Artspeak : articulating artistic process across cultural boundaries through digital theatre

In early 2009, researchers in the English Department of the University of Amsterdam collaborated with researchers in the Drama Department, Deakin University, Australia on a project which brought English as a Second Language students from The Netherlands into the rehearsal studio of Australian students engaged in play-building on Australian themes. The project aims were multiple and interconnected. We extended a language acquisition framework established by the Dutch investigators in previous collaborations with the Universities of Venice and Southampton, and combined this with an investigation of ways to harness technology in order to teach Australian students to communicate with and about their art. The Dutch language students were prompted to develop art-related language literacy (description, interpretation, criticism), through live, video-streamed interaction with drama students in Australia at critical points in the development of a group-devised performance (conception, rehearsal, performance). The Australian student improved their capacity to articulate the aims and processes which drove their art-making by illuminating the art-making process for the Dutch students, and providing them with a real-life context for the use of extended vocabulary whilst making them partners in the process of shaping the work. All participants engaged in the common task of assessing the capacity of the art work produced to communicate meaning to a non-Australian audience.<br /

Addressing Gender Equity through Artistic Process

On our society, girls and women face unique physical and psychic dangers. There is insufficient support for respectful surfacing and articulation of voice, neither are there sufficient tools with which to combat the socio-environmental phenomena of “hitting the wall” and “going underground.” (Gilligan 1983). While the creative process is full of risk taking and challenge for all, it presents additional problems for girls and women. This thesis identifies and explores the ideas and factors that influence female voicing, with a focus on artistic process as a voicing too. The reader is offered a selective review of the literature on gender equity issues in education and literature on critical and creative thinking in the theatre arts. Drawn upon are the works of Elizabeth DeBold, Peg Orenstein, Mary Pipher, Judith Logan, Richard Paul, Dr. Delores Gallo, Karen Warren, Suzanne Langer, Uta Hagen, and Viola Spolin among others. Also presented is an original performance piece, “Rosa Mystica.” Following the performance piece is an analysis of its evolution in relation to described conceptual models, including a scene which models the performance of a writing/theatre studio group. The central focus of the piece is on the mother/daughter relationship. The text of the play offers perspective on issues of gender equity in relation to creative performance. The paper concludes with a brief look at Irondale, an effective, existing arts in education program based on values I share. And finally, I offer a model of the essential frame of the writing/theatre studios, an integrated arts in education program for fostering artistic process, which offers a forum for developing critical and creative thinking skills, writing skills, a sense of best performance and a sense of vitality and community for all participants

Environments for sonic ecologies

This paper outlines a current lack of consideration for the environmental context of Evolutionary Algorithms used for the generation of music. We attempt to readdress this balance by outlining the benefits of developing strong coupling strategies between agent and en- vironment. It goes on to discuss the relationship between artistic process and the viewer and suggests a placement of the viewer and agent in a shared environmental context to facilitate understanding of the artistic process and a feeling of participation in the work. The paper then goes on to outline the installation ‘Excuse Me and how it attempts to achieve a level of Sonic Ecology through the use of a shared environmental context

Digital action: An exploratory documentary of artistic process

Digital Action: An Exploratory Documentation of Artistic Process is a short documentary film of the creation of artwork for my Bachelor of Fine Arts Exhibition, titled Digital Action. In the exhibition titled Digital Action, I created visualizations of my daily computer use to explore how digital experiences are simultaneously overwhelming and wildly inspiring. The video presents video of the steps of my process in a linear fashion with my voice-order explaining the process and theory behind the artwork. The documentary was filmed from September 2015 to December 2015

Documents, alternatives - a symposium of artistic process and practice.

The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives (#3)’ is an exhibition that includes time-based works that rely on performative process and created experience, which aims to resolve this issue by making the document and artwork reflexive. In doing this it acknowledges their need for change so that they remain continuous and in process through staging a practical and thought provoking visual discussion. The symposium accompanies this exhibition at BSAD, and acts in response to process with artistic practice and the experience of the artwork. It situates a series of opportunities for the experience of process through a structure of colloquialism adjacent to the exhibition, to open the nature of artistic process to critical debate. To enable a dialogue about process (as that exhibited and that discussed) informed by both academic and creative domains, symposium speakers are the artists with work in the accompanying exhibition. Hosted by the Art Research Centre, Bath School of Art and Design BSAD Gallery and BSAD main Lecture theatre. The symposium is staged simultaneously with the exhibition Documents, Alternatives (#3) at BSAD gallery, which is open to the public 20th April – 1st May 2018. The exhibition and symposium are part of the Alternative Document, a project by Dr. Angela Bartram, Associate Professor and Head of Arts Research, at University of Derby.Arts Research Centre, Bath School of Art and Design; University of Derb

