Artykuły w czasopismach na temat „Humanities -> art -> advanced art education”

Digital humanities is a result of the convergence of digital technology with social sciences and humanities. It is one of the key research areas around the world by the library and information science profession, and in cognate areas such as art and archeology. Focus groups, digital humanities centres are created for intensive researches which are located mainly in libraries as their core programmes. The library techniques and methods such as knowledge organisation, knowledge management, search and retrieval design, education, and emerging areas such as metadata, semantic mapping, ontology, thesaurus construction, digital curation, discovery services, find application in digital humanities. A new area of study, historical informatics complements the digital humanities. India has vast potential application of digital humanities with its diverse culture, customs and languages and so on. India is reckoned as one of the advanced countries in the IT sector, hence recognising the socio-cultural legacy and diverse historical background, it is viewed that digital humanities has many opportunities and applications for LIS professionals in India to contribute substantially. This paper brings together the concepts, tools, and applications of digital humanities and proposes a course of study in LIS curriculum.

Sundar Sarukkai is a philosopher and is currently associated with the National Institute of Advanced Studies, Bangalore as a Professor of Philosophy. His research interests range from philosophy of science, philosophy of mathematics, postmodernism, phenomenology to philosophy of art. A critical philosopher whocan, with élan, and a certain sense of analytical rigour, transverse the philosophical terrains between the Western and Indian traditions. He has authored several books, such as Translating the World: Science and Language (2002), Philosophy of Symmetry (2004) and Indian Philosophy and Philosophy of Science (2005). Hehas earned his doctoral degree from Purdue University, USA following which he has been associated with several institutes such as Indian Institute of Advanced Studies, Manipal University and National Institute of Advanced Studies, Bangalore. He has been the Founder-Director, Manipal Centre for Philosophy and Humanities, Manipal University, Manipal. He can be reached at sarukkai@nias.iisc.ernet.in

At universities and academies, teaching and learning occur in a range of environments as art students continue to develop their skills. The aims of the study were to determine how art students evaluate the role of their learning environments in achieving their learning goals, and what kind of feedback they consider important for their artistic development. Therefore, ten university students were interviewed. They were advanced art students who had successfully completed different courses in sculpting. The findings indicate that during studio learning the students addressed technical or formal problems related to their artworks, as well as how to implement their artistic intentions, with the help of feedback from lecturers and fellow students. All participants referred to experimentation and trying out different materials, forms or motifs as central to their artistic development and said that exhibiting their own artworks in public as part of university projects motivated them to continue.

Abstract My aim in this article is to explore the role of perspectivism—roughly, the view that works of art prescribe a certain perspective—in aesthetic cognitivism and in the ethical evaluation of art, particularly as it features in the value-interaction debate. Although I am critical of perspectivism's capacity to shoulder an artwork's cognitive and ethical value, I find some of the arguments mounted against it, most notably those by Ted Nannicelli, misdirected, and I present several arguments against them. However, because my aim is to show that both aesthetic cognitivism and ethical criticism should move beyond a concern for the perspective, I offer a different criticism of perspectivism to demonstrate how it should be modified if it is to make a more substantial contribution to the ethical evaluation of art. I conclude by providing a sketch of what I call ethically minded criticism of art, that is, one that is concerned not with a perspective that a work advances but with revealing work's cognitive and ethical insights, that is thus better suited to promoting art's educational and cultural value.

The problem of renewing the philosophy of teaching art education in the light of 21st century skills. Art education at the global level is facing many and many challenges as a result of the tremendous changes in the way knowledge and information are exchanged, in which technology plays a large role because of the necessity of its existence at various scientific levels. These challenges required a comprehensive review of the educational system and philosophy in general And in particular technical education, which in turn lead to the development of advanced courses and innovative work to prepare a learner is able to absorb better, in addition to it makes the educational process an interesting process for the learner and by integrating those courses study With 21st century skills and information technology, which in turn improves the outcomes of the learning process and the quality of education. Research problem: The researcher found through the study of international and international research of the 21st century skills and information technology to be applied in the curricula of different fields, because it is important for the students as it earns and trains them on life and work skills to bring out a person who is more capable of dealing smartly in life and linking them to the curriculum. As well as their application to the labor market. Therefore, the problem of this research lies in the following question: To what extent is it possible to implement a program based on the integration of information technology and art education curricula in the light of 21st century skills to bring out a learner capable of keeping pace with the labor market? Research goals: The research aims to: - Prepare a student capable of keeping pace with the labor market through the application of the skills of the 21st century by international standards in the curricula of art education. - to highlight the skills of the twenty-first century of high value that contribute to the output of a learner capable of achieving professional success in the labor market. Research importance: - keep up with information technology through integration with the curriculum of art education - Use the skills of the twenty-first century in teaching the curriculum of art education - Stimulate educational institutions to apply the skills of the twenty-first century and mechanisms to achieve the vision of the Kingdom 2030 in the field of education.

