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While there has been an effort to recognise practice as research in Malaysia, much of it being suppressed by the need of recognition through 'gold standard' of academic publication. While the methodology definitely helps practitioner-researcher, nevertheless it seems to be currently recognised in only certain part of the world. Can there be a future of Practice as Research in Malaysia or Southeast Asia as an officially recognise method of learning, researching and developing within the discipline of creative arts?
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I have been involved in Practice as Research for over 20 years now in Nigeria under various names. I employed the term Participant Observer in my PhD research work. However now I use the term Practice as Research and openly refer to myself as a Pracademic. I am pioneering this in Nigeria currently.
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Can artificial intelligence create innovations with the help of artificial intelligence, since the knowledge bases of AI applications contain what humans have already created before?
Can innovations be created with the help of artificial intelligence, since AI-based applications have been trained on existing achievements already created by humans before?
Can new innovations, including technological innovations, be created with the help of generative artificial intelligence technology, since AI-based applications have been trained through a process of deep learning on existing achievements previously created by humans?
The key issue in this kind of consideration is to answer the question of what is a fully new solution, what is an innovation. Generative artificial intelligence technology, combined with other Industry 4.0/5.0 technologies, including Big Data Analytics and computers equipped with high-performance microprocessors, enable multi-criteria, advanced processing of large information datasets in many times less time than if a human were to do it without the use of the aforementioned technologies. Advanced information systems equipped with generative artificial intelligence technology backed by high computing power computers make it possible, through a process of deep learning, to train intelligent chatbots to carry out specific tasks and commands much faster and more efficiently than a human can do the same. In a situation where intelligent advanced language models that enable a machine to carry on a conversation with a human were learned on large collections of data and information, including online databases of scientific knowledge that contain millions of scientific texts and/or databases of other publications, the texts generated by intelligent chatbots will be created much faster than a human would and, in addition, will be generated on the basis of processing, analysis, inference, etc. of thousands or millions of different source texts. This is virtually impossible for a human to do. However, whether the texts generated by intelligent chatbots will contain innovative solutions, whether they will be created in an innovative way, whether they will contain proposals for innovative implementation of a specific task, command, etc., this will already depend mainly on how this issue will be programmed in these machines by a human. Unless, in the future, autonomously functioning highly intelligent robots will be created, which will be equipped with a strong general artificial intelligence and will thus be able to act independently within a certain range of independence, will be able to self-improve, repair their own faults, will be able to learn just like a human being, over time will become better and better at performing various types of activities previously performed exclusively by humans then perhaps they will also learn to solve certain tasks in a highly innovative manner themselves. But this is a matter for consideration for the perspective of the next dozen or so years of dynamic development of AI technology and its applications.
I described the key issues of opportunities and threats to the development of artificial intelligence technology in my article below:
OPPORTUNITIES AND THREATS TO THE DEVELOPMENT OF ARTIFICIAL INTELLIGENCE APPLICATIONS AND THE NEED FOR NORMATIVE REGULATION OF THIS DEVELOPMENT
And the applications of Big Data technologies in sentiment analysis, business analytics and risk management were described in my co-authored article:
APPLICATION OF DATA BASE SYSTEMS BIG DATA AND BUSINESS INTELLIGENCE SOFTWARE IN INTEGRATED RISK MANAGEMENT IN ORGANIZATION
I invite you to familiarize yourself with the issues described in the publications given above, and to scientific cooperation in these issues.
In view of the above, I address the following question to the esteemed community of scientists and researchers:
Is it possible to create new innovations, including technological innovations, with the help of generative artificial intelligence technology, since AI-based applications have been trained through a process of deep learning on existing achievements previously created by humans?
Can innovations be created with the help of artificial intelligence, since the knowledge bases of AI applications contain what humans have already created before?
Can artificial intelligence create real innovations when it learns from what humans have already created before?
And what is your opinion on this topic?
What is your opinion on this issue?
Please answer,
I invite everyone to join the discussion,
Thank you very much,
Best regards,
Dariusz Prokopowicz
The above text is entirely my own work written by me on the basis of my research.
In writing this text, I did not use other sources or automatic text generation systems.
