, Japan and China) and Western visual arts traditions. This study also aims to identify how to use artistic conventions associated with the expression of one's culture und ancestry, which may continue to improving one's knowledge in different traditions and history across diverse aesthetic systems of hybridity. Information and understandings gained from the first part of this research will provide insigns, which will have relevance to secondary school visual arts learning areas. The transformative-repair model of multiculturalism is examined through a visual arts project conducted by secondary school students. More specifically this part of the study aims to identify principles, approaches and content for transformative repair, experiences of two students of culturally diverse hack grounds (African and Vietnamese) who are currently engaged in this culturally diverse Australian society.
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Bell, S. "The promise of the short text : writing risk into visual arts practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/06d7767a-9941-4ab8-892e-e73767b48aa7/1.
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In this study I aim to see if writing can enhance visual arts practice. Much UK Quality Assurance Agency and Higher Education visual arts documentation recommends risk, as do many practitioners. I hypothesise that very short, tightly-structured essays will foster risk by combining radical format, content demand and writing’s esteem. I experimented with essays by Foundation visual arts students at Coventry University in 2011. Half the group was assigned a short essay as above, the other half a 1,000-word, conventional essay. Both groups had the same essay topic choices; both were taught in the same way as far as possible; both assignments were individual. Practice-based presentations took place shortly after the essays, and students were advised of potential connections between the tasks. Quantitative data was taken from all essay and presentation grades; qualitative data from essay drafts, questionnaires and interviews with selected 128-word essay students. The grades show the 128-word essay students slightly outperforming the others. Four themes emerged from the qualitative data: provisional meaning, risk, practice parallels and project process. Drafts and questionnaires showed improvisation and keen engagement; interviews (loosely following Bryman’s ‘unstructured’ model) considered content, form, convention, risk and transferability of writing to practice. The main problems students faced when writing the short essays were how to say enough and how to mix tradition with innovation. There was evidence that some students connected the short essay with their practice – but to connect is not necessarily to enhance. The short essays were very diverse, some radically inventive, others less so – yet the study recommends caution when rethinking traditional writing assignments because some students respect traditional writing, and may find the extreme form of the very short essay patronising unless it can promise more. The study’s contribution to knowledge is to promise more by making writing a metaphor for practice and evaluated as such, taking writing beyond mimicking or analysing practice. The study also induced a supporting theory that absolutes and variables need careful balance, extending the bisociative notion of mixing tradition with innovation. The study showed that these short essays could enhance practice by fostering risk, but also that risk is very variable. This questions how such risks are evaluated, and even whether an enforced risk is a risk at all, and not just ingenuity. The thesis has six chapters: Introduction; Literature review; The short story in visual arts practice; The short essay in action; Student responses; Conclusion. Appendices contain three associated papers and all drafts with comments, questionnaires with responses, and full interview transcripts annotated to demonstrate emerging themes and connections to research questions. The study draws on reader-response as a theoretical framework, and is informed by the study of visual arts academic writing, risk-taking in visual arts practice, Koestler’s bisociative understanding of creativity, provisional meaning and the short story.
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Le, Roux Neil. "A case of emergence : autonomy and self-organisation in conceptual art practice." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86383.
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Thesis (MA(VA))--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages.