The 2023 2nd International Conference on Art Design, E-Education and Innovation Management (ADEIM 2023) was resoundingly held at Canberra, Australia from September 16 to 17, 2023. It highlights recent and significant advances in research and development in art design, e-education, educational reform, humanities, innovation management, and social sciences. With participation of a large number of young researchers, ADEIM 2023 can be a platform for new collaborative ventures and strategic alliances to gain better insights into research and innovation, to harness the strength and synergies, and to bring further prosperity to the nations. As the future becomes more competitive and challenging, it is important to remain relevant and maintain the performance for continuous improvement in research & education. It will also serve to facilitate the exchange of information between researchers and professionals to discuss the latest issues and advancement in these areas. ADEIM 2023 brought together experts from different organizations to initiate discussions on topics that are of interest to the conference attendees. This conference encourages young researcher from multi-discipline background to share their new and innovative ideas and findings is the aim of the conference. ADEIM Organizing Committee Canberra, Australia

<p>This article debates the proposition that artistic production mirrors humanity’s maturation from primitive superstition to scientific rationality. This effort sits at the intersection of demography, political economy and aesthetics. According to traditional demographic theory, primitive peoples are caught in a poverty trap of high birth rates, a condition inimical to industrialization, well-planned urbanization, universal education, women’s emancipation and cultural production. The analysis focuses on three dynamics: the demographic effects of mass migration on creativity: the trajectories of declining populations and their places in cultural hierarchies; and slavery and colonialism’s reduction to penury of skilled artists in pre-industrial societies. The method interrogates self-reinforcing trends of the canons of demography, political economy and aesthetics and the resulting concurrence on the path of progress, which assumes that art is a reflection of liberal historical advancement. The overarching argument of the article is that by setting the criteria and suppressing alternative accounts of the history of African art, these canons narrow and misrepresent our global cultural legacy. Background: sub-Saharan African art is classified as “primitive” according to the canons of art history, demography and political economy. This label is problematic because it conveys faulty demographic assumptions about sub-Saharan Africa and reflects the ways in which theories of human progress reinforce analyses underlying the designation of primitive. The proposition advanced is that these canons narrow, suppress alternative accounts of the history of African art, and misrepresent our global cultural legacy.</p>

The South China University of Technology, Henan Normal University, University of Central Missouri and National University of Colombia jointly organize the 2022 International Conference on Art Design, E-Education and Innovation Management (ADEIM 2022). The conference is held at Dalian, China from June 25 to 26, 2022. It highlights recent and significant advances in research and development in art design, e-education, educational reform, humanities, innovation management and social science. With participation of a large number of young researchers, ADEIM 2022 can be a platform for new collaborative ventures and strategic alliances to gain better insights into research and innovation to harness the strength and synergies to bring further prosperity to the nations. As the future becomes more competitive and challenging, it is important to remain relevant and maintain the performance for continuous improvement in research & education. It will also serve to facilitate the exchange of information between researchers and industry professionals to discuss the latest issues and advancement in these areas. ADEIM 2022 brought together experts from different organizations to initiate discussions on topics that are of interest to the conference attendees. This conference provides the specialist's training and scientific research in these fields. Encouraging young researcher from multi-discipline background to share their new and innovative ideas and findings is the aim of the conference. ADEIM Organizing Committee Dalian, China

One of several independent research libraries in the United States, the Newberry Library in Chicago, which is over 100 years old and has about 100 fte staff, has nationally significant collections in history, the humanities and music. Four special collections, each accompanied by an endowment for continuing acquisition, stand out: the Ayer Collection, now comprising more than 100,000 volumes, on early contacts between the Indian and the white man; the Greenlee Collection on Portuguese and Brazilian history; the Graff Collection on the American West; and the Wing Collection on the art of printing and graphic design. The library has pioneered in the field of preservation, and its Conservation Department presents training sessions and public programmes on the care of personal libraries and book handling. Access to the collections is gradually being automated, and a wide range of services and programmes for diverse audiences is offered. Its academic and educational programmes have made it a centre for advanced study in the humanities. Adult education seminars are held regularly, enrolling nearly 2,000 people.

