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Does the development of online information technologies and the Internet of Things contribute to the popularization of art and culture in society?
More and more museums present their collections of works of art in the form of reproductions published on the Internet. The development of Internet information technologies and the Internet of Things contributes to the popularization of art and culture in society.
Do you agree with me on the above matter?
Please reply
I invite you to the discussion
Thank you very much
Best wishes
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During the SARS-CoV-2 (Covid-19) pandemic, due to home quarantine and lockdowns imposed on cultural institutions, including cinemas, theaters, philharmonics, museums, galleries, libraries, etc., people could not use the cultural offer of these institutions on a stationary basis . Therefore, a significant part of these cultural institutions launched online platforms presenting their cultural offer via the Internet.
Regards,
Dariusz Prokopowicz
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I want to discover a topic on interesting social phoenomenons specifically related to millenials generation that focusing on sociology and art genre. Please send me clues or any topics you are interesting in!
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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...
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The purpose of an arts research degree is arguably to train makers and producers to develop closer links between theory and practice; and ultimately to contribute to the social discourse in the field. Are there any journals that you find continuously interesting and worth reading as artist researchers? Are you submitting to interdisciplinary journals or specialist interest journals? What is hot, what is not and where do you find the best international mix, or the most interesting dialogue?
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You might want to check also these two:
- Journal for Art Market Studies https://fokum-jams.org/index.php/jams
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I am currently developing a project where the primary mode of inquiry is rooted in practice based methods and techniques. The project is focused on a social dance form. I have read several books/articles in which practiced based methodologies are used, however, I am wondering if there are methods/techniques out there that they better satisfy my project. What practice-based methods/techniques may be beneficial for examining social dance styles?
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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
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CLASS-SIZE: Just some thoughts for Department of Education (DepEd) School Think-tanks, leaders, heads etc. who have CONTROL over how school's fund and human capitals or resources are created or managed. Bottom line CLASS-SIZE. Are there specific DepEd policies, memoranda, or orders pertaining to directly or indirectly to CLASS-SIZE - TEACHERS RATIO in schools that are also related to teaching jobs, ancillary functions, school building program, class programming, etc.? What are they? Feel free to comment here if you know some we could relate with. If there are NONE, there should be :)
1) Number of classrooms related with class-size Hypothesis- More classrooms mean lesser students in each classroom Solutions- Build more classrooms (long term, we have been doing this) AND/OR Do morning and afternoon shifting of classes (short term solution but generally works, but great planning and courage needed)
2) Number of teachers (including the yearly hiring) related with class size H1 - More teachers in school mean lesser class size H2 - More teachers not teaching mean more teachers' time do to school support related job, research, etc. Note: School programming can be done with ease, we need NOT to bother who is UNDERLOAD for they can function other ancillary school works like home visitations, school reports support, school community project aid, paper advising, LIS manager, tech support, name them etc. Have we achieved this as we hire more teachers? Other Possible effects - availability of back up teachers if some teachers do work related functions outside school (like attend division meeting, seminars, write-shop, etc.)
3) Teachers' job satisfaction/happiness with class size H – Teachers’ satisfaction/happiness increases as class size decreases - Imagine managing 50 individuals in the classroom compare to 25 to 30.
4) Students' learning/performance with class size H – You can continue the logic here. Say (Learning/performance increases as class size decreases)
Most if not all of the hypotheses here were confirmed/proven in some studies abroad. I believe they are also applicable in the Philippine context with some contextualization and needs assessment. Think about it. I wonder what internal and external stakeholders have to say?
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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:
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Technical education by default has opportunities for encouraging and publishing original thought/analysis as part of project works/industry exposure for both budding researchers and postgraduate students. It is not so in the case of social sciences. humanities or arts normally.
In social sciences, humanities and arts, research scholars are expected to co-author with their guides before they could be considered for independent publication. In the case of postgraduate students, even such opportunities are rare indeed.