AFRIKAANSE OPSOMMING: Hierdie tesis behels 'n praktyk-geleide teoretiese bespreking oor generatiewe kunsproduksie binne 'n wyer ekologiese raamwerk. Dit is gebaseer op my werk in Eyemvelo Kosbos (2010 - ), 'n interdissiplinêre gesamentlike projek wat daarop gemik is om voedsel binne ekologies verantwoordelike perke te produseer. In my hoedanigheid as inwonende kurator van hierdie agri-ekologiese projek, het ek 'n reeks biologiese generatiewe kunswerke geformuleer wat bekend staan as Ecological Concept Objects (2011- ), wat dien as die primêre praktiese komponent van hierdie navorsing. Met die vestiging van filosofiese realisme as die kern teoretiese uitgangspunt, formuleer ek 'n begrip van my kunspraktyk as 'n ‘samewerking met die wêreld.’ Die teoretiese fondasies van my werk word uitgelig deur verwysing te maak na kern filosofiese bronne soos Graham Harman, Bruno Latour en Manuel DeLanda, onder andere. 'n Argument word geformuleer waarvolgens die term estetika in sy klassieke sin verstaan moet word - as 'n diskoers oor sintuiglike persepsie, in teenstelling tot ‘n bespreking oor visuele smaak of skoonheid. Sleutelkonsepte soos opkoms (emergence) en self-organisasie word geïdentifiseer as deurslaggewend vir ‘n sinvolle bespreking van generatiewe praktyke. By die bespreking van relevante voorbeelde van kontemporêre generatiewe kuns, saam met die teoretiese insigte van verskeie praktiserende kunstenaars, word 'n werkende begrip van generatiewe kuns ontwikkel waarvolgens die kunstenaar kreatiewe agentskap en besluitneming vrywillig afstaan aan onpersoonlike kragte. 'n Historiese konteks word verder verskaf wat 'n presedent aandui vir soortgelyke kunspraktyke. Die wêreld word dan daarvolgens geposisioneer as 'n groot netwerk van werklike outonome entiteite wat verhoudings met ander werklike outonome entiteite aanknoop. Hierdie opvatting daag verder 'n wedersyds-eksklusiewe dualisme van 'Natuur' en kultuur uit, deur voor te stel dat hierdie twee veronderstelde binêre teenstrydighede sό verstrengel is dat enige skeiding daarvan inderdaad voorkom as 'n blatante vorm van idealisme. 'n Geïntegreerde ekologiese praktyk word egter aangemoedig om deurgaans as 'n sentrale tema of primêre konseptuele riglyn vir beide hierdie tesis en die gepaardgaande praktiese werk te dien. Permaculture, 'n stelsels-georiënteerde ontwerpwetenskap gerig op volhoubaarheid, word geïdentifiseer en aanvaar as 'n werkende voorbeeld van 'n ekologiese praktyk wat ‘sorg van mense’ met 'sorg van die planeet" vereenselwig, aangesien laasgenoemde daarvolgens die eersgenoemde insluit . Derhalwe, is die doel van hierdie navorsing om ondersoek in te stel tot 'n praktyk waar die kunstenaar, ten spyte daarvan dat sy beperk is tot lineêre aksie, in so 'n manier te werk gaan dat die nie-lineêre dinamika van ontluikende potensiaal geopenbaar kan word. So 'n metode staan in kontras met 'n eenrigting antroposentriese bemeestering van voorspelbare materie - waar daar min voorsiening vir ongerymdhede, ongelukke of ontluikende vorms gemaak word. Daar word egter bevind dat generatiewe kunspraktyk wel hierdie voorsienings maak, aangesien dit self-organisasie aan die medium toe staan, sodat entiteite tyd en ruimte verskaf kan word om hulself uit te druk in unieke samestellings.
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Harmsen, Corlia. "Shape me into your idea of home : representations of longing in contemporary photography and video practice." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6578.
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Thesis (MA (Visual Arts))--University of Stellenbosch, 2011.Includes bibliography.
ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.
AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ʼn belangstelling in ʼn menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ʼn primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ʼn “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie, identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie (heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie; liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met inbegrip van objektivering van die huisdier). Ek benader ʼn bespreking van bogenoemde verskynsel deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing. Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns, asook voorbeelde bespreek om kontekstuele verwysing na ʼn bespreking van die uitoefening van my eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en verlange na ʼn afwesige ander (huis, maat en huisdier) bespreek. Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag, Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike, veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak word.
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Farr, Alisa. "The ear that you are able to hear me with : theorising art practice through auto/ethnography." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2347.