Resumen: Los retos que impone el nuevo escenario digital nos animan a reflexionar sobre las posibilidades de la Educación Artística en un momento histórico en el que combinamos momentos educativos presenciales junto a desubicaciones online. Las tecnologías de la imagen, uno de nuestros mayores aliados como docentes, hace tiempo que irrumpieron en el aula de artes, y es por ello que en este número de EARI presentamos un dossier monográfico sobre “Cine y educación artística”. Pero tanto la fotografía como la imagen en movimiento han experimentado un increíble desarrollo tecnológico en manos de tantos usuarios como personas convivimos en el planeta. Los dispositivos móviles y los nuevos conceptos y usos digitales están incorporándose a todas las facetas de nuestras vidas, de modo que ya no podemos permanecer ajenos a esta urgencia educativa y artística. Por eso desde el grupo CREARI nos hemos implicado en el la organización del I Congreso Internacional Humanidades Digitales y Pedagogías Culturales, para avanzar en la búsqueda de posibilidades académicas en un mundo donde los videojuegos, las series de televisión, los videoclips musicales y las tendencias del arte digital están abanderando procesos complejos y tremendamente atractivos. Consideramos que el juego y la aventura forman parte intrínseca de nuestra rebeldía. No podemos permanecer ajenos a las nuevas prácticas y hábitos de la ciudadanía. Palabras clave: arte, educación artística, investigación, formación de profesorado, humanidades digitales. Abstract: The new digital scenario generates challenges that encourage us to reflect on the possibilities of Artistic Education in a historical moment in which we combine conventional educational moments with new online trends. Image technologies are one of our best allies as teachers. We have been incorporating them into the arts classroom for a long time. In this issue of the journal EARI we present a dossier on “Cinema and Art Education”. Both photography and the moving image have experienced an incredible technological development among as many users as we live together on the planet. Mobile technologies and new concepts for digital uses are being incorporating into all dimensions of our lives, so that we can no longer remain oblivious to this educational and artistic urgency. From the CREARI group we have been fully involved in the organization of the First International Conference of Digital Humanities and Cultural Pedagogies, to advance in the search for academic possibilities in a world where video games, television series, music videos and music trends Digital art are leading complex and tremendously attractive processes. We consider that game and adventure are a natural part of our rebellion. We cannot continue without addressing the new practices and habits of citizenship. Keywords: Art, Art Education, Research, Teachers Training, Digital Humanities. DOI: http://dx.doi.org/10.7203/eari.10.16111

BackgroundThe experience of art offers an emerging field in healthcare staff development, much of which is appropriate to the practice of palliative care. The workings of aesthetic learning interventions such as interactive theatre in relation to palliative and end of-life care staff development programmes are widely uncharted.AimTo investigate the use of aesthetic learning interventions used in palliative and end-of-life care staff development programmes.DesignScoping review.Data sourcesPublished literature from 1997 to 2015, MEDLINE, CINAHL and Applied Social Sciences Index and Abstracts, key journals and citation tracking.ResultsThe review included 138 studies containing 60 types of art. Studies explored palliative care scenarios from a safe distance. Learning from art as experience involved the amalgamation of action, emotion and meaning. Art forms were used to transport healthcare professionals into an aesthetic learning experience that could be reflected in the lived experience of healthcare practice. The proposed learning included the development of practical and technical skills; empathy and compassion; awareness of self; awareness of others and the wider narrative of illness; and personal development.ConclusionAesthetic learning interventions might be helpful in the delivery of palliative care staff development programmes by offering another dimension to the learning experience. As researchers continue to find solutions to understanding the efficacy of such interventions, we argue that evaluating the contextual factors, including the interplay between the experience of the programme and its impact on the healthcare professional, will help identify how the programmes work and thus how they can contribute to improvements in palliative care.References. 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Abstract The article has analyzed and systematized the development of musical-pedagogical education in Ukraine in the 60's -70-ies of XX century. It has summarized the experience of training of specialists with higher musical-pedagogical education at the faculties of Humanities, where the 50's - 60's graduates received diplomas of philologists, historians, geographers with additional qualification of a teacher of music and singing. It has also been grounded the establishment of the first musical-pedagogical faculties at educational institutions in different regions of Ukraine (Kyiv, Luhansk, Drohobych, Odesa, Zaporozhia). Having based on the analysis of the archival documents it has been revealed the main directions of the formation of teaching staff of specialized departments, organization of the educational process, creation of the art groups, participation of students in research work, teaching practice at secondary schools. It has been proved the importance of concert performance and musical educational work in the pedagogical formation of prospective teachers of music and singing. Their role in raising the level of musical and aesthetic education of children and youth in the 60's of last century has been proved. The 70‟s years of the twentieth century of the history of Ukraine are known as the years of corresponding changes in the socio-political processes, "thaw" in all spheres of life, particularly in the organization of higher education activity. This period of musical-pedagogical education is characterized by democratization and the search for more advanced forms of the educational-upbringing process.

