Visitors' Interpretive Strategies at Wolverhampton Art Gallery

Making Meaning in Art Museums is one of two research projects on the theme of art museums and interpretive communities. The first was published as Making Meaning 1:Visitors' Interpretive Strategies at Wolverhampton Art Gallery (RCMG 2001). Making Meaning in Art Museums 2 is the second of two research projects on the theme of art museums and interpretive communities. The Long Gallery at the Nottingham Castle Museum and Art Gallery was selected as the research site for this second study. Both studies have explored the ways in which visitors talked about their experience of a visit to the art museum-both what they said about the paintings and the whole of the visit.The research questions on which this project is based are: What interpretive strategies and repertories are deployed by art museum visitors? Can distinct interpretive communities be identified? What are the implications for the communication policies within art museums? This research is an ethnographic study, using qualitative methods.This research project was funded through a grant from the Arts and Humanities Research Boar

Teaching and Professional Fellowship Report 2003/4 : Writing in the Context of Fine Art Education

Originating from the question "what happens to writing as a practice when students of Fine Art are doing the writing?" Kate Love investigated the new approaches to art writing which are surfacing both within University of the Arts London and peer institutions, using the knowledge gained to enlarge student perception of the possibilities for writing and writing-based assignments with a Fine Art based curriculum. Her starting point was to research the effect that the contemporary application of 'performative theory' has had on writing in Fine Art educatio

Practice-based doctorates and questions of academic legitimacy

Over the last six years there has been a massive increase in the number of students studying for practice-based doctorates in Art and Design. It is now possible to do a practice-based PhD in over forty departments, although what is expected from doctoral students varies considerably across institutions. In 1997 the United Kingdom Council for Graduate Education (UKCGE) addressed the variance between practice-based doctorates in the report Practice-Based Doctorates in the Creative and Performing Arts and Design. This paper examines the recommendations made by the report and asks to what extent does it acknowledge art as a legitimate research practice within the university. The UKCGE report recommends that all practice-based PhDs have a substantial theoretical and contextualising element that will demonstrate general scholarly requirements and render the artwork accessible to judgement. I argue that this proposal is problematic on several counts; it draws a firm line between theory and practice, places academic research in opposition to practice generally and artwork specifically, maintains the stereotype of art as anti-intellectual and forgets the degree to which theory is itself a practice. In addition it suggests that art practice can only be legitimised as research when it is framed by a conventionally academic enquiry. I suggest that instead of trying to make art practice fit academic regulations it would be more productive to use the practice-based PhDs as a way of re-thinking academic conventions and scholarly requirements

The art object does not embody a form of knowledge

This paper makes explicit the claim that the proper goal of visual arts research is visual art. This claim is consistent with the view held by many scholars in the visual arts community, who see art as a form of research (cf. K. Macleod and L. Holdridge, Thinking through Art: Reflections on Art as Research, London: Routledge, 2006), but accept that research is an original investigation undertaken in order to gain knowledge and understanding. This being the case, the knowledge acquired either resides in the art object and/or secondary outcomes (e.g., a texts). This paper argues against the proposition that the art object is a form of knowledge. Although consistent with Biggs' (2002) paper 'The role of the artefact in art and design research', published in International Journal of Design Sciences and Technology. 10:2, 19-24 (which did not actually appear in print until 2004), Biggs holds to the above definition of research and subsequently focuses on experiential knowledge (2004). However, if, as claimed here, the proper goal of visual arts research is visual art, and if visual art is not a form of knowledge, then visual arts research is not in essence a knowledge acquisition process. This dilemma is resolved by proposing that visual art making serves a different purpose to knowledge acquisition and that visual arts research would be better described as original creation undertaken in order to generate novel apprehension, thus developing the fundamental proposition presented a paper published by the author in the International Journal of Design Sciences and Technology in 2002. Biggs, M. A. R. (2004). Learning from Experience: approaches to the experiential component of practice-based research. Forskning-Reflektion-Utveckling. H. Karlsson. Stockholm, Swedish Research Council: 6-21. Scrivener, S.A.R. (2002) Characterising creative-production doctoral projects in art and design. International Journal of Design Sciences and Technology, 10(2), pp. 25 - 44. (appeared 2004

Talking about a Christine Borland sculpture: effective empathy in contemporary anatomy art (and an emerging counterpart in medical training?)

This Introduction and interview discusses the poetical and empathic insights that are a key to the effectiveness of contemporary artist Christine Borland's practice and its relevance to the medical humanities, visual art research and medical students’ training. It takes place in a context of intensive interest in reciprocity and conversation as well as expert exchange between the fields of Medicine and Contemporary Arts. The interview develops an understanding of medical research and the application of its historical resources and contemporary practice-based research in contemporary art gallery exhibitions. Artists tend not to follow prescriptive programmes towards new historical knowledge, however, a desire to form productive relationships between history and contemporary art practice does reveal practical advantages. Borland's research also includes investigations in anatomy, medical practices and conservatio

Incremental Art: A Neural Network System for Recognition by Incremental Feature Extraction