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Thesis (MA (VA)(Visual Arts))--Stellenbosch University, 2008.This thesis investigates social aspects of the production and distribution of artworks, approaching these from the context of the every-day life of the artist. Its main aim is to form a theoretical framework and personalised application of auto/ ethnography to enable the artist to study her own practice within a specific context. The thesis serves as a counterpart to the practical work that is expected of a Master of arts student at this particular university and in this department, the University of Stellenbosch, Department of Visual Arts. As such, it works in tandem with the practical component to posit an understanding of the artworks as they have been formed in a complex postmodern society. I, as the artist and writer, discuss my work by drawing from autobiographical experiences and theoretical frameworks as texts. Auto/ethnography, the chosen methodology, is informed by post-structuralism, Marxist and neo-Marxist theories and feminist discourses, among others. It calls for researchers to apply self-reflexivity in their practice and, hence, must include the situated position of the ‘I’ of the researcher, as this inevitably impacts on research findings. My writing on my art-making process becomes a form of ‘emergent’ research that studies the relationship between the self and the social. This takes place through the use of autobiographical texts and the above-mentioned theoretical frameworks, combined with relational and dialogical theories of art, and frameworks that study art production and distribution from sociological perspectives. I write myself as constituted within ideology and subject to societal structure, but also possessing agency. I write on my art as a product determined by my position in society; my intentions and aims for the artwork and considerations on how its distribution might affect me; and its function as a text that carries meanings that differ from those which I, at any given time, might ascribe to it. The framework in which I write on my art-making process also draws on complexity theory. Within this framework I approach the self as relational, society and the environment as a complex self-structuring process, and the meaning of text as created and re-created in a web of interactions, between the self (of the writer/artist and reader/viewer) and the society (as built up of different interrelating subsystems). Writing auto/ethnographically to produce an academic dissertation within this specific academic community can, I believe, serve as a means through which I can question my own objectivising claims, or claims that lie in theoretical and personal frameworks that I draw from. Implicit in this thesis is the question: how can an artist, working within the confines of an academic framework, ensure that an ethical component exists between the self and other in her working practice?
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Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
Books on the topic "Visual arts practice"
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Corner, Lee. Code of practice for the visual arts. London: National Artists Association, 1995.
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Sullivan, Graeme. Art practice as research: Inquiry in visual arts. 2nd ed. Thousand Oaks [Calif.]: Sage Publications, 2010.
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Sullivan, Graeme. Art practice as research: Inquiry in visual arts. 2nd ed. Thousand Oaks [Calif.]: Sage Publications, 2010.
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Sullivan, Graeme. Art practice as research: Inquiry in the visual arts. Thousand Oaks, Calif: Sage Publications, 2005.
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Sullivan, Graeme. Art practice as research: Inquiry in the visual arts. 2nd ed. Thousand Oaks [Calif.]: Sage Publications, 2010.
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Art practice as research: Inquiry in the visual arts. Thousand Oaks, Calif: Sage Publications, 2005.
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Baldwin, Jonathan. Visual communication: From theory to practice. Lausanne [Switzerland]: AVA, 2006.
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Newsletter, Artists. The code of practice for the visual arts for artists. Newcastle upon Tyne: Artists Newsletter Publications, 2003.
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Corner, Lee. The code of practice for the visual arts for artists. Newcastle upon Tyne: Artists Information Company, 2003.
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Frascara, Jorge. Communication design: Principles, methods, and practice. New York: Allworth Press, 2004.
Find full textBook chapters on the topic "Visual arts practice"
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Mottram, Judith. "Practice-based research in the visual arts." In The Routledge International Handbook of Practice-Based Research, 356–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429324154-26.
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Mackh, Bruce. "The PhD in visual arts practice in the USA." In The Routledge International Handbook of Practice-Based Research, 156–78. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429324154-11.
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Lasczik Cutcher, Alexandra. "Collaboration as Individual Learning Event: Collective Consciousness and Shared Practice in the Development of Pedagogical Content Knowledge in Visual Arts Pre-Service Teachers." In Studies in Arts-Based Educational Research, 151–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61560-8_9.
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Hunsaker, Scott L. "Visual and Performing Arts." In Critical Issues and Practices in Gifted Education, 535–60. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003233961-40.
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Cangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry, 141–50. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.
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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
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Humphris, Imogen, Lummina G. Horlings, and Iain Biggs. "‘Getting Deep into Things’: Deep Mapping in a ‘Vacant’ Landscape." In Co-Creativity and Engaged Scholarship, 357–90. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_12.
