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Artykuły w czasopismach na temat "University Arts Festival"
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Edmond, Murray. "A Saturated Time: Three Festivals in Poland, 2007". New Theatre Quarterly 24, nr 4 (listopad 2008): 307–21. http://dx.doi.org/10.1017/s0266464x08000468.
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What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).
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Budde, Antje, i Sebastian Samur. "Making Knowledge/Playing Culture". Theatre Research in Canada 40, nr 1-2 (20.03.2020): 83–101. http://dx.doi.org/10.7202/1068259ar.
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(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festivals—the Toronto Fringe Festival and the Festival d’Avignon—in order to engage as festival observers in criticism and analysis of both individual performances and festival programming/event dramaturgy. We argue that site-specific modes of experiential learning employed in such a project can contribute in meaningful ways to, and expand, current discourses on festivalising/festivalization and eventification through undergraduate research. We focus on three modes of experiential learning: nomadic learning (learning on the move, digital mobility), embodied knowledge (learning through participation, experience, and feeling), and critical making (learning through a combination of critical thinking and physical making). The article begins with a brief practical and theoretical background to the course. It then examines historical conceptions of experiential learning in the performing arts, including theoriesadvanced by Burnet Hobgood, David Kolb and Ronald Fry, and Nancy Kindelan. The importance of the festival site is then discussed, followed by an examination of how the festivals supported thethree modes of experiential learning. Samples of student works are used to support this analysis.
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LeCompte, Elizabeth, Kate Valk, Ari Fliakos i Maria Shevtsova. "A Conversation on The Wooster Group's Hamlet". New Theatre Quarterly 29, nr 2 (29.04.2013): 121–31. http://dx.doi.org/10.1017/s0266464x13000237.
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This conversation took place during the Gdansk Festival, 1–10 August 2009, where The Wooster Group performed its internationally acclaimed Hamlet (2006), directed by Elizabeth LeCompte. The conversation, led by Maria Shevtsova and edited by her for publication, was part of the conference organized under the auspices of the Festival by Jerzy Limon, the Festival's director. Here LeCompte and two performers from the company, Kate Valk and Ari Fliakos, discuss how they generated the work, and develop their thoughts in answers to questions from the audience. Later this year The Wooster Group will perform Hamlet on 10–13 August at the Edinburgh International Festival. Maria Shevtsova is the Chair Professor of Drama and Theatre at Goldsmiths, University of London, and Co-Editor of New Theatre Quarterly.
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Shevtsova, Maria. "Reasons for Joy and Reflection: Engaging with Shakespeare at the Craiova Festival". New Theatre Quarterly 28, nr 4 (listopad 2012): 352–62. http://dx.doi.org/10.1017/s0266464x12000656.
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The Craiova International Shakespeare Festival has been a major touchstone in Europe for theatre artists, theatregoers, and scholars for nearly two decades. This overview briefly situates the Festival historically, indicating the ideals and perspectives developed for it by its founder Emil Boroghina, former director of the National Theatre of Craiova. It identifies as well a number of the Festival's many highlights over the years, Romanian as well as international, and focuses on examples from the 2012 programme, including Silviu Purcarte's The Tempest and Robert Wilson's Shakespeare's Sonnets performed by the Berliner Ensemble. Attention is drawn to the presence at the successive editions of the Festival of productions directed by Purcarete, who established his career at the National Theatre of Craiova, to which Boroghina had invited him, and who won international fame after performances of his Ubu Rex with Scenes from Macbeth at the 1991 Edinburgh Festival. Maria Shevtsova holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London, and is co-editor of New Theatre Quarterly.
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Juntunen, Jacob. "Taking the Rural International". Theatre Survey 62, nr 3 (23.08.2021): 322–26. http://dx.doi.org/10.1017/s0040557421000223.
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In March 2020, Southern Illinois University in Carbondale (SIU) went into lockdown. With the annual Big Muddy New Play Festival about to kick off—two productions entering tech and four full-length staged readings rehearsing—SIU's M.F.A. Playwriting Program had been left in the lurch. COVID-19 and the scramble to move courses online and to graduate our M.F.A.'s canceled the entire festival. A year later, still online, the SIU M.F.A. Playwriting new play festival did not meet this same fate. Based on twelve months of experimentation, the program was able to develop a streaming festival. Our 2021 new play festival on YouTube brought together more than forty artists across eight time zones to collaborate with our five graduate student playwrights. The international ensemble, represented in an interactive map (Fig. 1), showed how open-access software and streaming platforms could help students at our rural university transcend our limited geography.
