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Готові списки джерел за темами / Perception of art

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Добірка наукової літератури з теми "Perception of art"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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Статті в журналах з теми "Perception of art"

1

Young, Bernard. "Children' Perception about Art." Art Education 38, no. 6 (November 1985): 47. http://dx.doi.org/10.2307/3192879.

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2

Herman, Amy E. "The Art of Perception." Journal of Museum Education 36, no. 1 (March 2011): 81–89. http://dx.doi.org/10.1080/10598650.2011.11510686.

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3

Pawlik, Jacek Jan. "Perception/Reception." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 145–47. http://dx.doi.org/10.18290/rkult22134.20.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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4

Pavia, Luke, Simon Grima, Inna Romanova, and Jonathan V. Spiteri. "Fine Art Insurance Policies and Risk Perceptions: The Case of Malta." Journal of Risk and Financial Management 14, no. 2 (February 6, 2021): 66. http://dx.doi.org/10.3390/jrfm14020066.

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The aim of this paper is to identify the risks that need to be addressed when holding fine art, determine which are perceived as being the most important, and whether the risk perception is influenced by demographic variables such as age, educational background, and field of occupation. To identify the risks and evaluate the risk perception, we used a purposely designed questionnaire and sent it via various sources of communication systems and applications to individuals knowledgeable on fine arts. Findings revealed that, generally, art deterioration, art fraud, and art theft are the three main highlighted risks, with art deterioration considered in the high-risk range. In terms of risk perception, forgery is the biggest concern. On the other hand, considerations of the investment value of art lessened perceived risk exposure. Furthermore, the study has shown that certain risk perceptions were influenced by the participants’ demographic variables. Both the identified risks and risk perception considerations analyzed within this study provide us with insights as to what needs to be considered when offering fine art insurance, particularly when it comes to which risks that are perceived as being the most pressing by potential policyholders, and how these perceptions vary according to individual demographics variables as noted above.

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5

MacQueen, J. C. "Pure Perception: God as Art." International Journal of Religion and Spirituality in Society 1, no. 1 (2011): 45–56. http://dx.doi.org/10.18848/2154-8633/cgp/v01i01/51192.

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6

Gorglione, Nancy, and Brigitte Burgmer. "Holographic Art: Perception, Evolution, Future." Leonardo 22, no. 3/4 (1989): 439. http://dx.doi.org/10.2307/1575414.

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7

Nadaner, Dan. "Teaching Perception through Video Art." Art Education 61, no. 1 (January 2008): 19–24. http://dx.doi.org/10.1080/00043125.2008.11518983.

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8

Jacquette, Dale. "Art, Expression, Perception and Intentionality." Journal of Aesthetics and Phenomenology 1, no. 1 (May 2014): 63–90. http://dx.doi.org/10.2752/20539339xx14005942183973.

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9

Edensor, Tim. "Light Art, Perception, and Sensation." Senses and Society 10, no. 2 (May 4, 2015): 138–57. http://dx.doi.org/10.1080/17458927.2015.1042228.

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10

Sasmita, Husni. "Persepsi Siswa terhadap Kurikulum 2013 Mata Pelajaran Seni Budaya Pada Kelas VII.3 di SMP Negeri 13 Pekanbaru Tahun pelajaran 2016/2017." Instructional Development Journal 1, no. 1 (June 30, 2018): 22. http://dx.doi.org/10.24014/idj.v1i1.6417.

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Анотація:

This study aims to determine and describe student perceptions towards the 2013 curriculum on art and culture subjects (music arts) in Public Middle School 13 Pekanbaru. The perception in question is the response of students to the 2013 curriculum in the eye art and culture lessons (music arts). Based on the results of this study, it can be concluded that students in the State Junior High School 13 Pekanbaru in the 2016/2017 school year have a good perception 2013 curriculum. This is evidenced from 40 respondents, there are 10 students (25%) have a good perception, 18 students (45%) have fairly good perceptions high and there are 9 students (22.5%) who have poor / less high perceptions, 3 students (7.5%) have very poor perceptions.

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Дисертації з теми "Perception of art"

1

Phillips, Jessica. "The art of perception." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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2

Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.