If we have to develop thought leaders in social sciences, humanities and arts, we need to consider giving opportunities to postgraduate and budding research scholars to publish independently. How do we go about doing this? Your suggestions are welcome.
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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.
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This is widely believed. However, if we draw accurately the golden section the center of the circle is above the navel, and therefore the circle is greater than Leonardo´s drawing.
If the navel is 1/10 above the center of the human figure, then the circle will be smaller .
Leonardo said legs form a triangle, and feet up 1/14, but does not say how the feet are separated.
If this separation is the golden section, the circles match.
Therefore, the navel is not golden section but is involved in position.
Regards
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New proposals! @Vitor Murtinho exposes hypotheses already seen and new ones. He proposes the Vesica-Piscis. What do you think?
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Works of art are an important element of culture in the social and cultural heritage. The achievements of culture, including works of art, should be cherished for future generations, they can not be allowed to be forgotten, and unfortunately it often happens that in the era of current informational technological revolution, the development of new media, in the pursuit of modernity specific aspects of culture, tradition and art they are often interpreted only in the historical dimension.
On the other hand, new information technologies, new online media should be used to promote traditional values ​​of culture and art. For example, websites have been created for many art and culture. Many works of art, entire collections of many museums are digitized in the form of a digital record of reproduction of works of art so as to increase the accessibility of citizens to cultural and cultural heritage.
Does this type of propagation of culture and art on the Internet should be developed?
I think so.
Do you agree with me?
Please, answer, comments.
I invite you to the discussion.
Best wishes
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Actually my research is based on women artworks as fiberartists and new embroderies creations. So, most of this women are kind of feminists and show a desire to take the textile as a new female medium. So, I'm asking myself as a woman and an art researcher : could we see a true difference between a man or a woman artwork nowadays? Is the gender studies are included in contemporary art equality?
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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
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Has anyone here done similar work?
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I can certainly reccommend some actors with unique relationships with their directors
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Advances in transformer oil yielding high transformer life.
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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
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I am interested in the notion of expressión and spontainity in traditional chinese Painting, specially in Xu Wei's aesthetic ideas.
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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.
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Dear friends, I am writing my Master's Thesis on the digitization of the shop floor.
In the organization I am writing my thesis, the following method is followed.
During the pilot production of new engine model, the assembly data like the part name, part number, assembly sequence, material location on the assembly line, process time, tools used, consumables used, etc. are written down manually in a paper during the pilot production and then a person enters these data into the SAP Software. This method leads to a lot of strain and time consumption.
Hence I am planning to bring in an automated process for example a Barcode and Smartphone application for this purpose. The operator has to only scan the Barcodes and then assemble the part. the app records these assembly data from the first step to last part assembly with all the aforementioned assembly data and at the end of the assembly of the last part, the app compiles all the data in the sequential order and sends it to the SAP Software. this can significantly reduce the operator’s strain and time consumption essentially making the system paperless.
To go ahead with my thesis, I need to perform the state of the art research in order to justify my stand and also get a good perspective as to how this process is taken care by other manufacturers like Audi, BMW, Daimler, etc. Unfortunately, I am unable to find these details anywhere in the internet.
I would be really glad if you could help me with a source to collect these data.
Also of any other method that could perform this task easily.
Thanking you in advance.
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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.
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Is this synthesis and collaboration helpful?  Are any of the results and insights of value and help us to better understand and deconstruct the meaning and function of rock art?  Or are these scientific probings into the human mind  of little real relvance to a substantive understanding of aboriginal cosmology, ritual, and religion?
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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.
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I look for researchers in communication and transmedia to generate a project in this area.
Thank you for your contributions
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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?
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I mean OTHER THAN the one by Lino Sanchez y Tapia [from Luis Berlandier's collection] which was purportedly done from real-life models [though I find this doubtful]. I am also very interested in finding any descriptions and/or depictions of Coushatta canoes and abodes in Texas, or anywhere else.