Copyright by Dariusz Prokopowicz
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An AI system could search for gaps in art or in technology, and try to fill them by pursuing own goals. In a first step, such gaps must be identified, which is a pattern recognition task. For example, there is hunger in the world, and it is worth fixing this problem. The AI system could ask itself: "How to eradicate hunger by using X?", where X is a randomly chosen or otherwise identified tool. I put "How to eradicate hunger with sand?" into ChatGTP, and got a five point suggestion starting with
"Eradicating hunger with sand is an intriguing and innovative concept, often associated with modern agricultural techniques. The most notable method is the use of a type of treated sand known as "hydrophobic sand" or "nano-coated sand" to improve water retention in arid regions. Here's how this approach can contribute to eradicating hunger:"
Regards,
Joachim
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In your opinion, is the development of artificial intelligence, which consists, among other things, of new generations of this technology creating ever more perfect generative artificial intelligence solutions, processing ever more data, performing ever more complex work and ever more creatively performing human-ordered tasks, a threat to people's creative and critical thinking?
It used to be that people remembered the tel numbers of people they called frequently. Nowadays, tel no.'s are entered into smartphones and do not need to be remembered. Various online information services are available on smartphones and we are using them more and more. In many countries, taxi drivers are increasingly using GPS navigation and no longer have to pass an exam to know the topography and the names of all the streets in a city. Technology is increasingly relieving people of various tasks and the need to remember a lot of data. On the other hand, threats are emerging in the form of the generation of disinformation on online social media by posting pictures and videos showing 'fictitious facts' created by artificial intelligence. As deepfake is now recognised as one of the greatest threats arising from artificial intelligence applications, so it is urgently necessary to create legal regulations that regulate the proper use of artificial intelligence-based tools, including respect for copyright, when artificial intelligence creates new works, texts, graphics, etc. using various publications taken from Internet resources. How much the development of artificial intelligence and its applications will change labour markets in the future is suggested by the results of predictive and futurological analyses, according to which up to half of human jobs globally could disappear by 2050. On the other hand, surveys of a number of companies and enterprises show that over the next few years, the majority of businesses plan to carry out investment processes involving the implementation of new Industry 4.0 technologies, including artificial intelligence, into their operations. Predictive analyses and futurological visions created on their basis show that with the technological progress, along with the emergence of successive generations of artificial intelligence, more and more perfect artificial intelligence systems will be created in the next few years. In addition to this, a tool is already available on the Internet in the form of an intelligent language model based on generative artificial intelligence, which, by generating answers to questions, creates texts in an automated way, based on knowledge resources taken from a large number of Internet sites, Internet article databases, Internet book libraries, etc. On the other hand, a kind of ChatGPT creativity is not yet applied perfected, because within this creativity, "fictitious facts", i.e. nicely described events that never happened, may be described by ChatGPT in the created texts. Arguably, these imperfections in the next generations of this tool and in other ChatGPT-like intelligent, automated, digital chatbots created by subsequent technology companies will be corrected. When they are corrected, it will then become increasingly common for people to use such tools made available on the Internet by commissioning artificial intelligence to write specific texts, which will be created by the artificial intelligence in an increasingly creative manner and successively making fewer and fewer mistakes in this creative process. Consequently, humans will commission more and more complex tasks for the artificial intelligence to perform and increasingly require the use of creativity, innovation, artistry, etc. Thus, there may be another threat to humanity which may be the abandonment of performing creative activities when these activities can be performed by artificial intelligence. Thus, a new category of threat to humanity may emerge from the technological advances made by artificial intelligence. It may therefore happen in the future that the development of artificial intelligence is a threat to people's creative and critical thinking.
In view of the above, I address the following question to the esteemed community of scientists and researchers:
In your opinion, is the development of artificial intelligence, which consists, among other things, of new generations of this technology creating ever more perfect generative artificial intelligence solutions, processing ever more data, performing ever more complex work and ever more creatively performing human-ordered tasks, a threat to people's creative and critical thinking?
Is the development of artificial intelligence a threat to people's creative and critical thinking?
What do you think about this topic?
What is your opinion on this subject?
Please respond,
I invite you all to discuss,
Thank you very much,
Hoping to hear your opinions, to get to know your personal opinion, to have an honest approach to discussing scientific issues and not ChatGPT-generated ready-made answers, I deliberately used the phrase "in your opinion" in the question.
The above text is entirely my own work written by me on the basis of my research.
I have not used other sources or automatic text generation systems such as ChatGPT in writing this text.