Traditional arts that have high artistic value must always be preserved from extinction. In order to maintain the popularity of traditional art in Indonesia, it is necessary that artists, teachers, and society understand it deeply. Every fine arts artist, teacher, and community must have a sense of nationalism towards traditional art in order to be able to maintain and become a stronghold of traditional art itself. This study aims to rediscover the values of traditional culture that are spread in several regions in Indonesia with the hope that it can be absorbed into modern art so that the value of traditional art is not completely eroded. This research uses Spradley's qualitative research method or ethnographic qualitative research with the aim of systematically describing deeper cultural characteristics. This research produces a description of the characteristics of traditional culture contained in several traditional arts and crafts spread across Indonesia, each region has cultural characteristics that are different from other regions which are influenced by several diverse factors. The characteristics of each artistic value are maintained and absorbed into modern art for maintained and taught in the world of education so that art saviors are born who are able to transform traditional arts into modern artistic values. As art saviors, artists need awareness of a sense of "nationalism" in each of them which is obtained through an understanding of these traditional arts.Keywords: high art, education, culture, nationalism. AbstrakKesenian tradisional yang memiliki nilai seni tinggi harus selalu dilestarikan dari kepunahan. Untuk mempertahankan popularitas seni tradisional di Indonesia, diperlukan seniman, guru, dan masyarakat yang memahaminya secara mendalam. Setiap seniman seni rupa, guru dan masyarakat harus memiliki rasa nasionalisme terhadap seni tradisional agar mampu menjaga dan menjadi benteng kesenian tradisional itu sendiri. Penelitian ini bertujuan untuk menemukan kembali nilai nilai kebudayaan tradisional yang tersebar di dibeberapa daerah di Indonesia dengan harapan dapat dilakukan penyerapan kedalam seni modern agar nilai dari kesenian tradisional tidak terkikis sepenuhnya. Penelitian ini menggunakan metode penelitian kualitatif Spradley atau penelitian kualitatif etnografi dengan tujuan mendeskripsikan karakteristik kultural lebih mendalam secara sistematis. Penelitian ini menghasilkan deskripsi karakteristik kebudayaan tardisional yang terkandung dari beberapa kerajinan seni tradisional yang tersebar di wilayah Indonesia, setiap daerah memiliki karakterstik kebudayaan yang berbeda dari daerah lain yang dipengaruhi oleh beberapa factor yang beragam, Karakteristik dari setiap nilai kesenian dipertahankan dan diserap kedalam kesenian modern untuk dipertahankan dan diajarkan dalam dunia Pendidikan agar terlahir penyelamat kesenian yang mampu melakukan transformasi seni tradisional menjadi nilai seni modern. Sebagai penyelamat seni, seniman membutuhkan kesadaran akan rasa “Nasionalisme” pada diri masing-masing yang diperoleh melalu pemahaman akan kesenian tradisional tersebut.Kata Kunci: seni tinggi, pendidikan, budaya, nasionalisme. Authors:Budiwirman : Universitas Negeri PadangSyeilendra : Universitas Negeri PadangAry Ramadhan : Universitas Negeri PadangSyafei : Universitas Negeri Padang References:Yoeti, O. K. 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Storytelling is perennial to the human condition. We all tell stories and we all bear witness to the stories of others. According to narrative scholars, only certain stories are valorized in contemporary culture, while others go unrecognized. The inability to recognize ourselves and identities in contemporary cultural narratives can contribute to the silencing and muting of certain lives and voices. Young people with life-shortening conditions, such as cystic fibrosis (CF) and muscular dystrophy (MD), are rarely afforded the opportunity to have their stories heard and affirmed in contemporary cultural spaces. In this article, we reflect on the methodological process of engaging in a study known as “Telling My Tale,” that is, a storybook study featuring narratives and artwork by young people with CF and MD. Funded by the Social Sciences and Humanities Research Council of Canada, we critically reflect upon the methodological lessons, advances, and innovations we have learned, including theoretical musings, the process of exhibiting some of the artwork in a public art gallery, challenges faced along the way, analytical conundrums, and the role of technology in artistic creation for participants with limited hand function. In so doing, we hope to further methodological and theoretical development and innovation in narrative and artistic traditions to better center the voices, lives, tales, and experiences of young people with life-shortening conditions.