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3

Hillard, Wonda Y. "An Art Educators' Perception of an Art Professional Development Workshop." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6578.

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Анотація:

There are no guidelines in South Carolina for developing workshops that reflect the needs of art educators, and there are no tools to evaluate and support their professional development. The problem is a lack of informative, substantive, and academically oriented art inservices that are standards-based and focused on the enhancement of pedagogy, teaching strategies, and content. The purpose of this case study was to explore participants' perceptions of an art professional development workshop as an approach to examining art standards, instructional strategies, and policy changes. Dewey's experiential theory served as the conceptual framework. A purposeful sample of 10 art educators who attended a district-sponsored professional development workshop participated in this study. After the workshop, data about educators' perceptions of the inservice were collected through a beta test and a focus group with 2 participants, 1 open-ended questionnaire with 8 participants, and a workshop observation with 20 participants. Data were analyzed using comparative analysis to identify patterns in the data. Member checking and triangulation were used to verify the data and control bias. Five themes emerged from the data: adult-centered hands-on learning, professional development experiences, grants, collaboration and networking, and best practices. This study contributes to social change by showing the importance of on-going adult-centered, research-based, hands-on professional development for educators addressing visual art standards, practice, instructional strategies, policy changes, and the facilitation of student-centered activities.

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4

Sobieszczanski, Marcin. "Art et perception : essai d'esthétique cognitiviste." Paris 8, 1999. http://www.theses.fr/1999PA082101.

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Анотація:

On propose un cheminement vers une esthétique cognitiviste et une série de quatre études où cette esthétique apparaît comme méthodologie critique et clé de l'interprétation. L'art est perception car son matériau est le monde perçu, sa quête est de rendre présente l'existence de cette perception originale et son résultat est l'objet destiné à être perçu. On pratique une voie médiane entre : 1) le dualisme gnoséologique de Kant (la donation sensible d'objets assumée par l'entendement), confiné par certains aspects de la pensée de Husserl dans le solipsisme de la conscience absolue, 2) l'absolutisme de l'Esprit confondu avec le sujet des romantiques. Le sens se déduit à la fois : 1) des processus physiques et phylogénétiques de l'établissement de la conscience du monde, 2) de l'apparaître morphologique pensé par une philosophie structurant les résultats des sciences cognitives. L'art est une attitude doxo-thétique portant sur les perceptions du monde et opérant sur la base d'une ontologie du personnel, du concret et du momentané. . .

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5

White, Christopher D. "A Perception of Change, A Change of Perception." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3756.

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Анотація:

Change is a constant reminder that permanence is the ultimate illusion. It is through the creation of hyper-realistic, ceramic sculpture that I explore the relationship between nature, humans, and the phenomenon of impermanence. I seek to expose the beauty that often results from decay while, at the same time, making my viewer question their own perception of the world around them. The juxtaposition of natural and man-made features in combination with the skewing of scale, proportion, and material, creates an altered perspective – forcing the viewer to look closer. By combining both human and natural elements within my work I highlight the fact that we are not separate from nature but are, in fact, part of it.

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6

Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty, and School of Design. "Paint, painters and primary perception." THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
Master of Arts (Hons)

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7

Barber, LaMar. "Perception and reception of complexion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1541.

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Sankofa, a proverb from the Akan language of Ghana, is one attribute of Ghanaian culture that lives on in Black America. Sankofa, symbolically depicted as a bird reaching backwards to scoop an egg, translates into English as "reach back and get it." As an autobiographical artist, I continue to "reach back" into black history. I research the biographies and autobiographies of other Black Americans--the stories that chronicle the lives of those who came before me. I research urban cultures and contemporary expressions of identity and courage. Through the creation of installation and performance art, I have learned to incorporate this research into my own expressions my visions of hope, discontent, healing and beauty.

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Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.

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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).

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9

Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.

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Thesis (M.Visual Arts) -- La Trobe University, 2006.
Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.

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10

Landais, David. "La synesthésie, les sens et la quasi-synesthésie en art." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH187.