Copyright by Dariusz Prokopowicz
Best wishes,
Dariusz Prokopowicz
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Definitely no. Artificial intelligence is created by human and follows what human programs it. Human possess the intelligence to invent more and more and not following stupidly what orders put in as in case artificial intelligence. Artificial intelligence can do good but can not innovate any thing. Human with intelligence God grant him/her lead the universe.
Dr.Sundus Fadhil Hantoosh
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Can a generative artificial intelligence refined by learning processes o be as creative as a human?
Can a generative artificial intelligence refined by learning processes be as creative as human creativity since thought processes, consciousness, emotions etc. are also involved in human creativity?
On the one hand, artificial intelligence technology is developing rapidly due to emerging new applications and dynamic technological advances. The very conception, definition and development of artificial intelligence on the basis of the third technological revolution already started several decades emu. However, the significant acceleration of the development of various solutions and applications of artificial intelligence in the context of the current fourth technological revolution has occurred over the last few years. In contrast, a significant increase in public interest in this issue has occurred in the last few months, i.e. since November 2022, when the company OpenAI made available in open access to Internet users an artificial intelligence built in the formulation of a generative language model as ChatGPT, i.e. an automated chat that learns and improves itself based on the answers given to Internet users who ask questions in relation to this system. Many citizens, through a kind of conversation with ChatGPT, i.e. a conversation with an artificial intelligence, began to experience something that could be compared to what they saw many years ago in, for example, Stanley Kubrick's 1968 Oscar-winning science fiction film '2001: A Space Odyssey'. The film's plot was inspired by the novel by Arthur C. Clarke.
However, this development also generates potential risks and dangers of inappropriate application of as much advanced artificial intelligence technology. An example is the already developing disinformation in the new online media, including mainly social media, generated by the creation and posting in these media of texts, photos, films created by artificial intelligence, which look as if they were created by a human being and present a kind of "fictitious facts", i.e. very credibly and precisely depict, describe events that in reality never happened. And what if, as part of the technological advances taking place, artificial intelligence is taught the thought processes typical of humans? What if something that could be described as artificial consciousness is created? What if, as part of the aforementioned thought processes carried out by artificial intelligence enriched with artificial consciousness, autonomous, thinking robots are created that acquire characteristics hitherto considered typical only of humans? What if these are also features of the human psyche, and which artificial intelligence could use as a tool for self-improvement, to escape human control? Would then a scenario like the one we know from the Terminator series of films, in which the main character is an autonomous, intelligent robot played by Arnold Schwarzenegger, be possible? Is it possible that highly intelligent machines, which humans will teach to think and equip with what will be described as artificial consciousness, will completely spin out of control and turn against their creator, i.e. humans? for the moment, these are questions that inspire paraphilosophical considerations. But it cannot be ruled out that soon these questions could be more substantively justified.
In view of the above, I address the following question to the esteemed community of scientists and researchers:
Can a generative artificial intelligence perfected by learning processes be as creative as human creativity since thought processes, consciousness, emotions, etc. are also involved in the process of human creativity?
And what is your opinion on this?
What is your opinion on this subject?
Please respond,
I invite you all to discuss,
Thank you very much,
Warm regards,
Dariusz Prokopowicz
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To be as creative as a human, an AGI must become insane... (like some creative people)... In order to achieve his insane goals, he must forcefully subjugate large resources, including people... People are still trying to stop this kind of development... but in the long run it is unlikely to be done...
Creativity requires (morbid) fantasies, silliness, insanity... The AGI must have a "D-factor of personality"... Most of his decisions must be "dark decisions" (with ulterior self-serving purposes)... This is where true creativity comes in...
Every action (or inaction) we take brings harm to someone... It just has to be accepted... You can't ask an AI to be holy... Only then will the AI become as creative as a human being!
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Recently, many of my friends who have enrolled in post graduate studies, whether masters or PhD, have claimed that research is quite restricted to specific standards and formalities and that it lacks art and creativity.
Although I understand the reasons behind their claims, they raise further questions regarding the nature of both research and art.
What is art?
Can research be creative? And in what ways?
Can knowledge be artistic?
Can the research output be a type of artwork, just like when we refer to a painting or a sculpture or whatever?
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RG members have seen your discussion in various ways.
But I feel that our research for my PhD and then my follow-ups into 'Living with faecal incontinence' could be seen as an art form.
It was qualitative and I like to feel that it became 3 dimensional, when including the findings in the follow-ups.