Steven H. Gale, Sharp Cut: Harold Pinter's Screenplays and the Artistic Process. Lexington: University Press of Kentucky, 2003

reviewZadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej nauk

The Development and the Documentation of the Artistic Process

The purpose of this document is to document the process of creating, editing, mixing and mastering for an engineer and performer.https://remix.berklee.edu/graduate-studies-production-technology/1089/thumbnail.jp

Using Artistic Process to Provide Outlets of Communication, Understanding, and Healing to Improve the Well Being of Selected Learners

Public schools in America follow a carefully structured pattern tied directly to the societies and cultures from within. While this structure may create a positive and familiar learning environment for some, others who are unfamiliar with the societal and cultural norms within public school structures, may be left behind. Some learners have simple language barriers that exclude them from activities as well as others during the school day; some choose silence out of fear or embarrassment from unknown circumstances; while others are labeled as Special Education and are not able to speak to others verbally as a normal child would. Whether their reactions to their environments are caused by relocation from overseas, trauma, or a learning disability that has altered reality for a family or child, children find relief in expression, nonverbal communication, and even therapeutic healing through the artistic process (Elbrecht and Antcliff, 2014).;In the United States it is more common than not to have multiples languages spoken in a classroom, and the percentage of students with disabilities, or those suffering from trauma has increased drastically (Dean, Hubbell, Pitler, and Stone, 2012,). Too often we simply remove the child from the general education room, or let them fall into a category of problem children, who are never expected to perform at the same level as the rest of the class. Instead of allowing such students to flounder, the use of artistic process or therapeutic art techniques could provide such students an outlet for communication, expression, healing, and overall well-being. Studying the effects of the artistic process could benefit the Art Education discipline and create a cross curricular path, connecting any subject where a child struggles to communicate. Artistic Process could also provide a therapeutic passage in the classroom for students who are suffering from trauma to assist in the overall well-being of the learner. Lastly it may provide a bridge between cultural and linguistic barriers, allowing the classroom to be fully connected and culturally diverse.;Using case study methodology, this research investigated how artistic process may be used to help individuals verbally communicate with instructors and peers within a selected setting in rural West Virginia. The purpose of this study was to examine the potential of using artistic process or art therapy with selected students suffering from trauma, disabilities, or inability to communicate, and determine whether alternative artistic approaches would aid educators in understanding the dispositions and thought processes of individual learners.;The research questions, which framed my study included: 1. Can artistic process and art therapy approaches improve the well-being of selected learners? a. What are the benefits of using art therapy approaches on non-verbal learners? b. What is talk therapy? c. What are the benefits of talk therapy on non-verbal learners? 2. How is artistic process used to positively communicate with non-verbal learners? a. Does artistic process make communication available for those who are unwilling or unable to communicate verbally? 3. Does artistic process stifle thinking and/or communication? a. Can artistic process help non-verbal learners with metacognitive process? b. Can art process support metacognitive process and thinking

Sharp Cut: Harold Pinter\u27s Screenplays and the Artistic Process

Best known as one of the most important playwrights of the twentieth century, Harold Pinter has also written many highly regarded screenplays, including Academy Award-nominated screenplays for The French Lieutenant’s Woman and Betrayal , collaborations with English director Joseph Losey, and an unproduced script for the remake of Stanley Kubrick’s 1962 adaptation of Lolita . In this definitive study of Pinter’s screenplays, Steven H. Gale compares the scripts with their sources and the resulting films, analyzes their stages of development, and shows how Pinter creates unique works of art by extracting the essence from his source and rendering it in cinematic terms. Gale introduces each film, traces the events that led to the script’s writing, examines critical reaction to the film, and provides an extensive bibliography, appendices, and an index. A highly significant book both for Pinter studies and for the neglected analysis of the genre of film scripts. . . . This pioneering work will be a model for subsequent studies of film scripts. -- Choice To say that [Steven Gale] is a master of the scholarship on Harold Pinter is an understatement….I have seldom agreed so much with an author’s interpretations of a film artist as I do with [Gale’s]….This is a landmark in scholarship about the adaptation of fiction and drama to film by an author who know his subject (in both senses of the word) inside out. In particular he documents the collaboration of Harold Printer with film director Joseph Losey, which is one of the most celebrated creative associations of a writer and director in cinema history. -- Gene D. Phillips Such a volume was refreshing to read and gave me faith in scholarship—again. -- Peter C. Rollins Named a Choice 2003 Academic Title.https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/1006/thumbnail.jp