165,200 research outputs found
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
The Critical Theory of Artistic Capitalism
This article takes up Lipovetskyâs discussion on artistic capitalism in LâesthĂ©tisation du monde. Vivre Ă lâĂąge du capitalisme artiste, to trace its definitions and methodological construction, but also in order to create a critical theory of artistic capitalism, based on the following working-hypothesis: the production of art and the production of self, understood in the sense of a Foucauldian project of the aesthetics of existence, represent correspondent purposes in artistic capitalism. My research will be focused on examining previous attempts of developing such a critical inquiry, claimed by Luc Boltanski, Eve Chiapello, and Luc Ferry. It is my thesis that the failure of a homogeneous critical theory of artistic capitalism is owed to different inconsistent interpretations of contaminating ethics with aesthetics in order to create an ideal of morality and authenticity for the existence of the individual inspired by contemporary techniques of art production, aspects that were conceived by Lipovetsky as parts of the process of the âaestheticization of the worldâ
Vernal Pool: A Participatory Art Project About Place + Precipitation
Produced by Karen Miranda Abel with Jessica Marion Barr, Vernal Pool is an immersive, elemental water installation created as a participatory, contemplative inquiry into our transitory interrelationships with water and landscape. From November 2013 to April 2014, 114 individuals across Canada and abroad gathered snow samples as a form of extrinsic artistic practice about place and precipitation. With the arrival of spring, the reservoir of melted snow was convened for four days at Torontoâs historic Gladstone Hotel to create Vernal Pool
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
Bird and Line
"Bird and Line" is an artistic inquiry into the relationship between a deep state of artistic consciousness and the act of drawing a line to arrive at the form of a bird. This inquiry further proposes that by using line as a mode of research, the artist begins to perceive the consciousness of a bird and the relationship it shares with its form.
For me, the embodied and porous experiences of watching and knowing birds through the practice of working with "line" as an artistic element allow for an intimacy of experiencing and an unfolding of intersubjectivity. Artistic inquiry also acts as an investigation into self-awareness and self-realization in this space of making eco-art. These acts of being lead me into reflections on how perception and creativity are melded together during creative moments to allow for a porous consciousness to emerge and perform the act of drawing a bird. As an artist working with text, movement, and image, I embed questions on the ethics of creativity into how we evolve our lines of art, as well as encounter other beings. By unraveling the relationship between the inner and the outer through Indian aesthetic philosophy, I evolve methods for eco-art practice using line as an element. I emphasize the importance of artistic research with a framework of Indian aesthetics as a way of deepening our perception and relationships with the natural world.
This article is written to make artistic processes visible through a reflective auto-ethnographic approach. I write in a non-linear reflective narrative to comprehend cultural ontologies that drive my practice, unfolding internal thought processes, directions of research, and moments of mystical experience
Exploring the meanings of artistic occupation for women living with chronic illness: A comparison of template and interpretative phenomenological approaches to analysis
(Brief Summary)
This article is based on my experience of carrying out two
studies that explored the meanings of artistic occupations
(in particular, textile arts) for women who were living with
long-term health problems (Reynolds 1997, Reynolds and
Prior 2003). Inquiry into the meanings of occupation for
people in the community who are coping with illness and
life transitions is a growing area of occupational therapy
research (for example, Christiansen et al 1999, Jonsson et al
2001, Lyons et al 2002). A better understanding of the
phenomenology of occupation may help to inform
professional practice
An Artistic Contemplative Inquiry: What arrives in co-contemplating assessment and evaluation
Contemporary arts-based inquiry invites us to linger in moments, to reflect upon our lives, our encounters, our relationships within the grander context of the worlds within which we dwell and those that we co-create. Here, we explore the landscape of the arts in relation to assessment and evaluation. Through a collaborative artistic contemplative inquiry, an emergent dialogue exploring assessment and evaluation is recorded and presented as a found poem, âWhat Arrives.â Our hope, when we embarked upon this artistic contemplation, was that we would evoke, provoke, and interrupt each other for the purpose of creating possibilities of alliance and (re)cognition when thinking about the arts, assessment, and evaluation
Global Science Opera. STEAM Projects. Spain experience
Global Science Opera the challenge to build STEM knowledge with Opera scenes. Eight anual editions arround world. Each scene of GSO complete the acquisition of 4C skills, discovering a STEM content and developing Artistic elements, with Interdisciplinarity, Inquiry Methodology and Open School work . Spain completes successfull challenge.Global Science Opera el desafĂo de construir conocimiento STEM con escenas de Opera. Ocho ediciones anuales en todo el mundo. Cada escena de GSO completa la adquisiciĂłn de habilidades 4C, descubriendo un contenido STEM y desarrollando elementos ArtĂsticos. Una escena de Ăpera CientĂfica Universal (GSO) conjuga contenidos STEM y las Artes y desarrolla Interdisciplinariedad, Creatividad, espĂritu CrĂtico, diversos lenguajes, metodologĂa Inquiry .Global Science Opera the challenge to build STEM knowledge with Opera scenes. Eight anual editions arround world. Each scene of GSO complete the acquisition of 4C skills, discovering a STEM content and developing Artistic elements, with Interdisciplinarity, Inquiry Methodology and Open School work . Spain completes successfull challenge
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