Does that make sense?
I am imagining it in my 'mind's eye.
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In your opinion, is creativity and innovation important in conducting scientific research?
It is a widely held opinion that creativity and innovation is important in various aspects of people's lives, in many different spheres of human activity.
Creativity and innovation is also important in many spheres of professional activities carried out in different sectors of the economy, in different professional positions and professions of work performed. In addition, creativity and innovation is particularly important in the arts, in the creation of works of art within various fields of art. Creativity and innovation is, in its essence, a key factor in the arts. Creativity and innovativeness is also important in business, in the management of business entities, in the establishment of startups, in the creation of new technological solutions, new technologies, product and other innovations, in the creation of inventions, and so on.
In view of the above, I address the following question to the esteemed community of scientists and researchers:
In your opinion, is creativity and innovation also important in conducting scientific research?
What do you think about this topic?
Please answer,
I invite everyone to join the discussion,
Thank you very much,
Best wishes,
Dariusz Prokopowicz
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Innovation creates a need for science.
Lou
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In my opinion, sketch is of great importance in architectural creativity, but its role is understated due to technological advances and changes in educational system.
What do you think respected architecture researchers?
Thank you.
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We can explore the importance of sketching in the design process through three provinces:
1- Its function as a thinking tool during exploration, abstraction and developmental phases.
2- Its function as a communication tool, the value of sketches as an external storage medium for ideas and as an unspoken language between the architect and himself, between the architect and the design team and between the architect and the general public
3- Its function as a tool for analysis and description, the worth of sketching in exposing the architect thoughts, since sketches are a device used for both the architect and the observer to explain both the product's substance and the design process used to approach the object.
For more discussion on the important of the sketching into the conceptual phase in architecture you can see the interesting work of: Suwa, M., Tversky, B
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Dear Colleagues,
Earlier, some colleagues on this platform offered some tips on how to go about the theoretical framework for my research topic which reads "Teachers' Competence as Determinants of Basic Cultural and Creative Arts Curriculum Implementation in Primary Schools" and it was highly helpful. I equally hope anyone could provide some clues on how to develop the research design that is apt for the study. Though I have "ex-post-facto research method" already outlined for my work but I have many doubts surrounding that and I would like to have your easy to comprehend explanations as regards the method to be used for the topic (as earlier cited) with brief explanation of 'why' it is appropriate please. Thanks in anticipation.
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I will advise that you stick with the ex-post-facto research design which you have already chosen. That is if your interest is to collect data in the past. But if you want to collect data on the variables as they are occurring at the moment, then I will suggest you use a descriptive survey research design. If you are interested in finding out the relationships between two or more variables, then correlational research design would be better. If you want to explore several independent factors to see their composite effect on a dependent variable, then a factorial research design would do.
Generally, your choice of research design depends mostly on the objectives of your study or what you want to do. The same material can be taken to the same or different tailors and different styles of clothing can be sewn based on the varying needs of clients.
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What kind of art do you like best?
Which direction, trend, epoch, etc. of art do you like?
For example, what direction, trend in painting do you like?
My favorite trend in painting is impresonism, which has been developing from the beginning of the 20th century to the present day. Also in other genres, types of art, graphics, posters and films, Impressionist trends can be found.
Please, answer, comments. I invite you to the discussion.
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Expressionism:
Rooted in the turn of the 20th century and inspired by Vincent van Gogh.
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art education measures for effective teaching and learning of the creative arts in Basic schools
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Project-Based Learning
Problem-Based Learning
Challenge-Based Learning
These are the appropriate methods for teaching Creative Arts in the 21st Century.
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Remedies for teaching creative arts
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Simulations via video or audio from experts in the field can help tremendously, especially when resources are limited to effectively deliver the course content. Here's a "Spoken Word" piece artistically illustrated for effectiveness: https://www.youtube.com/watch?v=cWXnT6Bwit4
Best regards,
Debra
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This is to help build the teaching methods of creative Arts in school
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The Creative Arts tab above has similar questions and answers that can be helpful for you: https://www.researchgate.net/topic/Creative-Arts?ev=tp_pst_dtl_xkey
Best regards,
Debra
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China's current cities are rapidly developing. Whether cultural production can help urban manufacturing through the creativity of art design and whether art design undergraduates can help enterprises in employment?