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Keeney, Patricia, i Don Rubin. "A Barrage of Coward". New Theatre Quarterly 26, nr 3 (sierpień 2010): 290–93. http://dx.doi.org/10.1017/s0266464x10000485.
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The Shaw Festival, held annually in Niagara-on-the-Lake, Ontario, highlights plays from or about Shaw's lifetime. Patricia Keeney and Don Rubin, who teach at York University in Toronto, here report on the 2009 festival.
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Laviosa, Flavia, i Anastasia Grusha. "Ruskino Film Festival: Interview with Silvia Burini". Journal of Italian Cinema & Media Studies 11, nr 3 (1.06.2023): 689–95. http://dx.doi.org/10.1386/jicms_00206_7.
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Professor Silvia Burini, director for the Centre of Russian Art Studies (CSAR), gives a historical overview of how and why the film festival Ruskino was established in 2011 and explains how it has changed over the years. The festival is unique in its kind because it comprises a vast community of university students, doctoral students, post-docs from the Ca’ Foscari University in Venice, teachers as well as secondary school students and citizens of Venice. Another unique feature of Ruskino is its involvement with university and secondary school students with a competition for the best subtitling of the Russian films selected for the festival.
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Shevtsova, Maria. "The Baltic House Theatre Festival, St Petersburg: Twenty-Five Years On". New Theatre Quarterly 32, nr 1 (7.01.2016): 61–67. http://dx.doi.org/10.1017/s0266464x1500086x.
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One of the most important theatre festivals in Russia, the Baltic House Theatre Festival has a well-defined focus, as its name suggests. During the twenty-five years of its existence, it has showcased and in other ways nurtured and encouraged some of the greatest talents – actors, directors, designers – of the Baltic region. It has invited such leading directors as Eimuntas Nekrosius to prepare and rehearse works in its theatre – in the case of Boris Godunov in 2015, performed by the National Theatre of Vilnius. The Festival has also financed co-productions, to extend the reach of its own theatre and develop young audiences, inviting, for example, Luk Perceval and Silviu Purcarete to mount Macbeth (2014) and A Midsummer Night's Dream (2015), respectively, with the Baltic House company. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London
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Drake Stutesman. "African Video Film Arts Festival, Obafemi Awolowo University, Ile-Ife, Nigeria". Framework: The Journal of Cinema and Media 49, nr 2 (2008): 142–45. http://dx.doi.org/10.1353/frm.0.0026.
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Shevtsova, Maria. "The Craiova Shakespeare Festival 2016 and a Valediction for Yukio Ninagawa". New Theatre Quarterly 32, nr 3 (30.06.2016): 276–82. http://dx.doi.org/10.1017/s0266464x16000257.
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A report by Maria Shevtsova on the 2016 edition of the biennial Craiova International Shake speare Festival, continuing her coverage of the event in NTQ 112. She pays special attention here to the pièce de résistance of the latest festival – Richard II with the Saitama Arts Theatre, directed by Yukio Ninagawa, whose death occurred barely a month later: this article is also a tribute to a world-renowned man of the theatre. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts in the Department of Theatre and Performance, Goldsmiths, University of London.
Rozprawy doktorskie na temat "University Arts Festival"
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Marshall, Donald K. "A report on an Arts Administration internship with Fanfare". ScholarWorks@UNO, 2001. http://scholarworks.uno.edu/aa_rpts/25.
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In the winter of 1999, Artistic Director Harriet Vogt decided to retire earlier than had been anticipated by the university. With her retirement just weeks away on March 1, the Dean of the College of Arts and Sciences, Dr. John Miller, asked if I was interested in taking a leave of absence from the Department of Visual Arts and becoming Interim Artistic Director of Fanfare. At the same time I was beginning to look for a possible internship that would take advantage of my professional experience in the arts and the knowledge that I had gained in graduate school at U.N.O. My previous experience with directing presenting and festival organizations had been focused in urban areas where a large sophisticated audience that was accustomed to supporting the arts typicaUy exists. Directing an arts organization in a rural area would present many new challenges.
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Moceri, Giacomo <1992>. "Venice Open Stage, Festival Internazionale del Teatro delle Università e delle Accademie - Analisi, valutazione e possibili sviluppi". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14632.
