Arts Research - Science topic

A cooperation between the publisher and ResearchGate is needed. See my replies to this related question: https://www.researchgate.net/post/How_the_publishers_join_in_Research_Gate

By the way, note that you wrote to the ResearchGate community, not to the RG team.

Cu plăcere!

Yes, to a large extent.. and there are many examples of this

What is art? What is an artist? What are the tasks of the sociology of art? How can the subject area of the sociology of art be determined? What are the border areas where art merges into other creative, aesthetic forms of expression? How do we deal with normative questions: Is art always good, valuable art or does it also include kitsch, everyday aesthetics and popular entertainment? Finally, we need to ask what distinguishes a sociological approach to art from other disciplinary perspectives, e.g. those of art studies, history, economics and psychology. Important (European) positions here would be Theodor W. Adorno, Niklas Luhmann and Pierre Bourdieu...

Hola. Si lo que deseas es conocer las perspectivas que tienen las personas acerca del baile puedes trabajar con el método fenomenológico o con interaccionismo simbólico. Las técnicas básicas son la entrevista no estructurada y la observación directa o la observación participante

Dear Reynald

His observation is very consistent, specifically the third point: Teachers' happiness increases as the size of the class decreases.

Absolutely agree

The satisfaction of the teacher is a condition to ensure the effectiveness of educational results

"Morbodidactogenic relations"

In spanish: Relaciones morbodicatogénicas.

There is no accurate translation into English, at least I do not know it.

But there is more information in:

Dear Jorge,

I completely agree with you on what you said.

The issue is not that in developing countries opportunities do not exist. The issue is, academics spend more time in either self promotion or remain content in the security of their own job. Developing new thought leaders needs passion and vision. These two, together with a sense of responsibility and commitment towards the young scholars who look up to us, are needed to find avenues to first teach them the skills, develop networks and provide them platforms to launch themselves, to the best of our abilities.

Having said that, I keep asking myself (though I am not a teacher, but an independent researcher) as to what can I do in this regard?

One answer I came up recently is, why not launch a journal specifically aimed at young scholars (Masters level students who are required to publish papers and PhD scholars who are in any case required to publish papers). I have helped quite a few scholars by editing/proof reading/providing references for their thesis/papers. It is in this process that I came up with this thought - why not a journal too.

If a group of socially minded professors come together, we could actually help and groom a corps of young scholars to undertake good quality research writing as well as publish them.

Once such a group of (say at least five or six) established academics volunteer to spare some energy and time, a journal could be launched to publish their works. I am sure the young students at Masters/PhD would find this initiative very helpful. I am even doing some homework for a journal that addresses political/social sciences domain.

God willing, let's take a positive step forward. In the mean while, let us remain eager to hear what the community at RG says.

Have a great day.

New proposals! @Vitor Murtinho exposes hypotheses already seen and new ones. He proposes the Vesica-Piscis. What do you think?

Bahéra Oujlakh,

I do not think that Abramović overshadows Ulay. I believe she was always simply better artist than him. In a way, their relationship was asymmetric. I have a feeling that she better knows what kind of an art form suits the moment better, while Ulay understands the effect of art better. OK, now this might sounds like male chauvinism (emotions versus understanding), but the point is that what one makes an excellent artist is not how and if s/he rationally understand art, but a distinct sense one develops. But than again I might be completely wrong about this for I am familiar more with her performance art, then with their relationship.

Best, Tomaž

I can certainly reccommend some actors with unique relationships with their directors

Dear Mr. Tamilarasan,

Using vegetable oil is possible to increase transformer's life due to intrinsec dielectrics characteristics. There are also lots of works addressing condition monitoring through partial discharge analysis in order to predict the exact time to changing and refilling oil and hence increase the life of electrical equipments.

Best regards,

Eng. Master's researcher Douglas

Thank you, I am still interested in  Xu Wei (1521-1593) the late Ming painter and writer, any reference related to his splashed ink technique of painting. I understand that he is one of the few traditional chinese painters who dealt with self-expressión and the influence of this approach to painting could be followed in the painitngs of Bada Shanren, the Eight Eccentrics of Yangzhou, and the modern masters Wu Changshuo and Qi Baishi.

Dear Matthieu,

Thank you so much for the detailed reply and it really helped me a lot. kindly excuse me for my delayed gratitude.