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AbstractAreas in cities typically denoted as ‘Vacant and Derelict Land’ are frequently presented in policy documents as absent of meaning and awaiting development. However, visits to many of these sites offer evidence of abundant citizen activity occurring outside of planning policy. Dog walkers, DIY skatepark builders, pigeon fanciers and reminiscing former factory workers, for example, can all be found inscribing their own narratives, in palimpsest like fashion, upon these landscapes. This spatio-temporally bound and layered mix of contested meanings extend beyond representational capacity offered by traditional cartographic methods as employed in policy decision-making. Such a failure to represent these ecologies of citizen-led practices often results in their erasure at the point of formal redevelopment. In this chapter, we explore how one alternative approach may respond to these challenges of representation through a case study project in Glasgow, Scotland. Deep mapping is an ethnographically informed, arts research practice, drawing Cifford Geertz’s notion of ‘thick description’ into a visual-performative realm and seeking to extend beyond the thin map by creating multifaceted and open-ended descriptions of place. As such, deep maps are not only investigations into place but of equal concern are the processes by which representations of place are generated. Implicit in this are questions about the role of the researcher as initiator, gatherer, archivist or artist and the intertwining between the place and the self. As a methodological approach that embraces multiplicity and favours the ‘politicized, passionate, and partisan’ over the totalizing objectivity of traditional maps, deep mapping offers a potential to give voice to marginalized, micro-narratives existing in tension with one another and within dominant meta-narratives but also triggers new questions over inclusivity. This methodologically focused chapter explores the ways in which an ethnographically informed, arts research practice may offer alternative insight into spaces of non-aligned narratives. The results from this investigation will offer new framings of spaces within the urban landscape conventionally represented as vacant or empty and generate perspectives on how art research methods may provide valuable investigative tools for decision-makers working in such contexts. The deep mapping work is available to view at http://www.govandeepmap.com.
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Anan, Nobuko. "Afterword: Girls’ Aesthetics as Feminist Practices." In Contemporary Japanese Women’s Theatre and Visual Arts, 177–80. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_6.
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Lähdesmäki, Tuuli, Jūratė Baranova, Susanne C. Ylönen, Aino-Kaisa Koistinen, Katja Mäkinen, Vaiva Juškiene, and Irena Zaleskiene. "A Sociocultural Approach to Children’s Visual Creations." In Learning Cultural Literacy through Creative Practices in Schools, 17–30. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-89236-4_2.
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AbstractThis chapter locates the book within the research on children’s art. It explores interpretations of children’s visual creations throughout the twentieth century and situates the approach of the book within the research landscape. The authors take developmental psychological, educational, and aesthetic approaches to form a sociocultural view of children’s art, challenging many of the previous research assumptions. Through adopting the paradigm of the sociocultural approach, the authors embrace its view of children as competent cultural actors and active participants in cultural production. Thus, the discussion focuses on meaning-making: the authors analyze visual artifacts made by students to understand how they engage with the idea of the difference.
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Jagodzinski, Jan. "Historical Antecedents: The Rise of the Unconscious in Artistic Practice." In Visual Art and Education in an Era of Designer Capitalism, 59–70. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113602_4.
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Vintimilla, Cristina D., and Sylvia Kind. "Choreographies of Practice." In Visual Arts with Young Children, 33–46. Routledge, 2021. http://dx.doi.org/10.4324/9781003020776-4.
Full textConference papers on the topic "Visual arts practice"
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Azevedo, Maria Isabel. "Holography in the visual arts practice: research and production." In Practical Holography XXXV: Displays, Materials, and Applications, edited by Hans I. Bjelkhagen and Seung-Hyun Lee. SPIE, 2021. http://dx.doi.org/10.1117/12.2582759.
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Sheshko, Anna Sergeevna. "Features of approaches to teaching preschool children visual arts in modern conditions." In IX International Research-to-practice conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-113904.
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Špidlová, Zdenka. "DIGITAL MEDIA IN VISUAL ARTS EDUCATION. FROM STRATEGY TO PRACTICE." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.1098.
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Liu, Lifu. "Reflection on Practice Teaching Reform of College Visual Communication Design." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.383.
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Brown, Scott Andrew, Michael Gratton, and Bronwen Williams. "A Visual Programming Tool for Creative Practice Pedagogy in Embodied Interaction and Media Arts." In OZCHI'19: 31ST AUSTRALIAN CONFERENCE ON HUMAN-COMPUTER-INTERACTION. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3369457.3369495.