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Il fulcro di questo lavoro è il Venice Open Stage, un festival internazionale di teatro dedicato agli allievi di scuole, accademie ed università. Nato in seno all’Università IUAV di Venezia
nell’ambito dei laboratori finali di teatro destinati agli studenti del triennio, si è gradualmente aperto alla città, divenendo un evento ricorrente che coinvolge ancora oggi, da oltre sei anni, il tessuto urbano del sestiere di Dorsoduro, nello specifico Campazzo San Sebastiano. Un
tipico campo veneziano diventa così non solo teatro all’aperto, ma anche luogo di scambio e di crescita professionale per tutti i giovani coinvolti. Il festival, infatti, è organizzato, su base volontaria, da uno staff composto da studenti ed ex-studenti ed è destinato agli allievi provenienti dalle più prestigiose scuole ed accademie di recitazione. Dopo una breve descrizione del contesto che ha portato alla nascita del Venice Open Stage, questo lavoro intende fornire una disamina delle principali attività che stanno alla base della sua ideazione, organizzazione e realizzazione. In un’ottica di analisi e valutazione particolare risalto viene dato non solo a tutte le buone pratiche che nel corso degli anni hanno permesso
al progetto di strutturarsi e di ritagliarsi uno spazio all’interno dell’intrattenimento estivo della città, ma anche alle varie criticità che sono emerse dallo studio sul campo. Lo scopo del lavoro è infatti quello di cercare una o più soluzioni per minimizzarle e fornire una
guida che possa permettere al festival di esprimere al meglio il suo potenziale.
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.
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Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.
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McIver, Sharon. "WaveShapeConversion : the land as reverent in the dance culture and music of Aotearoa : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /". Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1635.
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This thesis is the result of more than ten years involvement with outdoor dance events
in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi
(Christchurch). Two symbiotic themes are explored here – that of the significance of the
landscape in inspiring a conversion to tribal-based spirituality at the events, and the role
of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those
musicians heard in the outdoor dance zones. With no major publications or studies
specific to Aotearoa to reference, a framework based on global post-rave culture has been
included in each chapter so that similarities and differences to Aotearoa dance culture
may be established. Using theoretical frameworks that include Hakim Bey’s TAZ
(Temporary Autonomous Zone), the carnivalesque, and tribalism, the overriding theme to
emerge is that of utopia, a concept that in Aotearoa is also central to the Pākehā
mythology that often stands in for a hidden violent colonial history, of which te Tiriti o
Waitangi (the Treaty of Waitangi) has been a source of division since it was signed in
1840. Thus, in the Introduction several well-known local songs have been discussed in
relation to both the Pākehā mythology and the history of te Tiriti in order to contextualise
the discussion of the importance of Māori and Pākehā integration in the dance zones in
the following chapters.
The thesis comprises of two main themes: the events and the music. At the events I
took a participatory-observer approach that included working as rubbish crew, which
provided a wealth of information about the waste created by the organisers and vendors,
and the packaging brought in by the dancers. Thus the utopian visions that were felt on
the dancefloor are balanced with descriptions of the dystopian reality that when the
dancers and volunteers go home, becomes the responsibility of a strong core of
‘afterparty’ crew.
Musically, the development of a local electronic sound that is influenced by the
environmental soundscape, along with the emergence of a live roots reggae scene that
promotes both positivity and political engagement, has aided spiritual conversion in the
dance zones. Whereas electronic acts and DJ’s were the norm at the Gathering a decade
ago, in 2008 the stages at dance events are a mixture of electronic and live acts, along
with DJ’s, and most of the performers are local. Influenced by a strong reggae movement
in Aotearoa, along with Jamaican/UK dance styles such as dub and drum and bass, local
‘roots’ musicians are weaving a new philosophy that is based on ancient tribal practices,
environmentalism and the aroha (love) principles of outdoor dance culture. The sound of
the landscape is in the music, whilst the vocals outline new utopian visions for Aotearoa
that acknowledge the many cultures that make up this land. Thus, in Aotearoa dance
music lies the kernel of hope that Aotearoa dance culture may yet evolve to fulfil its
potential.
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941". Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.
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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material
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Adam, Karen. "“The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963)". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2692.
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This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and portrayed Powell both during and after his lifetime, this thesis links Powell’s obscurity to a deliberate, public rejection of his Anglo-Saxon supremacist definition of the United States.