I am aware of the 1829 description of Coshatta canoers on the Sabine River by Theodore Pavie published by Betje Klier; and the description of the hides- & bear-fat-laden Coshatta trading canoe [and 17 Coushattas] at the Atascosito Road crossing of the San Jacinto River written by Sgt. Jose del Toro in 1816.
Any pointers, whatever, will be most gratefully appreciated.
Regards,
Bob Skiles
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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.
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doi: 10.1016/j.aip.2017.02.002
It is freely accessible until June 14, 2017 at: 
Best, Sabine
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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.
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I am looking at actors' experience of presenting lost, obscure, or forgotten plays. I am following some suggestions of Clark Moustakas in his Heuristic Research and have done considerable reflection on my own experiences. The qualitative research I intend to undertake with theatre artists needs to be accompanied by a survey of relevant readings. Phenomenology, performance philosophy, and creative writing are all on my horizon. Does anyone have any suggestions for by bibliography? Interviews will be my main resource but the lived experience of my subjects needs to be connected to relevant contexts.
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¿Que tipo de drama familiar?
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Hello everyone, I am interested in sharing research in theories of communication and transmedia 
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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 ?
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Este tema es de vuestro interés? Nosotros estamos trabajando en ello. Saludos, Jose Luis Lanciego
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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
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I was looking for further information on documentary research on investigation methodology books but with no much success. How can we work a documentary research on literature issues? I am truly ignorant on this type of investigation which as far as I only know it belongs to the qualitative approach. A student of mine is interested in working on her favorite writer for her thesis using the documentary methodology. 
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Hello Hussin,
You are right. Discourse analysis will be necessary for this kind of research. Thank for the link.
Regards,
Yrma
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cognitive narratology(understanding of interpretation of Narratives which influences on social wisdom) of  and hermeneutics (science of interpretations) are seeming very close to each other.
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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
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I have similar research interest & would be grateful if you could share your experience.
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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.
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Poetry, facts, fictions,non-facts.
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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.
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We have known for some time the link between words, writing and well-being, and practitioners have been deploying alternative approaches for years (e.g. counsellors, psychotherapists, artists, poets, NLP practitioners, hypnotists, etc).
Indeed, Bakhtin, Lacan, Zizek, all point to varying levels of self-authorship to write one's identities and ways of being - and that these have consequences on how we relate to and engage in the world (and of course, therefore, implications for well-being).
What sources, if any, summarise this empirical or practical work? What sources bring the different perspectives or occupational groups together?
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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
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I'm gathering works about stuttering treatments with also the figure arts (especially theatre). I'm a speech pathologist student and i need this for my tesis. 
Thanks for the help 
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Thanks everyone to answer me! Your answers helped me a lot.
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Australia is generally regarded as being one of the worst countries for investing in Arts and Culture. I would like to present data showing this using the most recent figures. Australia's investment is lower than Canada and New Zealand for example based on 2010 figures.
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also Council of Europe data for all European state members investments in arts and culture 
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I'm interested not in promoting art via social media, but in projects that use the capacity of social media to connect people. 
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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. 
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Art is not based on evidence, but on experience. Art does not confine to logic, it is an expression of feelings. Literature is a form of art from which meaning are extracted that form the basis of certain forms of philosophy. Religious and spiritual books are expressed using poetry from which we get themes and messages on morality. Art does not work with hypothesis and does not need evidence and hence art is separate from science, although, there can be some overlaps, their goal is different. Artists try to express the reality through their intuitive understanding - they work on a creative future or with verse and colors try to express the meaning of life, scientists try to logical express it with investigation and evidence and engineers use it to develop solutions for certain problems. Some of the greatest engineering achievements of today come from creative works from artists few hundred years ago. Howsoever, the spirituality of today may become science of the future when with better technology and theories, scientists will be able to paint a better picture and holistic viewpoint of life.