Rohit.

I think it's critical.

The use of neurosciences in all its aspects (Neurology, Psychology, Linguistics, Evolutionary Biology) together with social Anthropology, forms an interdisciplinary study necessary to study human cognitive evolution.

Whoever is interested can see two of my works on this subject.

Philip is good to expand the network for this project, I include you in the list of academics who will participate in the project. What research line do you develop or what is your interest?

The Institute of Texan Cultures archives were moved to UTSA CARL. Those archive  files left at ITC were only the clipping files. The Witte Climate Controlled archives has original sketch drawings and prints from that time period. Texas Historical Commission pulled all Archaeology and Anthropology to the state archives from UTSA, TSU due to NAGPRA.

You're welcome, Sabine. I met Tony Chemero last December, at the Body of Knowledge conference at the University of California, Irvine, and had the opportunity to talk to him briefly. That was good, because I had read his book a couple of months earlier. His keynote talk was recently uploaded to the conference website (it's the second video from the top down):

There is an article with the same title that is more accesible than the book:

Chemero, Anthony

2013 “Radical embodied cognitive science,” in Review of General Psychology (American Psychological Association), vol. 17, no. 2, pp. 145-150 (https://www.academia.edu/6684841, accessed: 5 January 2016).

The idea behind the word "radical" in the titles of the book and the article is that "radical embodied cognitive science" rejects the notion of "representation", while some other types of embodied cognitive science don't go that far. He sees potential in James Gibson's ecological approach, for testing the ideas of the radical version.

I'm still trying to sort all of this out.

¿Que tipo de drama familiar?

Alberto, nada más cómodo que nuestro idioma... pues bien la idea central es identificar aquellos espacios que están siendo ocupados por el transmedia y los cambios que están pasando desapercibidos. Por ejemplo en Ecuador inicia con la publicidad y actualmente está migrando a la literatura abordando un cambio en el diálogo social sobre todo en jóvenes.

De inicio esa es la idea y como todo proyecto aterrizará en la marcha. 

Que opinas ?

Profesor Lanciego gracias por su letter. Aunque es un tema importante el papel de los fosfolipidos y parkinson mi actual investigación va por otras líneas.

Saludos

Pedro Abreu-Gonzalez

Hello Hussin,

You are right. Discourse analysis will be necessary for this kind of research. Thank for the link.

Regards,

Yrma

Dear dr Muhammad,

I know that I might be oversimplifying things, but the way I perceive this difference is the following: Cognitive narratology or any other cognitive approach focuses on how the meaning or the given effect, while hermeneutics looks for new and better interpretations of  the given text.

Kind regards,

D. Prodanovic Stankic

First, researchers have noted the importance of expectations as they relate to engagement. Second, prior knowledge, including preparation and personal connections to a theme, memory, or idea in the performance tend to foster a demonstration of engagement. Finally, engagement is undeniably related to emotional response.

There are various and solid links between poetry and science. That said, I do not buy the distinction between literary genres, i.e. fiction and non-fiction, etc. A good account of reality must take into consideration both concepts and categories, as well as metaphors and analogies, for instance.

Besides, I would not be that sure that facts are inherently nonfictional, for primarily facts are an experience! And any experience is a mixture of fictional and non-fictional stories.

G. Lowe - Health related effects of creative and expressing writing- Health Edu 2006

J Warren, MM Morgan,...- Breathing words slowly: creative writing and couselor self-care the writing workout-Journal of Creativity-Taylor & Francis 2010

JW Pennebaker- Writing about emotional experiences as a therapeutic process- 1997 Sage

As a teacher of Medical Humanities, the process of creative writing and wellbeing is an interesting topic

Thanks everyone to answer me! Your answers helped me a lot.

also Council of Europe data for all European state members investments in arts and culture 

About two years ago ICP NYC had done a group show. One of the pieces had a woman photographer digitally manipulate her pictures to arrive at different avatars. She had then posted them on facebook where people responded to them. I could find out the name of the artist if you're interested.

Another project which is currently up right now at the ICP Museum uses live curated material via twitter. 

Dear Rohitash and friends, here are my comments from my point of view:

a) Where do they overlap

--Both art and science are interacting with reality through experiences(E) and ideas of that reality(I)

--Art links observations to experiences and imagination to ideas and science links observations with experiences and experiments with ideas.