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Al Qur’an, Hussam A. Darwish. "The Role of Talent and Skill in Visual Communication Design Education/Practice: Three Case Studies from Jordan." In International Conference on Arts and Humanities. The International Institute of Knowledge Management, 2020. http://dx.doi.org/10.17501/23572744.2019.6106.
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Rafee, Y. M., A. H. Awang Arshad, H. Siri, and A. T. Javeril. "PRACTICE-BASED RESEARCH AS AN APPROACH IN BRIDGING THE VISUAL ARTS AND ETHNOGRAPHY IN SOCIAL SCIENCE STUDY." In International Conference on Arts and Humanities. TIIKM, 2017. http://dx.doi.org/10.17501/icoah.2016.3114.
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Lagunova, Ekaterina Aleksandrovna. "Decorative Still Life in Painting as a Means of Forming the Creative Thinking of Children of Primary School Age in the Visual Arts Classes." In International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-75895.
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Sarvanović, Ana, and Marija Pavlović. "Metodika nastave likovne kulture – izazovi i mogućnosti u vreme pandemije." In Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.163s.
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In the introduction of this paper, the concept of Methodology of teaching visual arts at the Teacher Education Faculty in Belgrade will be presented, as well as the challenges we faced as teachers of this subject due to the new epidemiological situation caused by coronavirus (SARS-Cov-2). The changes that have taken place in a global field, changed the way of life, communication, and schooling at all levels, have influenced us to adapt our teaching at the faculty to current epidemiological measures and possibilities in order to better prepare students for successful teaching of visual arts. This research aims to examine the students' attitudes about their experience during the methodological practice at the end of the fourth year of undergraduate studies, to determine the extent to which we managed to educate them for efficient realization of visual arts classes. Students of Teacher Education Faculty in Belgrade, who realized the final methodical practice following the current epidemiological measures participated in this examination. The results of the research will provide guidelines for future reflections and improvements in the conception of our subject.
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Balaminutti, Lara D., and Rachel Zuanon. "Sensorial Design applied to teaching-learning in Artistic Drawing." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.133.
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The present research focuses on the Sensorial Design approach applied to the teaching-learning of artistic drawing. The Sensorial Design is subsidized by the SEE BEYOND method [LIMA JR. G.C.; ZUANON, R. 2017-2019], which is based on cognitive-behavioral neuroscience and neuroeducation studies to develop and apply didactic-pedagogical and didactic-andragogics resources aimed at teaching and learning of Design by students with and without visual impairment. In this approach, the practice of drawing is understood as an intrinsic element to the mental mechanisms of human beings and acting in their sensorimotor, cognitive and behavioral evolution. This is because through the lines, textures, colors and other compositional elements present in the drawing practice, it is possible to elaborate or express affections and materialize emotions, sensations and thoughts, which are experienced in the mind and experienced in the body as a whole. From this understanding, the approach between the fields of artistic drawing and cognitive-behavioral neuroscience is natural. In the context of higher education, specifically in Visual Arts, the cooperation between the fields of drawing, neuroscience and neuroeducation is shown to be capable of equipping educators with pedagogical practices that contribute to the formation of contemporary artists, especially with regard to the achievement of a poetic-artistic and authorial project expression. The activities carried out from the practical approach of Sensorial Design seek to question the protagonism of vision by sensitizing and enhancing the other senses. In this process, hearing, tasting, smelling, and touching also gain prominence in the formation of mental images, unlike other teaching-learning methods in which this protagonism focuses only on vision. The Sensorial Design approach is developed in the context of higher education in Visual Arts and applied in the Artistic Drawing I and II disciplines, which are part of the Visual Arts undergraduate course’s curriculum at the University of Campinas, since 2019. Through of student’s somatosensory and sensorimotor stimulations, the classes address several thematic axes fundamental to the field of artistic drawing practice, which are at the base of most artistic drawing teaching programs in Brazil for example: line, contour, filling, figure, ground, movement and rhythm. From this global stimulation of the senses, students are encouraged to expand their perceptive limits and their creative processes while expanding their sensory repertoires. Furthermore, the Sensorial Design approach corroborates the rupture of pre-established visual compositional patterns and, consequently, the reach of an authorial poetic-artistic expressiveness. It is important to highlight that in the period prior to the COVID-19 pandemic, all activities carried out with students took place in the face-to-face education context, and the drawing practice happened mostly through analogical instruments and mediums. With the pandemic already unleashed, such activities were adapted for distance education, in order to preserve their original characteristics, especially with regard to ensuring the application of somatosensory and sensorimotor stimulation in the students. The experience acquired along this methodological adaptation process (from face-to-face to distance education) has indicated relevant contributions to increment this approach in the post-pandemic context, e.g. to increase the number of digital media resources applied in the Sensorial Design practice, which point out to the formulation of a hybrid learning-teaching method (physical-digital).