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Rockell, Kim. "'Fiesta,' affirming cultural identity in a changing society : a study of Filipino music in Christchurch, 2008 : a thesis submitted in fulfillment of the requirements of Master of Arts in Music at the University of Canterbury /". 2009. http://hdl.handle.net/10092/2726.
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Thesis (M. A.)--University of Canterbury, 2009.Typescript (photocopy). "ID: 22502346." Principal supervisor: Elaine Dobson, assistant supervisor: Dr Jonathan Le Cocq. "February 2009." At head of title: MUSI 690 Master of Arts in Music. The DVD has a selection of recorded performances intended to be broadly representative of the events, performers, styles and mediums of performance. Includes bibliographical references (leaves 296-304). Also available via the World Wide Web.
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Sweetman, Roseanne Lopers, i Jonathan Chaplin. "Perspective vol. 16 no. 5 (Oct 1982)". 2013. http://hdl.handle.net/10756/251289.
Pełny tekst źródłaKsiążki na temat "University Arts Festival"
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Kenya) University of Nairobi & SAMOSA-Festival Colloquium (2016 Nairobi. Citizenship, identity and belonging in Kenya: University of Nairobi & SAMOSA-Festival Colloquium. [Montréal, Québec?]: Daraja Press, 2017.
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St. Lawrence University Festival of the Arts (1997). Border crossings: The St. Lawrence University Festival of the Arts, March 1-26, 1997. [Canton, N.Y.]: St. Lawrence University, 1997.
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1939-, Arthur John, i Palmer Museum of Art, red. Realist watercolors: Palmer Museum of Art, the Pennsylvania State University in collaboration with the Central Pennsylvania Festival of the Arts, June 3 through August 5, 1990. University Park, Pa: The Museum in collaboration with the Festival, 1990.
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Gallery, Tower Fine Arts, i Gibson Gallery, red. Contemporary Japanese painting: [Japanese art from the Potsdam College Art Collection : an exhibition created especially for the East Asian Festival at SUNY Brockport, Tower Fine Arts Gallery, March 1-April 7, 1991, Roland Gibson Gallery, September 13-October 13, 1991]. Potsdam, NY: Roland Gibson Gallery, Potsdam College, 1991.
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National University of Singapore. Centre for the Arts. On the shoulders of dreamers: Celebrating 25 years of the arts on campus. Singapore: Centre for the Arts, National University of Singapore, 2018.
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Suréda-Cagliani, Sylvie. Représentations esthétiques en Argentine et dans le Rio de la Plata, XIXe, XXe, XXIe siècle: Politique, fêtes et excès, hommage à Francis Suréda = Representaciones estéticas en Argentina y en el Rio de la Plata, siglos XIX, XX, XXI : politica, fiestas y excesos, homenaje a Francis Suréda : actes du IIe colloque international du CreaC, 17, 18 octobre 2013, Université de Perpignan. Perpignan: Presses universitaires de Perpignan, 2015.
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Spence, Alan. Stone garden and other stories. London: Phoenix House, 1995.
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Stone garden and other stories. London: Phoenix House, 1995.
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Preforming Arts Reources vol.20. Theatre Library Association, 1996.
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Veillon, Margo. Margo Veillon: Egyptian Festivals. American University in Cairo Press, 2002.
Znajdź pełny tekst źródłaCzęści książek na temat "University Arts Festival"
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Smethurst, James. "Black Arts, Black Studies, Black University". W Behold the Land, 109–43. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469663043.003.0005.
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Chapter Four, too, looks at the connection between Black Arts and Black Power on campuses, primarily those of HBCUs, and communities of the urban South in Washington, D.C., Nashville, and Durham, Winston-Salem, and Greensboro, North Carolina. It examines the central role of the arts in the emergence of Black Studies and notions of the “Black University” that found fertile ground in the cities of the Upper South. While the attempts to create Black universities failed, they created a legacy and a network of Black educational and arts projects that continue to this day in such institutions and events as the National Black Theatre Festival, founded by Larry Leon Hamlin of the National Black Repertory Theatre in Winston-Salem in 1989.
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"Alaska Native Ways of Knowing and the Sustenance of Musical Communities in an Ailing Petrostate". W Cultural Sustainabilities, redaktor Timothy J. Cooley, 101–12. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042362.003.0009.