--Both art and science have a component based on experience that we can call practice(P)

-But while science is based on theories(T) of the ideas of reality that are testable art is based on theories(T) of the ideas of reality than come from imagination.  So both maybe based on theories about the ideas of reality, but only the ones from science are testable

-Science has to respect the theory(T)-practice(P) consistency principle, art does not  requires that

b) what are their goals

--Both may pursue the truth, science as the scientific truth and art as non-scientific truth

c) who needs evidence

--Only science must be based on evidence, art does not have to.

Wish a good day to all;

I have done some trailing of webpages, in the first instance to refresh my memory of some historical facts, but also whether paintings were mentioned anywhere. In the 17 Apr 2005 edition an article by Henrik Hamrén appeared in <www.thegaurdian.com> based on his interview with Hilde Schramm, Speer's daughter. She was in the possession of three of his paintings. These she sold in 1995 for £70,000. With this  money she started up a new foundation, called Zurückgeben (meaning "giving back"). Do read the article as it gives a particular slant to your question.

Absolutely.  Folklorists often specialize in  genres of artistic communication of everyday life, as do anthropologists.  Folklore methodology requires making observations and inferences about several aspects of an item: form, function, content, context, genre, and production. Some resources for you might be Folk Groups And Folklore Genres: An Introduction By Elliott Oring and several other texts listed on Indiana University's Department of Folklore and Ethnomusicology's resources page (http://www.indiana.edu/~folklore/graduate/readings_theory.shtml).

Of course it is not solitary. Instead of solitary I should say individual. Given this how we interpret a work will be influenced by how it is framed and what is accepted wisdom on the work. I do not mean to say that cultural milieus don’t exist, but rather that the significance of the work is found in the relationship of the reader/viewer and the work. At the end of the day how a book or experience movie is uniquely individual.  

 Thank you Faranack. Or is it so that scholars are satisfied with too general and poorly defined concepts ?

Excellent questions, Marcel. I have the impression that your questions are actually tentative answers. I like them for their polemical value. The challenge is precisely that: is it possible for an art object to have a relatively stable meaning throughout a community? If that communal meaning could exist, could it last through time? How long and why? Thanks for sharing your questions! 

Best regards, Lilliana

Using the arts and humanities with the dying, bereaved,... And ourselves.

By Bertman, Sandra

Stillion, Judith M. (Ed); Attig, Thomas (Ed), (2015). Death, dying, and bereavement: Contemporary perspectives, institutions, and practices. , (pp. 245-259). New York, NY, US: Springer Publishing Co, xxvii, 414 pp.

Poets, artists, and writers have always illustrated and illuminated death, dying, and grief. This chapter documents how the arts and humanities have played a critical role in educating both medical personnel and budding thanatologists. The chapter also includes a brief discussion of art therapy and an introduction to specific techniques used with children and adults. Attempting to demonstrate the richness involved in this process to multiple audiences over a half century, I hope this chapter provides substance and inspiration for all who work in the field. (PsycINFO Database Record (c) 2015 APA, all rights reserved)

Art therapy as an intervention for mass terrorism and violence.

Creative interventions with traumatized children (2nd ed.).

By Loumeau-May, Laura V.; Seibel-Nicol, Ellie; Hamilton, Mary Pellicci; Malchiodi, Cathy A.

Malchiodi, Cathy A. (Ed), (2015). Creative interventions with traumatized children (2nd ed.). Creative arts and play therapy., (pp. 94-125). New York, NY, US: Guilford Press, xx, 364 pp.

This chapter focuses on the impact of mass violence on children and the use of art therapy to help those children impacted by traumatic grief to develop coping skills and resiliency. Mass violence comprises political violence (including terrorist acts), ongoing exposure to street violence, and mass single-incident shootings. Although mass trauma can result from natural disasters, this chapter concentrates on mass trauma inflicted by humans, notably mass terrorism and nonterroristic mass violence. Two powerful single-incident examples of mass violence—the September 11, 2001 (9/II), terrorist attacks and the December 14, 2012 (12/14), school shooting in Newtown, Connecticut—are highlighted with case examples to demonstrate the therapeutic needs of the children affected and how clinical interventions are structured to address these needs. This chapter validates how art therapy interventions support the role of creativity in trauma recovery from mass terrorism and violence. (PsycINFO Database Record (c) 2015 APA, all rights reserved)

Focusing-oriented expressive arts therapy and mindfulness with children and adolescents experiencing trauma.