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La synesthésie est un phénomène dans lequel soit (i) la stimulation d’une modalité sensorielle A déclenche une sensation dans A de même qu’une sensation additionnelle dans A (dans le cas de la synesthésie unimodale, comme la synesthésie graphème/couleur), soit (ii) la stimulation d’une modalité sensorielle B déclenche une sensation dans B et dans une autre modalité sensorielle C (dans le cas d’une synesthésie bimodale, comme l’audition colorée). Dans cette thèse, je me propose demontrer que la synesthésie est un phénomène sui generis quasi-perceptif. À cet effet, je développe une conception sémantico-perceptive de la synesthésie, que j’appelle le maniérisme perceptif. Cette conception concerne l’expérience synesthésique et son contenu perceptif. J’introduis la synesthésie et son arrière-plan phénoménologique et empirique. Je présente six types de synesthésie et proposeplusieurs sous-distinctions pertinentes. Je montre que ces six types se réduisent finalement à trois types de base. Puis je discute quelques problèmes théoriques et méthodologiques posés par l’étude philosophique de la synesthésie, et présente quelques théories récentes de ce phénomène. Enfin, je suggère d’utiliser les termes « synesthésie » et « expérience synesthésique » avec précaution dans le domaine de l’esthétique et discute de quelques sujets relatifs à la musique visuelle, le musicalisme d’Henri Valensi et l’alphabet plastique d’Auguste Herbin
Synesthesia is a phenomenon in which either (i) stimulation of a sense modality A triggers a sensation in A as well as an additional sensation in A (i.e., unimodal synesthesia, like grapheme/color synesthesia) or (ii) stimulation of a sense modality B triggers a sensation in B and in another sense modality C (i.e., bimodal synesthesia, like colored-hearing). In this thesis I want to argue that synesthesia is a sui generis quasi-perceptual phenomenon. To that effect, I introduce a semantic-perceptual account of synesthesia that I call perceptual mannerism. This account is about synesthesia experience and its perceptual content. I start with some background about synesthesia, especially phenomenological and empirical data. I present six types of synesthesia and draw several sub-distinctions. I show that these six types ultimately reduce to only three basic types. And I discuss some theoretical and methodological issues concerning the philosophical study of synesthesia, and present some of the main recent theories of synesthesia. Finally, I suggest using the terms “synesthesia” and “synesthesic experience” carefully in aesthetics and discuss some issues about visual music, Henri Valensi’s musicalism and Auguste Herbin’s plastic alphabet

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Книги з теми "Perception of art"

1

Art et perception. Paris: Delagrave, 2004.

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2

Color perception in art. West Chester, Pa: Schiffer Pub., 1986.

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3

Rosengren, Mats. Cave Art, Perception and Knowledge. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137271976.

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4

De la perception esthétique. Nice: Ovadia, 2011.

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5

1829-1916, Watkins Carleton E., Hambourg Maria Morris, and San Francisco Museum of Modern Art., eds. Carleton Watkins: The art of perception. San Francisco, Calif: San Francisco Museum of Modern Art, 1999.

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6

Sumpf, Denise. Art Experience and Human Resources’ Perception. Wiesbaden: Deutscher Universitätsverlag, 2005. http://dx.doi.org/10.1007/978-3-322-81213-1.

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7

Perception and organization: Art, music, media. New York: Palgrave Macmillan, 2008.

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8

Beyond vision: Essays on the perception of art. London: Reaktion, 2002.

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9

Bloomer, Carolyn M. Principles of visual perception. 2nd ed. New York, NY: Design Press, 1990.

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10

Principles of visual perception. 2nd ed. London: Herbert, 1990.

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Частини книг з теми "Perception of art"

1

Masè, Stefania. "Art and Consumer Perception." In Art and Business, 123–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51769-4_9.

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2

Hopkins, Robert. "Critical Reasoning and Critical Perception." In Knowing Art, 137–53. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5265-1_10.

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3

Cochrane, Andrew, and Andrew Meirion Jones. "Cognition, perception, affect." In The Archaeology of Art, 75–86. New York : Routledge, 2018. | Series: Themes in archaeology: Routledge, 2018. http://dx.doi.org/10.4324/9781315691343-6.

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4

Hackett, Paul M. W. "Theorizing Perception." In Psychology and Philosophy of Abstract Art, 11–34. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-48332-4_2.