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Alaskans are experiencing rapid economic, cultural, and ecological change as a result of declining oil revenue and anthropogenic climate change. This chapter compares the relative resilience of the Fairbanks Festival of Native Arts, an annual indigenous arts celebration, and the Fairbanks Symphony Orchestra, a Western art music ensemble housed at the University of Alaska Fairbanks. The Festival of Native Arts has thrived since the 1970s by sustaining Alaska Native traditions while embracing new performance ideas, a resilience strategy with deep cultural roots based in indigenous knowledge. In contrast, the Western art music ensemble's high level of specialization, cost, declining audience, and colonial legacy call its future into question, particularly when viewed from the perspective of cultural equity and the distribution of limited resources.
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Garip, Ervin, i Ceren Çelik. "“Tectonics” as a Spatial Perception Tool in the Design Process". W Advances in Media, Entertainment, and the Arts, 1–20. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7254-2.ch001.
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Design process has its own structure which is affected by many aspects. Moreover, there are many tools that contribute in this multidimensional process. Within the framework of this chapter, the tectonics is suggested as a directive tool through the design process. Istanbul Technical University Interior Design students' second year studio, where tectonics was used as a spatial perception tool, was examined. The main title of the studio was festival space design, where festivals were discussed as a performance scene for urban interiors. The main idea of suggested method is to consider environmental aspects in different scales and project those findings to tectonics. The main purpose of this project is to create a new perspective to interior design studio approach. The subject of the project was shaped within the framework of testing that interior architecture is not independent from architectural elements contextually and phenomenologically and that environmental decisions and architectural tectonics can be used as a data to put forth the new ideas for interior design methodology.
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Bello Minciacchi, Cecilia. "«Il festival rinascerà», Paola Masino inviata alla Manifestazione d’Arte Cinematografica di Venezia del 1946". W Italianistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-422-5/004.
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The essay presents and analyses the film criticism articles written by Paola Masino for the new edition of the Venice Film Festival after the Second World War. The articles, which appeared in the Gazzetta d’Italia between August 31 and September 19, 1946, were not later collected or republished. These are rare materials, never studied before, found among the documents of the Fondo Paola Masino kept at the Archivio del Novecento, Sapienza University of Rome. Other significant and useful information to understand Masino’s critical perspective on cinema emerges from the letters sent from Venice to family members. The analysis of the articles highlights in Paola Masino a lively intellectual curiosity and great precision in aesthetic judgments, in addition to a peculiar sensitivity to chromatic values, and an ethical attention to the political perspective of film directors and to the recent tragedies of war and partisan resistance in Italy. Among the most interesting data emerged from these articles, there are some theoretical reflections on aesthetic principles valid not only for cinema, but for all the arts, including the narrative and the literary work of the same Paola Masino.
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Waade, Roy A., i Anders Dalane. "Evaluering av konsertformidling i høyere utdanning". W Higher Education as Context for Music Pedagogy Research, 193–214. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch8.
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This chapter is based on an examination of the subject Dissemination and Concert Production, which is part of the bachelor program for music teacher education at Nord University, Levanger. The authors highlight challenges and opportunities that this subject gives for teachers and students, with particular focus on how to assess a subject that is about creating and presenting concert productions. The Danish model “ønskekvistmodellen” (ØM) is employed as an analysis and evaluation tool to examine the students work with improving the quality of creating, performing and evaluating various concert productions in the years 2017–2019. Data material for the chapter consists of surveys, group interviews and video observation, as well as written reports from the student’s participation at music and art festival (Vrimmel-festivalen) in the northern part of Mid-Norway.
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Hodgkinson, Anna K. "Malqata: Manufacturing at a Ceremonial Settlement". W Technology and Urbanism in Late Bronze Age Egypt. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803591.003.0012.