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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;
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Speer was a Nazi war criminal.  He did admit to some of what he did.  He was in prison fro 20 years for his crimes.  Towards the end of the war, he stored some  valuable art work.  When he was released from prison, he retrieved the art work. Please let me know a monetary  amount for the value of that art work and give any bibliographic source material which you may have.
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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.
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I am looking for social science research which examines the definition(s) of folk art from the perspective of boundary theory.
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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).
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Roland Barthes' "The death of the Author" seems to establish that authorial power is communitary and that authorship belongs to audiences who can deconstruct the narrative possibilities of a work of art beyond the context of the narratives instantiated by the Author or painter or Sculptor, or Director of a work of art. 
I am not sure if Barthes is basically saying that something can be dissected and deconstructed ad infinitum in ways that organize new meanings and that freedom or play belongs to the Audience, or if he's mimicing Thus Spake Zarathustra with the notion that the rigid formalism of Art was a dead art, such that with respect to the grand narratives of a tradition, "God ((The voice of unification and individuation at the precipice of a prioritization of the alleged creator of a message or set of messages, is exhaustively the author such that the voice of that author bears no weight and ....)) is dead"
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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.  
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I was not satisfied with the not-scrupulous descriptions which were often used in many medical or ethnological or other scientific articles. Their goal was to describe the manual methods, the hand movements of a therapist, e.g. a bonesetter, during his or her treatment on a patient. I would appreciate your comments on my thesis of 1999 in which I developed a drawing method, "positiographical cinemanalysis". My goal was to study more exactly than before a film or video, to present the individual methods of any manual therapist. To draw  a film frame consciously with a detailed described drawing method, with bare hands, means studying of a view very detailed. It helps the scientific conceptualization and understanding of visual stationary or moving persons or objects.  My thesis: Hernesniemi, A: Presentation of bonesetter-patient collaboration through positiographical cinemanalysis (Oulu 1999) can be read at my profile at Research Gate. 
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 Thank you Faranack. Or is it so that scholars are satisfied with too general and poorly defined concepts ?
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With respect to “public art,” an examination of the state of the question points to at least two ways in which that concept may be defined, two “circles” within which it may fall: It may be related either to the space the art object is to occupy (which might be called a “public space”) or to the art object itself (which might then be called “public art”). Here, we might pose several questions that seem either to make it easier to understand the public art/ public space duality, or to make such an understanding impossible. We might, for example, ask questions about:
Legitimacy (Is the work an art object?)  
The constitution of the cultural imaginary with respect to what a “public space” is and what “public art” is (Does the work reflect my identity?)
Ownership of the space and the work (Who owns what?)
Authorship (Is the work created by an individual with personal title to it, or is it created on behalf of a collectivity?)
Decency and decorum (Is the art appropriate to the space it occupies or will occupy, and is it suitable for being seen by men, women, and children?)
Preservation and conservation (Who shall assume the ownership of the patrimonial work and be responsible for its explanation and esteem, defense, custody, maintenance, restoration, and permanence?)
Each of these issues raises a debate, implicit in the very existence of the public-art object, and each debate may be different. And each potential controversy suggests its own “public,” in the sense of audience or interest group, each with its own defining expectations. Below a polemical article I wrote about a country-wide public art project:
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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
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Are there any known readings on using art therapy to explore grief - preferably grief of adolescents or refugee adolescents. 
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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)
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Dear colleagues, is there anyone researching Socialist realism art here. Or do you have any suggestions on literature I should not miss while doing a research in this area. thank you.
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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.   
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I'm looking for a large scale survey of the general public's interest and time spent on all categories of cultural and media. It would report on regional and demographic differences. Does such a thing exist?
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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.
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I want to conduct a study on this topic.
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Wasylko and Stickley (2003) uses drama. Send me a request through RG and i'll send you full text
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How can we find the % of gold in a vessel with out damaging the item? Also how can we extract the metals like Ag or Au from its alloys?