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5

Osborne, Harold. "Aesthetic perception*." In Aesthetics and the Philosophy of Art, 25–32. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-3.

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6

Styhre, Alexander. "Art: Visual Perception and the Aesthetic." In Perception and Organization, 44–99. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230584167_2.

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Richardson, Nathan. "Perception, Cognition, and Imagination." In The Art of Enterprise, 18–29. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003031406-4.

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Farennikova, Anya. "Would You Buy Absence Art?" In Perception, Cognition and Aesthetics, 255–78. 1 [edition]. | New York : Taylor & Francis, 2019. | Series: Routledge studies in contemporary philosophy ; 119: Routledge, 2019. http://dx.doi.org/10.4324/9780429462658-14.

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Verbovsek, Alexandra. "Reception and Perception." In A Companion to Ancient Egyptian Art, 141–54. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch8.

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Rethorst, John. "Perception and Representation." In Why Teaching Art Is Teaching Ethics, 21–29. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-19511-2_3.

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Тези доповідей конференцій з теми "Perception of art"

1

Pepperell, Robert. "The perception of art and the science of perception." In IS&T/SPIE Electronic Imaging. SPIE, 2012. http://dx.doi.org/10.1117/12.914774.

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2

Wallraven, Christian, Kathrin Kaulard, Cora Kürner, Robert Pepperell, and Heinrich H. Bülthoff. "Psychophysics for perception of (in)determinate art." In the 4th symposium. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1272582.1272605.

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3

Yen, Shao-Wei, Chih-Kuo Yeh, Charles C. Morace, Sheng-Yuan Chen, Shih-Syun Lin, Chia-Hsiang Chen, and Tong-Yee Lee. "Content enhanced word art with depth perception." In SA '16: SIGGRAPH Asia 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3005274.3005280.

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4

Knowlton, Ken. "Nude (studying in perception), 1996." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281647.

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Jaller, Camilla. "Cyborgism: Artistic Hybridizations of Human Perception." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.20.

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"Inside Art — Mechanics of Hearing: Protein to Perception." In MECHANICS OF HEARING: PROTEIN TO PERCEPTION: Proceedings of the 12th International Workshop on the Mechanics of Hearing. AIP Publishing LLC, 2015. http://dx.doi.org/10.1063/1.4939307.

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Wei Hong, Chin, Loo Chu Kiong, and Naoki Masuyama. "Multi-Channel Bayesian ART for robot fusion perception." In 2016 IEEE Symposium Series on Computational Intelligence (SSCI). IEEE, 2016. http://dx.doi.org/10.1109/ssci.2016.7850240.

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Lee, Rosemary. "The Limits of Algorithmic Perception: technological Umwelt." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.44.

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Fedotova, Natalia Aleksandrovna. "The problems of children' artistic perception development in art." In 8th International research and practice conference, chair Ulia Fedorovna Katahanova. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-114639.

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Higgins, Darragh, Donal Egan, Rebecca Fribourg, Benjamin Cowan, and Rachel McDonnell. "Ascending from the valley: Can state-of-the-art photorealism avoid the uncanny?" In SAP '21: ACM Symposium on Applied Perception 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3474451.3476242.

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Звіти організацій з теми "Perception of art"

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Buraschi, Daniel, and Dirk Godenau. How does Tenerife society perceive immigration? Observatorio de la Inmigración de Tenerife. Departamento de Geografía e Historia. Universidad de La Laguna. Tenerife, 2020. http://dx.doi.org/10.25145/r.obitfact.2019.15.

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The social perceptions of immigration and the attitudes that Tenerife society has towards immigrants are essential aspects of the dynamics of intercultural coexistence. The Tenerife Immigration Observatory has conducted research that has shows that in general terms the society in Tenerife has a positive perception of immigration, although there is a generalized perception of comparative grievance, based on the idea that migrants are treated more favourably by public institutions

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Pookulangara, Sanjukta, Shannon Koonsman, and Nicole Corts. How Secure Are You? Consumer Perceptions of Cybersecurity. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-663.

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Treadwell, Mark B. When Does a Act of Information Warfare Become an Act of War? Ambiguity in Perception. Fort Belvoir, VA: Defense Technical Information Center, May 1998. http://dx.doi.org/10.21236/ada345572.