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The eighteenth-dynasty royal city of Malqata has been selected, since much evidence has been discovered here, particularly with regard to faience-production and glass-working, and there is also limited evidence of metalworking and sculpture-production. The settlement itself dates to the reign of Amenhotep III, and more specifically to his thirtieth regal year, when it was established to celebrate the king’s first ḥb-sd (Sed-) festival, the jubilee and rejuvenation celebration of his thirty years of reign. He celebrated a total of three festivals, the other two taking place in his thirty-fourth and thirty-eighth regal years. Due to the somewhat patchy nature of the early excavations and survey work done at Malqata, especially between 1888 and 1971, no genuine spatial analysis, such as was done for the material from Amarna or Gurob, has been possible for Malqata. The early excavation reports, for instance that by Tytus, or those by Winlock for the Metropolitan Museum missions, simply state in a matter-of-fact way that they located the remains of glass factories in, for example, the South Village. They usually continue to list some of the artefacts that were found, which would indicate the presence of glass-working and faience-manufacture in the area, but they do not describe these objects in any detail, and nor do they indicate where—within the large area covered by the South Village—they were found. However, the author has had the opportunity to study the unpublished archive material from the early excavations at Malqata by the Metropolitan Museum of Art, New York, which took place during the early years of the last century. The excavation diaries kept in these archives revealed no detailed information as to more precise locations or quantities of finds. They did, however, make possible a better understanding of the origins of these interpretations, and the sample of relevant artefacts examined made possible further identification and clarification of their nature. In addition, the author was able to access some of the objects relevant to glass-working and faience-production from Malqata at the Brooklyn Museum and was furthermore given permission to study some of the unpublished site reports, plans, and finds lists from the University Museum of Pennsylvania mission, which took place between 1971 and 1977.
Streszczenia konferencji na temat "University Arts Festival"
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Borevich, E. V. "Development of the Video Material Digital Processing Technology on the Basis of the Software Tools". W 32nd International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2022. http://dx.doi.org/10.20948/graphicon-2022-906-916.
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The article presents new effective methods of digital color correction for post-processing of film in order to improve viewer perception. The semi-automated algorithm for creating stimulus material is described. The methodology for conducting experiments using an eye-tracker is presented. The author proposes a new method for setting up an experiment to study the effect of a color solution on perception, using the developed software module posted in the internet. Practical recommendations for digital processing of film have been developed, based on the data obtained as a result of the experiments. The proposed methods have been implemented in the visualization and computer graphics laboratory of St. Petersburg Polytechnic University (SPbPU) and successfully tested in some low-cost video projects. The formulated practical recommendations on color grading are used by master and graduate students when creating short films and promotional videos for the annual international festival of short films Movie Art Fest and when creating commercials for SPbPU departments.
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Fiore, Francesca, Alessandra Scroccaro, Arianna Conci i Alberto Montresor. "Challenge-based learning as a tool for creativity and talent expression". W SEFI 50th Annual conference of The European Society for Engineering Education. Barcelona: Universitat Politècnica de Catalunya, 2022. http://dx.doi.org/10.5821/conference-9788412322262.1259.
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After the stop caused by the pandemic, the University of Trento and its newly born FabLab reopened the doors to DigiEduHack (https://digieduhack.com/en/), the decentralized hackathon dedicated to the most pressing challenges of digital and innovative education. More than 30 multidisciplinary students have ventured into the design of innovative learning tools to meet the challenge thrown at them: prototyping educational board games; multimedia artefacts and installations at the intersection of big data, art and technology; co-designing festivals in a combination of art, science and fun; laboratory images to be presented in the classroom. In this short paper, as a case study one, we will outline the DigiEduHack initiative, focusing on the potential of a challenge-based approach in stimulating and strengthening introspection, creative thinking and talent’s expression. Supported by a set of qualitative data collected before and after the event, this work reports an education case study and shows the progress and preliminary reflections of the students and educators involved.
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Shobeiri, Sanaz. "Age-Gender Inclusiveness in City Centres – A comparative study of Tehran and Belfast". W SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.xwng8060.