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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).
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I'm looking at assessing how an audience perceive a performance on the concept of ageing (delivered by older people as the performers) as well as any attitude changes that have occurred. Would anyone suggest a feedback form (more quantitative) or an open discussion at the end of the performance? Or any other methods that have been used.
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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
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Working with teaching art with students from elementary school and high school, and I wonder about the existence of other research that addresses the reading of images and works of art in the classroom. What methodologies and themes are used for the production of knowledge in art education.
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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.
 
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I am writing an article about cultural influences of the Metropoli in XVII-XVIII centuries in Latin America. The current topic I am writing about is music, and I have not enough idea about it.
I found a book which talks about Cuba and its sounds (Cuba y sus sones, by Natalio Galán). In the introduction, it explains a bit the origins of American music, and why are more important Brazilian and Cuban rythms than others.
But I need to learn more about that field, and to know other points of view. I was wondering if some of you could help me with your opinion.
I will be very grateful.
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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
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I am trying to analyse how bodies presented in contemporary religious movies are becoming increasingly 'sexy' so I am just wondering if anyone has any suggestions on some theoretical work or past research work on such a topic.
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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
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I am loking for artists who incorporate visual arts research into their theatre-making process. I am interested in the relationship between the document and the artist: What is it they are looking for? How do they approach these materials - as artefacts, as stimuli, as traces, as collaborators? I have a good understanding of the theoretical background to this debate and of the various innovations in performance documentation, but I want to learn about the ways archival material circulates in professional theatre as active tools.
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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...
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Specifically thinking here of the context of Scotland as well as federated states.
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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.
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I am researching non figurative judeo and islamic visual arts  and I have been looking for the possible consequences in the social makeup of the people within those cultures.
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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.
The book:
"Behind Turkish Lattices, The Story of a Turkish woman"
By Hester Donald Jenkins 1869-1941
Another article I found helpful was:
"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)
This article relates to non-figurative trends in the western art-historical cannon, which might be helpful in connecting to more abstract ideas of faith and human spirituality:
"Abstract Expressionism: The Mystical Experience" by Edward M. Levine
From: Art Journal > Vol. 31, No. 1, Autumn, 1971  (Accessed from JSTOR)
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I have become intrigued by the musical devices employed in such a simple piece of music as Thomas Arne's closing chorus to Alfred "When Britain first at heaven's command"; My latest fascination has been with the Bassoon line as that's my primary area of study right now.
That particular part is so lovely but the question arose in my mind. How did this piece become the quintessential patriotic song.
But my question for wider consideration is in the area of prior scholarship on this point. Surely there is a 19th century clergyman who studied the rhetorical devices (and there are many - try the 3 sixteenth note syncopated flutterings throughout). How do these devices so clearly define the "us" group which triumphs over the "them" group (to put it in simple terms)?
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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?
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 Art Historical analysis involving 'form' and 'content' usually generate controversies on how it should be rightly judged and graded. This is because research topics involving 'form' and 'content' are, perhaps, have multidimentional approaches that in most cases weaken the essence of the research. While 'form' represents the external features and general appearance of an art work, the 'content' is the meaningful interpretations that the researcher puts forth to match his/her projections. But this is mostly the case in fine art researches involving painting, sculpture, installation art, drawing, etc. Since most (if not all) ceramics products are supposedly utilitarian in nature, under going a study of form and content may require specific areas of  concentration to arrive at a good analysis.
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@ 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. 
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I'm looking to explore the way to counter people's perspectives of this culture. How could we alter it and at the same time it would enhance the beauty and value of street art in the future.
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That somebody comes and wipe out the horrible and huge tag on my garage door.
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Sometimes we can see abstract work in the gallery. We usually tell ourself I can do that as well. There must be some criteria to judge abstractions. Let's discuss the general criteria, can be both personal and formal.
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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.