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Caetano, Ana Paula, Clara Cruz Santos, and Lisete Mónico. Welfare Deservingness in the perspective of public opinion and street-level bureaucrats: a scoping review protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, February 2023. http://dx.doi.org/10.37766/inplasy2023.2.0010.

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Review question / Objective: This scoping review aims to systematize the scientific knowledge about the relationship between public opinion concerning the street-level bureaucrats’ actions and their perceptions about Welfare Deservingness and social protection measures implemented within the framework of the current Welfare State. In a more concrete way, we intend to demonstrate the following assumptions: (a) if there is a connection between the perception of Welfare Deservingness and the public support given to social policies; (b) if there are more valued dimensions of Welfare Deservingness in public opinion; and (c) if the street-level bureaucrats' perceptions of Welfare Deservingness will have an impact on the implementation of public policies.

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Chatelain, Amber. Career Arts Students' Perceptions of Credibility Based on Instructor Attire and Gender. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-165.

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O'Connor, Ramona. Perceptions of Indian tribal leaders regarding the Indian self-determination act (Public law 93-638). Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2828.

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Andersen, Gisle, Christine Merk, Marie L. Ljones, and Mikael P. Johannessen. Interim report on public perceptions of marine CDR. OceanNets, 2022. http://dx.doi.org/10.3289/oceannets_d3.4.

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This deliverable synthesizes the results on public perceptions of marine CDR methods from the first two years of OceanNETs. The purpose is to inform the other work packages in OceanNETs and stakeholders about our results in a timely and brief manner about the ways members of the public view marine CDR specifically but also in the broader context of net-zero targets and climate policy. The deliverable summarises results of two studies: (1) focus groups held in Germany and Norway that covered ocean fertilization, ocean alkalinity enhancement, artificial upwelling and blue carbon management and (2) a deliberative survey in Norway that covered ocean alkalinity enhancement, macroalgae farming with BECCS or biomass sinking and land-based BECCS and enhanced weathering as terrestrial approaches for comparison. Participants in both studies emphasise the importance of reducing emissions and changing consumptions patterns. They hardly discuss the need to remove CO2 from the atmosphere to reach the Paris climate goal and the concept of negative emissions seems difficult for them to engage with. Among the methods, participants prefer ecosystem-based approaches like mangrove or seagrass restoration over other methods like alkalinity enhancement or ocean fertilization. Participants are concerned about the actual feasibility of deployment at a relevant removal scale and for a longer period. Connected to this are concerns about the controllability of the deployment and the methods’ impact, like difficulties to control negative environmental effects from biomass sinking at the seafloor. They also question the buildup of additional infrastructure or additional interventions into nature on top of already existing human interference. The opportunity to deliberate the methods increases participants’ certainty about their assessment but only slightly changes the direction of the assessment.

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Tulloch, Olivia, Tamara Roldan de Jong, and Kevin Bardosh. Data Synthesis: COVID-19 Vaccine Perceptions in Sub-Saharan Africa: Social and Behavioural Science Data, March 2020-April 2021. Institute of Development Studies (IDS), May 2021. http://dx.doi.org/10.19088/sshap.2028.

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Safe and effective vaccines against COVID-19 are seen as a critical path to ending the pandemic. This synthesis brings together data related to public perceptions about COVID-19 vaccines collected between March 2020 and March 2021 in 22 countries in Africa. It provides an overview of the data (primarily from cross-sectional perception surveys), identifies knowledge and research gaps and presents some limitations of translating the available evidence to inform local operational decisions. The synthesis is intended for those designing and delivering vaccination programmes and COVID-19 risk communication and community engagement (RCCE). 5 large-scale surveys are included with over 12 million respondents in 22 central, eastern, western and southern African countries (note: one major study accounts for more than 10 million participants); data from 14 peer-reviewed questionnaire surveys in 8 countries with n=9,600 participants and 15 social media monitoring, qualitative and community feedback studies. Sample sizes are provided in the first reference for each study and in Table 13 at the end of this document. The data largely predates vaccination campaigns that generally started in the first quarter of 2021. Perceptions will change and further syntheses, that represent the whole continent including North Africa, are planned. This review is part of the Social Science in Humanitarian Action Platform (SSHAP) series on COVID-19 vaccines. It was developed for SSHAP by Anthrologica. It was written by Kevin Bardosh (University of Washington), Tamara Roldan de Jong and Olivia Tulloch (Anthrologica), it was reviewed by colleagues from PERC, LSHTM, IRD, and UNICEF (see acknowledgments) and received coordination support from the RCCE Collective Service. It is the responsibility of SSHAP.