Abstract Incremental ART extends adaptive resonance theory (ART) by incorporating mechanisms for efficient recognition through incremental feature extraction. The system achieves efficient confident prediction through the controlled acquisition of only those features necessary to discriminate an input pattern. These capabilities are achieved through three modifications to the fuzzy ART system: (1) A partial feature vector complement coding rule extends fuzzy ART logic to allow recognition based on partial feature vectors. (2) The addition of a F2 decision criterion to measure ART predictive confidence. (3) An incremental feature extraction layer computes the next feature to extract based on a measure of predictive value. Our system is demonstrated on a face recognition problem but has general applicability as a machine vision solution and as model for studying scanning patterns.Office of Naval Research (N00014-92-J-4015, N00014-92-J-1309, N00014-91-4100); Air Force Office of Scientific Research (90-0083); National Science Foundation (IRI 90-00530

Artfully healing Austin : artist’s hospital beautification project spotlights local healing arts

textArt has long been used as a healing method. Thousands of years ago, the Greeks designed temples to surround patients with art and nature and to promote healing and harmony. Today, a growing amount of evidence-based design research proves that hospitals need to be more mindful of the healing environment through better design and inclusion of the arts to reduce stress, lower costs and shorten hospital stays. This report follows Aaron Darling, an artist and part-time nurse based in Austin, Texas, who has seen a need for such change in local hospitals. Through expansive nature-themed wall murals, Darling hopes to improve the blank walls he has seen in hospital hallways and patient rooms and increase the presence of local art in Austin-area hospitals, starting with Seton Medical Center. His story sheds light on other local professionals using art to heal, such as art therapists, and successful healing arts programs, including Dell Children’s Medical Center of Central Texas. More than that, this report highlights the power of art itself to serve patients by improving healing spaces and acting as a positive distraction in an oftentimes scary place: the hospital.Journalis

A proper anxiety: practice-based PhDs and academic unease

Like any other PhD, practice-based PhDs are also the focus of much anxiety but, significantly, those anxieties reach beyond personal doubt and are shared by supervisors, examiners and senior academic management. Here, I suggest that the anxiety concerning practice-based PhDs should not be lightly dismissed because it is a product of the institutional relations practice-based doctorates put into place. At least in the short-term anxiety is structured into the qualification and the aim of this paper is to examine why. I argue that the demarcation of disciplinary boundaries is important for judgements concerning academic and artistic expertise. To become an expert you have to have a specialised field, which can only be only mastered if it is clearly defined. Practice-based research crosses many of these borderlines thereby creating anxiety about criteria of competence, assessment and authority. Significantly, however, the practice-based PhD has involved a shift in the institutional arbitration of competence. In the past art that crossed disciplinary boundaries was nevertheless evaluated within art colleges and in relation to their traditions and practices, whereas in this instance art is being judged within an academic context and with a different set of expectations in mind. Unlike other previously contentious forms of art practice, this is not a change in medium or subject matter that nevertheless remains within the parameters of the art college, but is a shift in the way that the art object is legitimated as such. The paper goes on to examine the practical and conceptual consequences of art practice being acknowledged as academically valid, exploring in particular the advantages and liabilities of anxiety for all concerned

Virological outcomes of second-line protease inhibitor-based treatment for human immunodeficiency virus type 1 in a high-prevalence rural South African setting: a competing-risks prospective cohort analysis

Background. Second-line antiretroviral therapy (ART) based on ritonavir-boosted protease inhibitors (bPIs) represents the only available option after first-line failure for the majority of individuals living with human immunodeficiency virus (HIV) worldwide. Maximizing their effectiveness is imperative. Methods. This cohort study was nested within the French National Agency for AIDS and Viral Hepatitis Research (ANRS) 12249 Treatment as Prevention (TasP) cluster-randomized trial in rural KwaZulu-Natal, South Africa. We prospectively investigated risk factors for virological failure (VF) of bPI-based ART in the combined study arms. VF was defined by a plasma viral load >1000 copies/mL ≥6 months after initiating bPI-based ART. Cumulative incidence of VF was estimated and competing risk regression was used to derive the subdistribution hazard ratio (SHR) of the associations between VF and patient clinical and demographic factors, taking into account death and loss to follow-up. Results. One hundred one participants contributed 178.7 person-years of follow-up. Sixty-five percent were female; the median age was 37.4 years. Second-line ART regimens were based on ritonavir-boosted lopinavir, combined with zidovudine or tenofovir plus lamivudine or emtricitabine. The incidence of VF on second-line ART was 12.9 per 100 person-years (n = 23), and prevalence of VF at censoring was 17.8%. Thirteen of these 23 (56.5%) virologic failures resuppressed after a median of 8.0 months (interquartile range, 2.8-16.8 months) in this setting where viral load monitoring was available. Tuberculosis treatment was associated with VF (SHR, 11.50 [95% confidence interval, 3.92-33.74]; P < .001). Conclusions. Second-line VF was frequent in this setting. Resuppression occurred in more than half of failures, highlighting the value of viral load monitoring of second-line ART. Tuberculosis was associated with VF; therefore, novel approaches to optimize the effectiveness of PI-based ART in high-tuberculosis-burden settings are needed