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Many cities in the world have regulations of some sort that ban a number of cultural activities that 'vandalise' the city. However, in places like Melbourne, there are many alleyways filled with graffiti that celebrates the culture of the people. This intrigues me, and pushes my interest to find a way to allow for activities such as street art whilst preserving the streets and properties. So, how can street art be integrated with regulations to allow for this culture to be expressed in an acceptable manner, rather than being marked as 'vandalism'?
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Check out Port-au-Prince, Haiti
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Members of the general population engage in the arts as a hobby, for entertainment, or as a form of relaxation. Yet most arts and health research focuses on the benefits of art therapy, on specific projects, or specific target groups (e.g. young people) rather than the general population. I was wondering what the evidence is surrounding arts engagement and general population health? Also, should we be focusing our efforts on population based arts/health studies as a way of gaining community support for the arts and arts funding?
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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.
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I have recently taken over supervising a PhD student from a colleague who passed away last year. This visual art student has been considering notions of loss in relation to death. The current work he is producing could be understood as sculptural installations.
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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.
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This is for a software concept design project.
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Thank you, everyone!
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As a visual artist, I want to know if there are references between the process of defining a 'found object' as an art piece and its process of been designed as a product.
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agree with Ian.
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I received a Faculty Research Grant to complete an "eARTh Painting" using soil from all 50 states as the paint medium. I still need more soil. If you are willing to participate in the process of gathering a sample please contact for further information. All postage is paid for ~ I just need collectors.
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Hi Allison
If you are still searching and want further scope
I would suggest putting this on the Franklin Furnace email
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
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The arts have the ability to promote, maintain and enhance health. It connects us with our self and others, promotes skills such as problem-solving, novel thinking and can have a sustained positive effect by encouraging self-expression, confidence and good self-esteem. But how much arts engagement is needed before health benefits occur? Are low levels of arts engagement the same as no engagement? Are there parameters for low, medium and high levels of engagement so as to achieve health benefits?
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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.
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There appears to be a lot of research into the value of art in rehabilitation particularly with people who suffer mental health issues. There is also some work on undergraduate and post grad interactions with art based projects, but I have not found anything as yet that records the voice of the artist in art/health project. Does anyone know of published papers that include these apparently missing voices?
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Thank-you Julia. I look forward to reading your paper.
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How can children enjoy and understand arts education in the middle of games
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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.
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Tactical media as political engagement
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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
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Is any one doing research in a topic related to: How, over time, design from one country/culture influences the design of another? Or. How design styles travel around the world and transforms as it is adopted by one culture or another?
I am talking about any form of design, including products. I am not talking about instant influences or travel in modern times; I am looking for real effects of how design is adopted and transformed from one country/culture to the next and how it is perceived in each country/culture after generations have passed.
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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.
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Research Project Zurich October 2013 - Looking for partners and advice
CAST/ Audiovisual Media at the Zurich University of the Arts currently develops a research project in the field of transmedia storytelling. We would like to analyze the levels and forms of audience participation around the Swiss transmedia and ARG project "Die Polder" (October 2013, Zurich) we observe and monitor the project and look how transmedia stories can activate and engage the audience. We are looking for partners to cooperate. You have experience in transmedia research and/or have knowledge in new transmedia audience measurement methods. We would be also thankful for references and examples of transmedia evaluation and research.
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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.
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I am doing research on contemporary art in Bulgaria in the post-communist condition, but I am interested also in other former communist countries.
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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.
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Spectator response is one of the marginalised aspect in the field of art , particularly traditional performing arts research. I am looking for some additional information in that context.
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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.
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.
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The selected papers should have been disclosed on July 15. So far the site is down and no one even sent an email to the participants.
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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!
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My research is about Art, Self-Expression, and LGBTQ people.
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Pedro could you please be a bit more specific about your perspective on this topic? I think it would be more helpful.
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I am interested in learning about how the creative process happen in improvisation.
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Has someone here done similar work or know of any information about it?
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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. ......