Reports on the topic "Visual arts practice"
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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Yan, Yujie, and Jerome F. Hajjar. Automated Damage Assessment and Structural Modeling of Bridges with Visual Sensing Technology. Northeastern University, May 2021. http://dx.doi.org/10.17760/d20410114.
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Recent advances in visual sensing technology have gained much attention in the field of bridge inspection and management. Coupled with advanced robotic systems, state-of-the-art visual sensors can be used to obtain accurate documentation of bridges without the need for any special equipment or traffic closure. The captured visual sensor data can be post-processed to gather meaningful information for the bridge structures and hence to support bridge inspection and management. However, state-of-the-practice data postprocessing approaches require substantial manual operations, which can be time-consuming and expensive. The main objective of this study is to develop methods and algorithms to automate the post-processing of the visual sensor data towards the extraction of three main categories of information: 1) object information such as object identity, shapes, and spatial relationships - a novel heuristic-based method is proposed to automate the detection and recognition of main structural elements of steel girder bridges in both terrestrial and unmanned aerial vehicle (UAV)-based laser scanning data. Domain knowledge on the geometric and topological constraints of the structural elements is modeled and utilized as heuristics to guide the search as well as to reject erroneous detection results. 2) structural damage information, such as damage locations and quantities - to support the assessment of damage associated with small deformations, an advanced crack assessment method is proposed to enable automated detection and quantification of concrete cracks in critical structural elements based on UAV-based visual sensor data. In terms of damage associated with large deformations, based on the surface normal-based method proposed in Guldur et al. (2014), a new algorithm is developed to enhance the robustness of damage assessment for structural elements with curved surfaces. 3) three-dimensional volumetric models - the object information extracted from the laser scanning data is exploited to create a complete geometric representation for each structural element. In addition, mesh generation algorithms are developed to automatically convert the geometric representations into conformal all-hexahedron finite element meshes, which can be finally assembled to create a finite element model of the entire bridge. To validate the effectiveness of the developed methods and algorithms, several field data collections have been conducted to collect both the visual sensor data and the physical measurements from experimental specimens and in-service bridges. The data were collected using both terrestrial laser scanners combined with images, and laser scanners and cameras mounted to unmanned aerial vehicles.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Ensuring Equity and Excellence for English Learners: An Annotated Bibliography for Research, Policy, and Practice. Center for Equity for English Learners, 2022. http://dx.doi.org/10.15365/ceel.publication.2022.0001.
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Ensuring Equity and Excellence for English Learners: An Annotated Bibliography for Research, Policy, and Practice is comprised of over 350 annotations from both recent and seminal literature (released between 1984–2021) that have significant implications for research, policy, and practice for English learner (EL) linguistic, social, and academic achievement. This annotated bibliography serves as a resource for researchers, policymakers, educators, and advocates who are working for equity and excellence for ELs. The authors provide a comprehensive selection of works focused on theory, research, and practice. The annotations are a result of purposeful searches of 23 topics in empirical and theoretical articles from peer-reviewed journals, books, book chapters, and reports from leading scholars in the field. Among the topics addressed relevant to EL education are broad areas such as: bilingual teacher preparation, teaching and professional development, university and district partnerships, digital learning for ELs, social emotional development, culturally sustaining pedagogy, and English Language Development (ELD) for elementary and secondary level students. The Integrated ELD (content instruction) topic is subcategorized according to specific disciplines including: English language arts, history, mathematics, science, visual & performing arts, and STEM. In order to provide additional information for readers, each annotation includes: (1) the source description (e.g., book, journal article, report), (2) type of source (e.g., empirical, guidance, theoretical), and (3) keywords.