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Tulloch, Olivia, Tamara Roldan de Jong, and Kevin Bardosh. Data Synthesis: COVID-19 Vaccine Perceptions in Africa: Social and Behavioural Science Data, March 2020-March 2021. Institute of Development Studies (IDS), May 2021. http://dx.doi.org/10.19088/sshap.2021.030.

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Анотація:

Safe and effective vaccines against COVID-19 are seen as a critical path to ending the pandemic. This synthesis brings together data related to public perceptions about COVID-19 vaccines collected between March 2020 and March 2021 in 22 countries in Africa. It provides an overview of the data (primarily from cross-sectional perception surveys), identifies knowledge and research gaps and presents some limitations of translating the available evidence to inform local operational decisions. The synthesis is intended for those designing and delivering vaccination programmes and COVID-19 risk communication and community engagement (RCCE). 5 large-scale surveys are included with over 12 million respondents in 22 central, eastern, western and southern African countries (note: one major study accounts for more than 10 million participants); data from 14 peer-reviewed questionnaire surveys in 8 countries with n=9,600 participants and 15 social media monitoring, qualitative and community feedback studies. Sample sizes are provided in the first reference for each study and in Table 13 at the end of this document. The data largely predates vaccination campaigns that generally started in the first quarter of 2021. Perceptions will change and further syntheses, that represent the whole continent including North Africa, are planned. This review is part of the Social Science in Humanitarian Action Platform (SSHAP) series on COVID-19 vaccines. It was developed for SSHAP by Anthrologica. It was written by Kevin Bardosh (University of Washington), Tamara Roldan de Jong and Olivia Tulloch (Anthrologica), it was reviewed by colleagues from PERC, LSHTM, IRD, and UNICEF (see acknowledgments) and received coordination support from the RCCE Collective Service. It is the responsibility of SSHAP.

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Mahat, Marian, Vivienne Awad, Christopher Bradbeer, Chengxin Guo, Wesley Imms, and Julia Morris. Furniture for Engagement. University of Melbourne, February 2023. http://dx.doi.org/10.46580/124374.

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The aim of the study was to explore the impact of furniture and spatial settings on teachers and students. Drawing on a case study action research approach involving surveys, two primary schools (Frangipani and Jasmine Primary School) within the Sydney Catholic Schools were involved as case study sites. This report provides a summary of the findings of the impact of furniture and spatial settings on teacher efficacy, teacher mind frames, student learning and student engagement as well as perceptions of students on the furniture and spatial settings. In summary, teachers’ perceptions of their mind frames, student learning and engagement increased after the introduction of furniture in the prototype learning environment. For one teacher, the perception of their efficacy did not improve after the implementation of the prototype space and furniture. In terms of students’ perceptions of the furniture, a large proportion of students agreed that they enjoyed learning and are more motivated to learn because of the new furniture. At Jasmine Primary School, a fifth of students felt that they were not motivated to learn because of the new furniture. Further in-depth study is required to find out the underlying reasons for this. Key themes that emerged from the qualitative data on the furniture and spatial settings focus on characteristics of furniture that afforded comfort, improved concentration and auditory qualities, supported collaboration, and capacity for choice. These are important considerations to drive decisions in school designs and furniture purchases. The importance of good furniture in a learning space cannot be underestimated. New learning environments and furniture demand and create new possibilities for teacher practices and student learning. The findings of the study, whilst limited in its scale, provides three crucial considerations relating to the importance of prototyping, professional learning and longitudinal data. These carry ramifications for wider understanding and future research. Future inquiry in these three key areas can provide the much-needed evidence to support schools’ transition into new learning environments.

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