Creative interventions with traumatized children (2nd ed.).

By Rappaport, Laury

Malchiodi, Cathy A. (Ed), (2015). Creative interventions with traumatized children (2nd ed.). Creative arts and play therapy., (pp. 301-323). New York, NY, US: Guilford Press, xx, 364 pp.

Focusing-oriented expressive arts therapy (FOAT) is a mindfulness-based approach that I developed by integrating Eugene Gendlin's (1981, 1996) mind-body Focusing method with the arts therapies (Rappaport, 2009, 2010, 2014b). FOAT is based on over 30 years of clinical experience with a range of clients with varying types and causes of trauma. FOAT is especially suitable for children and adolescents who have experienced trauma because its foundational principles are predicated on the needs for safety, empathy, and trust building and its techniques are somatic and sensory-based. FOAT also cultivates a compassionate inner witness aspect of self that can stand outside overwhelming experiences, access an inherent place of well-being, and provide access to one's own inner wisdom. Integrating mindfulness practices with FOAT empowers children and adolescents with self-care methods designed to reduce disturbing symptoms of trauma, such as hyperousal, hypervigilance, and a state of alarm; enhance feelings of calm and groundedness; and increase positive emotions. FOAT and mindfulness practices also access inner strengths and resources, nurturing qualities of resilience to work through and integrate the more difficult experiences associated with the trauma, so that the child or adolescent can move forward and live a meaningful, satisfying life (Weiner & Rappaport, 2014). This chapter includes an overview of FOAT and describes how its theory and methodology provide a trauma-informed approach for working with children and adolescents. It also describes the significance of incorporating a phase-oriented treatment model in working with trauma and presents a new three-phase model based on FOAT theory and practices. The foundational principles and main methods of FOAT are described and integrated into the treatment phases: (1) establishing safety and cultivating resilience; (2) processing the trauma and accessing inner wisdom; and (3) integrating the healing process and fostering the life-forward direction. Highlights from my work with a 12-year-old girl who suffered traumatic loss and grief are integrated throughout the descriptions of the three phases to demonstrate the methods and healing process over time. (PsycINFO Database Record (c) 2015 APA, all rights reserved)

Dear Zuzana,

Social Realism and Socialist Realism are two very different things. The former is a British invention used to describe a works of art (such as film) with the so called social consciousness (1930s and 1960s). Socialist Realism on the other hand was an artistic style prescribed by the communist party to which artists had to conform or else (artists send to Gulag or executed). My former professor and writer Josef Skvorecky used to tell amazing jokes and stories about Socialist Realism in Czechoslovakia. I am sure you'll find that in his published work as well.  If you are interested in cinema there has been some interesting research done on the subject in the past 25 years. Are you interested in the Soviet Union or the satelite countries? I can dig up some sources if I know more.   

Here's an annual report form the Central Statistical Office of Poland: http://stat.gov.pl/en/topics/culture-tourism-sport/culture/culture-in-2014,1,7.html It's rather poorly translated, but I think you migh find some of their data useful.

Wasylko and Stickley (2003) uses drama. Send me a request through RG and i'll send you full text

Don't forget that nondestructive methods like XRF (or any analysis - EDS, AAS - of tiny amount of sample from surface) are all techniques which are characterizing surface only. Not only sculptures but any old objects can be gilded/plated and under this layer material with completely different composition can be found (and corrosion or patina can affect surface techniques results aswell). If the sculpture is hollow, you can try to get some small piece of matter from inside. If it is possible and sculture is not too big, very useful can be hydrostatic weighing (applications of Archimedes rule). This can confirm/disprove very easily and cheaply the composition found on surface by other techniques (ofcourse too complicated alloys is hard to determine, but for Ag/Cu, Cu/Au or Ag/Au alloy it si quite easy). For example: if XRF will find 80% of Au and the density of object will be e.g. 11.2 g.cm^-3 (and no cavities are present) than it is clear that object is not composed from material with 80% of gold (inside can be e.g. silver or lead). Very useful for binary and ternary Cu, Ag, Au alloy is article from Kraut and Stern (first link). Once I have nondestructively analyzed some gold medal (second link) which has nearly 100% of gold on surface but on some scuffed places only 70% Au, 20% Cu and 10% Ag was found with EDS and than confirmed with hydrostatic weighing (possible compositions of ternary alloy with known density is expresed by the red line).

