Investigating facial animation production through artistic inquiry

Studies into dynamic facial expressions tend to make use of experimental methods based on objectively manipulated stimuli. New techniques for displaying increasingly realistic facial movement and methods of measuring observer responses are typical of computer animation and psychology facial expression research. However, few projects focus on the artistic nature of performance production. Instead, most concentrate on the naturalistic appearance of posed or acted expressions. In this paper, the authors discuss a method for exploring the creative process of emotional facial expression animation, and ask whether anything can be learned about authentic dynamic expressions through artistic inquiry

Unstated contributions: how artistic inquiry can inform inter-disciplinary research

Since 1990, many creative disciplines, such as art, design and performance, have engaged increasingly with academic research. Accompanying this has been a good deal of interest in ways to employ their professional and creative practices as instruments of inquiry, just as previous disciplines have developed research methods that employ their specialist skills and knowledge. This raises questions about how research in the creative disciplines might contribute to knowledge and understanding. Research and practice in these fields may deal with matter that changes meaning with time or context, especially in art, where audiences may be expected to complete the meaning of creative works for themselves. This paper offers an oversight of these issues. It sets out some examples from the wider community that illustrate how incomplete or tacit contributions to inquiry can be a valuable and sometimes necessary part of the enterprise of creating knowledge, establishing a research model that is relevant in many areas, especially where disciplines collaborate. It goes on to set out tentative principles for such contributions.</p

Curriculum Development Using Artistic Inquiry In An Arts Magnet Foundation Class.

This project sought to answer the question; how can the skills of artistic inquiry be taught in an Arts Magnet Foundation Class? This project covered the creation of a mental construct for artistic inquiry and development of the first three units of a twelve-unit curriculum. Initially the author established a six-phase model of artistic inquiry which was then implemented in the development of individual units. The six components include: question formulation, annotated research, proposal making, creating with intent, presenting in a public format, and reflecting on the work. Each unit focused on teaching and implementing one of the phases. The project was created to use a different art form in each set of lessons to engage a variety of student interests. The curriculum is designed using best practices in artist inquiry. This helps the students and gives the teachers in the program a mental construct of the artistic inquiry process as well as examples of possible work in their own classrooms

Reminiscence of an Elderly Woman: An Artistic Inquiry

This thesis explores the clinical value to the elderly population of combining reminiscence and dance. This five month collaboration between a recently widowed elderly female and a dance/movement therapy intern culminated in a 13 minute choreographed dance performance. Themes that emerged during this art-based study were her relationship with her husband, her role as his primary caregiver and her grief after his death. Eric Erikson identifies integrity vs. despair as the struggle or crisis to be grappled with in the last stage of human development, old age. This theoretical framework has been incorporated in this study

Exploring Personal Symbolism and Visual Metaphors through Artistic Inquiry

This paper focuses on the use and implications of using symbols in personal artwork and in the art classroom. Biological, psychological, and cultural reasons for making art with visual metaphor and personal symbolism are explained. The use of symbolism and visual metaphors in the artmaking process are discussed. Through the analysis of a series of paintings created using personal symbolism, the topic is further explored and researched. Implications and uses for the art classroom are also provided

therARTpIST: an artisitc inquiry on the interplay of identities

This thesis is an embodied artistic inquiry focused on thoughtfully engaging in self reflection through movement, with the intention of discovering how the identities of emerging dance/movement therapist and dance artist inform and interplay with one another. Data was collected through six Authentic Movement sessions with a trained Authentic Movement practitioner. Data analysis occurred through arts-based creative synthesis, which included freeassociation drawing, writing, and movement improvisation. Main themes of bodily knowing and relationship developed from data analysis. Culmination of artistic inquiry occurred through a dance film focused on above-mentioned themes. The dance film can be viewed from the link in the paper. A review of existing research on the role of identity specifically development of body identity and professional identity was crucial to the research. Implications demonstrated the importance of embodiment for emerging dance/movement therapists. 47 pages