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Extended Abstract and [has] the potential to stimulate local and regional economies” (p.3). A city centre or town centre has been recognised as the beating heart and public legacy of an urban fabric either in a small town, medium-sized city, metropolis or megalopolis. Within this spectrum of scales, city centres’ scopes significantly vary in the global context while considering the physical as well as the intangible and the spiritual features. Concerns such as the overall dimensions, skyline, density and compactness, variety of functions and their distribution, comfort, safety, accessibility, resilience, inclusiveness, vibrancy and conviviality, and the dialectics of modernity and traditionalism are only some examples that elucidate the existing complexities of city centres in a city of any scale (overall dimension) (for further details see for instance Behzadfar, 2007; Gehl, 20210; Gehl and Svarre, 2013; Hambleton, 2015; Lacey et al., 2013; Madanipour, 2010; Roberts, 2013). Regardless of the issue of the context, Gehl (2010) define city centres as interconnected with new concepts such as “better city space, more city life” and “lively and attractive hub for the inhabitants” (pp. 13–15). Roberts (2006) explains the notion of a city centre or town centre as a space “in which human interaction and therefore creativity could flourish”. According to her, the point can realise by creating or revitalising 24-hour city policies that can omit the “‘lagerlout’ phenomenon, whereby drunken youths dominated largely empty town centres after dark” (pp. 333–334). De Certeau (1984) explains that a city and subsequently a city centre is where “the ordinary man, a common hero [is] a ubiquitous character, walking in countless thousands on the streets” (p. V). Paumier (2004) depicts a city centre particularly a successful and a vibrant one as “the focus of business, culture, entertainment … to seek and discover… to see and be seen, to meet, learn and enjoy [which] facilitates a wonderful human chemistry … for entertainment and tourism These few examples represent a wide range of physical, mental and spiritual concerns that need to be applied in the current and future design and planning of city centres. The term ‘concern’, here, refers to the opportunities and potentials as well as the problems and challenges. On the one hand, we —the academics and professionals in the fields associated with urbanism— are dealing with theoretical works and planning documents such as short-to-long term masterplans, development plans and agendas. On the other hand, we are facing complicated tangible issues such as financial matters of economic growth or crisis, tourism, and adding or removing business districts/sections. Beyond all ‘on-paper’ or ‘on-desk’ schemes and economic status, a city centre is experienced and explored by many citizens and tourists on an everyday basis. This research aims to understand the city centre from the eyes of an ordinary user —or as explained by De Certeau (1984), from the visions of a “common hero”. In a comparative study and considering the scale indicator, the size of one city centre might even exceed the whole size of another city. However, within all these varieties and differences, some principal functions perform as the in-common formative core of city centres worldwide. This investigation has selected eight similar categories of these functions to simultaneously investigate two different case study cities of Tehran and Belfast. This mainly includes: 1) an identity-based historical element; 2) shopping; 3) religious buildings; 4) residential area; 5) network of squares and streets; 6) connection with natural structures; 7) administrative and official Buildings; and 8) recreational and non-reactional retail units. This would thus elaborate on if/how the dissimilarities of contexts manifest themselves in similarities and differences of in-common functions in the current city centres. With a focus on the age-gender indicator, this investigation studies the sociocultural aspect of inclusiveness and how it could be reflected in future design and planning programmes of the case study cities. In short, the aim is to explore the design and planning guidelines and strategies —both identical and divergent— for Tehran and Belfast to move towards sociocultural inclusiveness and sustainability. In this research, due to the COVID-19 Pandemic, the studies of the current situation of inclusiveness in Belfast city centre have remained as incomplete. Thus, this presentation would like to perform either as an opening of a platform for potential investigations about Belfast case study city or as an invitation for future collaborations with the researcher for comparative studies about age-gender inclusiveness in city centres worldwide. In short, this research tries to investigate the current situation by identifying unrecognised opportunities and how they can be applied in future short-to-long plans as well as by appreciating the neglected problems and proposing design-planning solutions to achieve age-gender inclusiveness. The applied methodology mainly includes the direct appraisal within a 1-year timespan of September 2019 – September 2020 to cover all seasonal and festive effects. Later, however, in order to consider the role of the COVID-19 Pandemic, the direct appraisal was extended until January 2021. The complementary method to the direct appraisal is the photography to fast freeze the moments of the ordinary scenes of the life of the case study city centres (John Paul and Caponigro Arts, 2014; Langmann and Pick, 2018). The simultaneous study of the captured images would thus contribute to better analyse the age-gender inclusiveness in the non-interfered status of Tehran and Belfast. Acknowledgement This investigation is based on the researcher’s finding through ongoing two-year postdoctoral research (2019 – 2021) as a part of the Government Authorised Exchange Scheme between Fulmen Engineering Company in Tehran, Iran and Queen’s University Belfast, Northern Ireland. The postdoctoral research title is “The role of age and gender in designing inclusive city centres – A comparative study of different-scale cities: Tehran and Belfast” in School of Natural and Built Environment of the Queen’s University of Belfast and is advised by Dr Neil Galway in the Department of Planning. This works is financially supported by Fulmen Company as a sabbatical scheme for eligible company’s senior-level staff. Keywords: Age-gender, Inclusiveness, Sociocultural, City Centre, Urban Heritage, Tehran, Belfast
Raporty organizacyjne na temat "University Arts Festival"
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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McIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Coombs, HC opening Arts Festival in Great Hall at Sydney University - May 1967. Reserve Bank of Australia, wrzesień 2022. http://dx.doi.org/10.47688/rba_archives_pn-002901.
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