Hi Hannah

How about the paper or online version of the Audience Response Tool (ART) by Renee Glass? I’m setting up a project looking at perception of contemporary dance at the moment and this is what I’m deciding to use. The online tool is presented on a tablet, with a swipe tool that allows the participant to move the swipe depending on how much they are enjoying the performance at any given time. One end represents “Enjoying Very Much” and the other end “Not enjoying at all”. The beauty of this is that you can match the temporal data to time points in you’re performance, giving you a real opportunity to find specific aspects that audience members converge in terms of like or dislike.

Hope this helps,

Claire

Here is one of my articles that might help.

Alisha M. White & Michelle Zoss (2015) “It's a Sad, Sad Story”: TeachingEmotional Connections and Tone in Literature, The Educational Forum, 79:3, 213-229, DOI:

10.1080/00131725.2015.1037513

And, here are some sources I used in writing my dissertation lit review.

Albers, P. & Sanders, J. (2010). Literacies, the arts, and multimodality. Urbana, IL: NCTE.

Connery, M. C., John-Steiner, V. P., & Marjanovic-Shane, A. (Ed.). (2010). Vygotsky and creativity: A cultural-historical approach to play, meaning making, and the arts. New York: Peter Lang.

Piro, J. M. (2002). The picture of reading: Deriving meaning in literacy through image. The Reading Teacher, 56(2), 126-134.

Smagorinsky, P., Cameron, T., & O’Donnell-Allen, C. (2007). Achtung maybe: A case study of the role of personal connection and art in the literacy engagements of students with attentional difficulties. Reading & Writing Quarterly, 23, 333–358.

Whitin, P. (1996). Sketching stories, stretching minds: Responding visually to literature. Portsmouth, NH: Heinemann.

Walling, D. (2005). Visual knowing: Connecting art and ideas across the curriculum. Thousand Oaks, CA: Corwin Press.

Walling, D. (2006). Teaching writing to visual, auditory, and kinesthetic learners. Thousand Oaks, CA: Corwin Press.

Wilhelm, J. D. (2004). Reading is seeing: Learning to visualize scenes, characters, ideas, and text worlds to improve comprehension and reflective reading. New York, NY: Scholastic.

Ernst, K. (1994). Writing pictures, painting words: Writing in an artists' workshop. Language Arts, 71(1), 44-52.

Zoss, M., Smagorinsky, P., & O'Donnell-Allen, C. (2007). Mask-making as representational process: The situated composition of an identity project in a senior English class. International Journal of Education & the Arts, 8(10), 1-41.

 

Dear Victoria,

even though you are concentrating on South America,you also have to look to Europe in order to understand the origin of central ideas, some of which might have made an impact on the other continent either soon or perhaps also only later. Therefore have a look at the standard account of the theory of music in the early modern period:

H. Floris Cohen: Quantifying Music: The Science of Music at the First Stage of Scientific Revolution 1580-1650, Springer 1984, 332 pages, ISBN 90-277-1637-4

I you spot dependencies or flows of ideas, you would also have to frame that in terms of the center-periphery models and literature about this issue.

Best regards, Klaus Hentschel, Stuttgart

i think this goes along way in defining so deeply, the concept of religion and culture.since some religious traditions permit holy sex, then the society should simply be given a critical look so one can really trace the history of such holy and erotic adventure

Do artists study past production archives?

You do have the case of a reprise, in which a previous production is reactivated, and it is obvious that they must rummage through the archives to do so. In the case of a novel production, that becomes more interesting. Wouldn't directors and actors try to avoid doing so in order to think of a new idea? in the few plays that I have worked on (a long time ago in a galaxy far, far away) i tend to work from my undeerstanding of the text at hand and with what I can work with physically (most palys are on rediculous budgets).

My initial response was whether artists used history to build their projects. Von Stroheim took the practicde to an extreme to make his acotrs live in the times they ar portraying. He would have loved Kubrick's use of an f1 lense to shoot in candle light. but that wasn't really what you were driving at.

The interesting thing is both tacks are problematic...

To a certain extent, the trivialisation of the country's creative process.