Dance/Movement Therapy and Competitive Dance: An In Depth Self Evaluation

I used artistic inquiry self-study methodology to extend my knowledge, awareness, and understanding of how dance/movement therapy (DMT) and counseling concepts can positively alter and enhance my personal dance aesthetic, style, and pedagogy. Reflection is a personal process that can deepen the sense of self and can lead to significant discoveries or insights, while self-assessment is a process that involves establishing strengths, improvements, and insights based on predetermined performance criteria. Using artistic inquiry gave me the opportunity to study, analyze, and document where and how the DMT process and concepts have developed within my natural teaching approach. Engaging in this study presented me with a clearer understanding of the specific DMT concepts that enhanced my natural approach to working with competitive dance students. The research detailed how the combination of these concepts have improved my pedagogic style and are utilized in a field of work not as yet broadly addressed by dance/movement therapists

African American Adolescents at Risk: Their Stories Revealed Through Dance/Movement Therapy

The purpose ofthis study was originally to support the voices of African American adolescents and the emergence of their stories through the use of mentors hip, dance/movement therapy, and the production of an artistic performance. But what I truly found was that through parallel processing this study turned into an artistic inquiry that helped me uncover more insight about my own story: a story ofloss, isolation, rejection, recovery, independence, support and acceptance, and confidence. As a result of the artistic inquiry I was able to see the value of my knowledge from integrating my experiences. I developed confidence in my ability to transition from my role as teacher/mentor to dance/movement therapist. It helped me to increase awareness of how I incorporate my past experiences, skills, and world view to become a better therapist utilizing dance/movement therapy to facilitate the authentic expression of African American adolescents. I facilitated the perfornlance of their movement stories which were presented to their families and communities

You, Me, and We: An Artistic Inquiry Exploring Embodied Self-Awareness

Heuristic research methodology was used to engage in a creative and systematic process of self-exploration with a goal of fostering embodied self-awareness. I answered the following research question: How will engaging in embodied self-awareness influence and inform the relationships I create with others and myself? Additionally, I explored my use of Effort time and its influence on my embodied self-awareness. As the sole-researcher and participant, data were collected for 4 weeks in 8 sessions by self-reflecting on intuitively felt meaningful experiences between myself and another person(s), in addition to self-reflecting on my individual experience amidst those interactions. Movement narratives, embodied journal entries, and fluctuating my use of Effort time served as data for intuitive analysis. The organic process of analyzing recurring themes and synthesizing information occurred in consultation with a dance/movement therapist and validated with a resonance panel, resulting in 8-10 weeks of analysis. Findings revealed a relationship between authenticity, sense of agency, and embodied self-awareness as well as an increase to the awareness of body sensations. Secondly, fluctuating my use of Effort time supported the practice of embodied self-awareness. Implications suggest practicing embodied self-awareness may prove useful to developing dance/movement therapists for creating and sustaining effective therapeutic relationships. Furthermore, the use of fluctuating Effort time as an intervention may support clients in accessing their own embodied self-awareness. 73 pages

Mountain Roots: Artistic Inquiry Into the Science and Spirit of Mountains

The future of mountain landscapes will be shaped by the landscape-related decisions we make today. These decisions are influenced by two major factors: what we know and how we feel. The interplay between emotional and analytical information is what motivates the decisions we make related to mountain environments and landscapes. Taking this into consideration, a partnership between art and science and a conversation between emotion and analysis can be instrumental in forming a holistic view of how humans relate to particular landforms such as mountains. This interplay between emotional and analytical information manifests in the decisions people make in relation to their engagement with geographical science, land use, and learning. This relationship supports the use of art in science and science in art, and supports an argument for fostering conversation between natural sciences and the humanities. This senior thesis explores these themes within the context of mountain landscapes in western Montana and is supported by four intaglio etched prints. These prints of four distinct albeit interconnected mountain places show, by example, that a partnership between visual art and physical science is both possible and affective