Purpose A graduate must be qualified in order to be successful in the labor market. Hence, embedding employability into higher education is a priority of policymakers and universities. The purpose of this paper is to promote students’ employability skills deal with the issue. Design/methodology/approach This paper is accomplished in three phases, and qualitative and quantitative approaches were conducted. Data were collected from 14 entrepreneurs and experts in the field of business and 150 faculty members from the main academic categories (including: engineering, humanities, agriculture and veterinary, science, and art). Findings The findings revealed that employability skills of students could be totally classified in three categories (basic, intermediate and advance) and five levels. Also, factor analysis regarding university activities to develop students’ employability skills showed five activities including: support, cultural, informing, research and educational activities. Practical implications The results can be beneficial for universities’ plan activities and offer proper services that enhance students’ skills for their future career. Also, the findings can be fruitful for higher education policymakers to find the right way to foster employability issues at universities. Mechanisms such as employers’ participation in curriculum development and work-based learning are useful in ensuring a good match between the supply of skills and the demand for skills. Originality/value This study classified graduates’ employability skills in basic, intermediate and advance categories. Another important contribution of this study was the proposed paths for improving each level of employability skills, enabling universities to be aware of the proper activities for each skills enhancement.

Abstract “Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach.

Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flying. The repertoire of the choir is extremely wide and diverse from the Renaissance to contemporary domestic and foreign compositions, different in genres and subjects, which is quite difficult for the amateur team. That is why the professional recognition of the children’s choir under the guidance of S. M. Prokopov is confirmed by many honorary awards of national and international competitions and choral festivals. Following the traditions of Kharkiv choral school, Prokopov S. M., while heading the choir of the students of the Choral Conducting Department of KhNUA named after I. P. Kotlyarevsky, greatly changed not only the repertoire policy of the choir, but also revised the correlation of teaching-educational and concert-performing tasks. The choral class is not only a solid base platform for the professional education of future choirmasters-specialists. The choir of students, under the guidance of S. M. Prokopov, is a full-fledged performing collective, whose power makes it possible to perform compositions of great forms. Working on the sound of the choir, at the stage of a warm-up, he relies on the artistic principles of the sound production, which represent a peculiar emotional and psychological setting for the further professional communication between the choirmaster and the singers. Such accentuation of attention on the complex of psychological tasks during the performance of vocal-choral exercises helps to combine and correlate the emotional and psychological state and technical capabilities of the singers with subsequent performing intentions. The key to the work of the master is a special relation to the interaction of the language and musical intonation. Expressiveness as a conscious singing is impossible without the right intonation, a clear pronunciation, an emotional exaltation in the process of performing a choral composition. The pedagogical activity of S. M. Prokopov continues in the class on conducting and relies on both the methodical foundations, theoretical positions, the generalizations of outstanding teachers, choirmasters, symphony conductors and many years of the own experience of the teacher, the conductor, and the conductor-choirmaster. Actually, his pedagogical style is characterized by a high level of culture, sophisticated taste, and deep knowledge of the specialty and in the related fields of both the humanities and social sciences. The sphere of interests of scientific activity of S. М. Prokopov covers various areas of the choral art. The scientific and methodical works by S. M. Prokopov outlines a range of issues related to the problems of the choral performance, the choral pedagogy and the educational process of formation of conductors-choirmasters at different stages of development. Professor S. M. Prokopov’s active and responsible life position prompts him for the public-education activities. Holding the post of the Head of the Kharkiv branch of the Association called “The Choir Society named after M. Leontovych”, on his initiative the significant competitions and festivals of the choral art take place, and they are known not only within Ukraine but also abroad. Sergiy Mykolayevych presents reports on the relevant issues of the choral art at international and all-Ukrainian conferences, conducts numerous master classes, lectures and concerts. Conclusions and the perspectives of the further research. Sergiy Prokopov is an example of a universal musician. To highlight one, the main of the directions of his activities is impossible. The teacher, choral conductor, scientist, talented organizer and musical-public figure, his work is a vivid example of creative and personal enthusiasm. The prospect of the further development of the topic is related to the in-depth study of the various spectra of S. M. Prokopov’s creative activities, his personal contribution to the development of Ukrainian culture.