Works of art are not necessarily meant to turn a profit, which is the current intent of contemporary infrastructure. Once a work is placed in the current flow of works, it becomes a commercial commodity, and little else. It looses all other value, be it spiritual esthetic or even expressive value. What matters is the cash flow.

UIn short it subverts any values except financial.

This is by the way equally true for contemporary art anywhere, an not simply emerging cultures. The vast majority of contemporary art is a fraud.

Nasta'liq calligraphy is a non-figurative artistic practice tied to Islamic faith. I found this book helpful in gaining some insight into the artistic and philosophical aspects of education in early 20th ct. Turkey (a country with many historic religious influences, both Judeo-Christian and Islamic). It contains passages that vividly describe Turkish children/students practicing Nasta-liq calligraphy, among other things.

"Behind Turkish Lattices, The Story of a Turkish woman"

By Hester Donald Jenkins 1869-1941

"The Status of the Individual in Islam"

By Fazlur Rahman

Journal: Islamic Studies, Vol. 5, No. 4 (DECEMBER 1966), pp. 319-330

(Accessed from JSTOR)

"Abstract Expressionism: The Mystical Experience" by Edward M. Levine

From: Art Journal > Vol. 31, No. 1, Autumn, 1971  (Accessed from JSTOR)

I cannot answer your technical question about the bassoon, but insofar as Arne's music becoming more popular, I think that was consequent upon a tiredness of Italian music and the related theatrical changes e.g. as portrayed in Hogarth's The Enraged Musician. I recently added a new analysis of that print to my website at http://tobiassmollett.blogspot.co.nz/2015/01/william-hogarth-and-enraged-musician.html which discusses Arne and the London theatre, and it may be of interest?

@ David, Monica and Lukas, thank you very much for your contributions. It is indeed invaluable to giving a conceptual direction to the research. The issue of function is quite important but I need a deeper and diversify approach to viewing it within the context of how form and content can be effectively utilize to understand the meaning and function of contemporary ceramics designs as opposed to the traditional pottery made for other reasons like rituals, sacrifices, etc. 

That somebody comes and wipe out the horrible and huge tag on my garage door.

From a semiotic perspective, abstract art could be as hipo-iconic as indexical. There is no incompatibility between these two ambits.

I am going to use a painting of the spanish sometimes abstract painter Jose María Sicilia in order to shed a bit of light into the matter. Here comes a link to the mentioned painting: http://2.bp.blogspot.com/-D3OzPNELi1c/TyCCU4RKESI/AAAAAAAABCM/QgidXo0AiaA/s1600/tumblr_l3frb4mqsf1qaz0wuo1_500.jpg

In the hipo-iconic level the matter of the abstract art is the firstness of a thing as a quality, the quality of a thing in itself.

In the indexical level, the matter of the abstract art is the link between the colour-shape complex , and the mind, the hand, the arm, etc (in sum, the intelligence and the body of the painter ), and also the stuff and instruments, involved in the process

In both ambits, the criteria to evaluate the artwork only can be subjectives.

In the first ambit, my personal criterium could be the ability of this particular color to carry me to another red colour that is significative for me (for instance, the red of a poppy flower). Significative because the poppy flowers evocate the spring landscapes of my childhood. For instance.

In the second ambit, I value facts as the richness of the contour and its evident naturality. I wonder if the red paint was put after or before the black one. I wonder about the accidents that are present in the painting: the red bursting out of the contour in some points. I can aproach to the way that painting was performed, wondering why and trying a response.

Check out Port-au-Prince, Haiti

In my teaching experience, which started in my teens (I assisted my artist educator mother with her classes!) the vaue of self expression and satisfaction in art can't be overstated. When I was teaching K-8 art classes we were able to tie in the history, geography, and social science content of their curriculum into art history and allow the kids to create their own version of Van Gogh, Renoir, cave paintings, and Picasso. We tied their math to 3-D art with toothpicks, popsicle sticks, and clay. If they "get it" that our human world needs people to design eveything we wear, use, and view, just as much as they need IT folks, doctors, lawyers, and gardeners, it can be a game changer. Kids who were "problem students" were made leaders to channel their energy and desire for recognition, it gave them a reason to stay in school because they felt empowered. Stressed out grown ups and elders need to play as much as they need to eat. Art should be the LAST thing we cut from schools, nursing homes, or adult schools.

Again thanks for your suggestions. Unfortunately the PhD student I have just taken on has been engaging with this topic from the beginning of his candidature and worked closely with his previous supervisor on same. Your references re Velazquez and Mallarme will also be useful.

Thank you, everyone!

agree with Ian.

Hi Allison

If you are still searching and want further scope

I would suggest putting this on the Franklin Furnace email

list www.franklinfurnace.org/‎

and/or the

Fluxus email group lists

or contact Cecil Touchon directly http://cecil.touchon.com/ as I'm sure he would be interested in this project

From personal experience I believe that you only need a small amount of engagement with the arts to relax and gain clarity in thinking and greater confidence. Just walking past the State Art gallery, looking at the signs displaying an exhibition can inspire thought and relax the body. Listening to a song on the radio can do the same thing, providing, of course, you like the song! Like nature and animals, art can create physical and mental changes that are beneficial to you. It can lower your blood pressure for one thing! How long the physical and mental changes remain may well depend on the degree of continuous engagement but I think a little bit can go a long way. Enjoy your day with your favourite art.

Thank-you Julia. I look forward to reading your paper.

Dear Andres

I think you will be able to find answers in Robert Kraut's title: "Artworld Metaphysics" (Oxford)

furthermore while working on philosophical definitions for Creativity which no doubt is in deep co-relation with improvisation, I came across the articles collected in the anthology "The idea of creativity / edited by Michael Krausz, Denis Dutton, and Karen Bardsley.2009 Leiden" which I think you will find useful.

There is, indeed, a relationship between art education and play. This is because, when it comes to children's art, play is integral for unlocking the innate abilities that are necessary for educating a child through art. Without this, children art classes could not yield the expected result as targeted in the objectives.

I am not very happy with the term tactical media, althout the Leonardo Book Series for which I am executive editor published the book http://www.amazon.com/Tactical-Biopolitics-Activism-Technoscience-Leonardo/dp/0262042495 by Beatrice daCosta and Kavita Phillips.

One term I like at the moment is the 'hard humanities' to carry the idea that the arts and the humanities are now on the front line of the cultural change needed to develop

a sustainable society on our planet. We will not transform our society to be sustainable and control climate change without a profound change of culture= and the arts and humanities are key areas of expertise for this transformation.

roger malina

Dear Hugo,

Your mention about research on local needs is very important and relevant. Though not as defined in science and technology, research is always continuously done by people at large. There are are experiments, evaluations, failures, successes etc. the architecture goes on changing organically due to such "Open experimental research" We can find numerous examples in older settlements (At least in Bharat, I do not know much about other countries) We find old houses and shops and schools being renovated with various experimental re-thoughts. The successful experiments are copied or adopted. And such change continues. To this extent we can say "Though national style has merged into universal and individualistic style, LOCAL STYLE PREVAILS and is very important aspect in development of Architecture.

I was hoping to get in on this research a few years ago, regarding Kinesthetic Empathy I am just fascinated. http://www.watchingdance.org/

There are so many ways to measure engagement.. basic heart and breath rates are always impressive. Neuroscience can look at what parts of brain are lighting up, or transmitters are activated, defining an intellectual, visceral or emotional response to content. There are endless possibilities.

I am just starting out in a similar field. My interest is how the institutional structures of the art world in post-communist countries have managed in the new environment. How have galleries managed? Have they provided any value for artists in terms of career support? What models have been adopted across the former eastern bloc and how has their success varied? Not sure if we have any overlap, but thought I'd make contact anyway.

Do you know Helena Grehan's 'Performance, Ethics and Spectatorship in a Global Age' Veeraiah? It appears to be a sophisticated and theoretically informed analysis.

There is a short preview of it online at http://www.palgraveconnect.com/pc/litperfart2009/browse/inside/9780230234550.html

I'm afraid it is rather expensive to buy, even by UK standards, at 55 GBP (4600 INR), but you might be able to get access through a university or other institutional library. Good luck.

Thank you Mr. Morant, I've posted this message a a month ago. I've already know that the website is back up.

But thank you again for your attention!

Pedro could you please be a bit more specific about your perspective on this topic? I think it would be more helpful.

I'm searching about "Prototype Design and Development of Home Use Souvenirs and Home Decorative Items, Produced from Natural Material and Production Wastage from Pathumthani Province. in Thailand" and now I'm start another research but isn't yet. ......