This editorial articulates the hope art educators might find in the radical belief of futural possibilities. Co-authors embrace the editorial process and our journey through it as an editorial team for this journal as the nurturing and coalescing of potential. The journal and its contents manifest the hope that even dire situations could be otherwise.

Moviment Graffitti has, for the last 25 years, been active against the oppression and exploitation of people, animals and the environment with a vision of freedom, justice and radical democracy. Traversing different media, genres and styles, Moviment Graffitti has a dynamic, symbiotic and powerful relationship with art. This article will look at Graffitti’s passionate use of art as a pedagogical tool to create awareness and bring forth social change through the aesthetics of activism and the art of dissent. It explores the role, meaning and paradox of political art through the movement’s artistic sub-groups and the main artistic initiatives embarked upon. Deliberately eschewing the elitism of the art establishment, the commodification of education and culture and depoliticized notions of sustainability and development through art edu/activism (eduvism), Graffitti reappropriates art to agitate educators in revolutionary pedagogy to become pivotal actors in the promotion of progressive social change.

The article deals with doctoral dissertations prepared and defended at the Faculty of Architecture at current Vilnius Gediminas Technical University in spite of changes of its institutional subordination. It deepens into fields of scientific research investigated during doctoral studies that are considered an important part of research in architecture. The tendencies of evolution of doctorate at the Faculty of Architecture of VGTU are contextualised in architectural research and doctoral studies in architectural research and education institutions both in Lithuania and abroad. During the Soviet times, Lithuanian architects had a possibility to prepare and defend dissertations for a scientific degree of candidate of architectural sciences either at the Faculty of Architecture at Kaunas Polytechnic Institute (afterwards – at Vilnius Engineering Building Institute) or at institutions of architectural research and education in the Soviet Union, outside Lithuania, depending if Lithuanian institutions had the right to educate the aspirants for scientific degree and the right to defend their dissertations. It mostly influenced the dynamics of scientific degrees obtained (see Fig. 1). Architecture was defined as an autonomous research field under the Soviet classification and it helped to shape the identity of the discipline: its width, specific methods and questions. Architectural dissertations of Soviet times were rigorously specialised and empiric, closely connected with practice, deepening into urban issues more than architectural ones (see Fig. 2). Since 1998, architecture loses its integrity and becomes a subfield of Art Critics in Humanities. Since then doctoral dissertations defended at the Faculty of Architecture of VGTU investigate architectural history, theory and critics according traditional methodologies of humanities including interdisciplinary contexts; fundamental academic research dominates. Recent international dynamic changes in both doctoral studies and architectural research directs for the impact of research beyond academia generating more efficient contribution to architectural research and innovation related to ideas, forms, techniques, materials and practices based upon technological advances for the so-called society of knowledge; one of the means is creating various forms of doctorates. Nevertheless, the present situation of doctorate at the Faculty of Architecture of VGTU is not supportive for tuning to new tendencies – revision of national classification of research towards integrity of architecture field, and also introduction of a program of research by design, priorities for innovative, practice-embedded, interdisciplinary, future-oriented research in doctorate at the school might create much more positive medium for the progress. Santrauka Straipsnyje nagrinėjama doktorantūros (aspirantūros) Vilniaus Gedimino technikos universiteto Architektūros fakultete, nepaisant jo kitusios institucinės priklausomybės, raida. Pagrindinis dėmesys skiriamas apgintų disertacijų mokslinių tyrimų kryptims ir pobūdžiui kaip sudėtinei architektūros mokslo daliai, jų raidą ir kaitos tendencijas siejant su procesais kitose šalyse. Apžvelgiamos šiame amžiuje vykstančios aktualios dinamiškos permainos doktorantūros studijų sampratoje ir architektūros mokslo raidoje kaip architektūros doktorantūros studijų kaitą formuojančiuose veiksniuose. Naujų požiūrių kontekste įvertinamos doktorantūros studijų VGTU Architektūros fakultete pokyčių galimybės.

This article explores the role of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC) in facilitating and encouraging a collaborative community of junior and senior scholars on issues of technology and humanistic learning. As a result of its emphasis on collaboration and discussion, HASTAC encourages a form of collective intelligence that can serve as a model for future iterations of online communities formed to address problems and highlight advances in teaching and technology. Written from the perspective of a graduate student who also is a HASTAC scholar, the article discusses the positive impact HASTAC can have in terms of opportunities for professional advancement for junior scholars, as well as encouraging collaboration across disciplinary boundaries on issues relating to teaching methodologies, the humanities, and technology.