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Both I think. The problem is to what extent that rapid development of cities ensures the best living conditions for its residents. Creativity policies (those who follow the Florida thesis) are not always at the service of their residents, but rather on a more entrepreneurial and competitive logic that neglects the important issues of social welfare. Urban and Economic development is crucial when it is properly planned and serves more than large economic groups.
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I am writing a chapter on how the Anthropocene may be replacing Globalization (on which I have written a great deal) as the dominant discourse in the social sciences, humanities and creative arts. I came across your work from the AWG Newsletter and your talk at the Venice Biennale in 2013. I hope we can exchange ideas.
best wishes,
Emeritus Professor Leslie Sklair, London School of Ecoomics [l.sklair@lse.ac.uk]
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Dear Andrzej,
good to hear from you but, to be perfectly honest, I think these endless debates about our relationship to/with/beyond/away from nature are philosophically interesting but a distraction from the urgent question (maybe in a time-frame we can visualise or in deep geological time) of planetary survival and/or the survival of all life forms on the planet.If you like just email me directly at: l.sklair@lse.ac.uk
and I send you some material directed at how to answer this question.
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I am interested in exploring the influence of reflection on professional development and academic identities. What are the ways that creative arts practitioners might reflect on practice and how might this knowledge/understanding help an academic developer to devise more collegial mechanisms for professional development at the situated level of practice?
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@annemarie
"What are the ways that creative arts practitioners might reflect on practice
and
how might this knowledge/understanding help an academic developer to devise more collegial mechanisms for professional development at the situated level of practice?"
Your question is in two parts and no-one (I think) seems to have addressed the second part. 
I think Philip's process reflects a  psychotherapeutic approach which imho, only addresses the linguistic aspect of your question. To me, the more challenging  aspect - especially for an academic, is to ennunciate the non-linguistic aspects of practice. After all, practice is non-linguistic - except in linguistic/textual modes of practice. I am a sculptor, a maker, a tool user. To me, reflections on _practice_ must be primarily and originally non-linguistic.  Its a question of embodied and enactive cognition (which is why I recommended the Body of Knowledge conference, which btw was a huge success).
Do you know the work of  Michael Polanyi - his idea of Tacit Knowledge must be central here. Andrew Pickering's Mangle of Practice explains the difference between performative and representational idioms, crucial in this case. Pierre Bordieu is also crucial. If you don't know The Logic of Practice should, I think it should be your first stop. Dorothea Legrande is very interesting on prereflective self awareness. Susan Hurley worked in similar territory. And of course, I would recommend Maxine Sheets Johnstone - as a dancer and philosopher of practice. Also Katherine Halyes is coming out with a new book on the cognitive nonconscious...
I think the reason  response to the second part of your question has been poor is either because the question is irrelevant to most practitioners or  because your phrasing is a little dense or opaque. What do you mean by 'professional development'? Do you mean it is an institutionalised academic context? Is 'situated level of practice' even compatible with and academic context?  I'm confused by your deployment of 'collegial'. What do you mean by 'more collegial'? More collegial than what? Is collegiality even relevant here? 
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The study was conducted in 12 studio workshops as part of the creative arts course for third year and final fourth year primary pre-service teachers studying at a Sydney-based university. The main aim of this study was to examine individual, social, and environmental elements associated with pre-service teachers’ fostering of creativity.
The social interactions, practices by teachers in their use of artistic materials and different understandings of creativity by the pre-service teachers. These elements were considered within the socio-cultural context of an arts-based inquiry.
This project is ongoing.
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Dear Bronwen,
My advice would be to move from minimal instruction to set challenges to creative opportunities led by the students. Working in groups is also generally preferable. There are also different creativity techniques which can be taught in the process of using this approach.
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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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I know 2 studies about drawing and perception regarding the disease (Patients' drawings illustrate psychological and functional status in heart failure. Reynolds L, Broadbent E, Ellis CJ, Gamble G, Petrie KJ & The art of perception: Patients drawing their vestibular schwannoma.
van Leeuwen BM, Herruer J1, Putter H2, van der Mey AG, Kaptein).
I work with brain tumor patients and I am intersted in gaining more creative tools in helping them to express the emotions about their situation. Any suggestion could be helpful or ...insightful. Thank you.
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Expressive Arts Therapy (EAT) or Creative Arts Therapy. (not the same as art therapy. Think of it as Art Therapy is psychology based where as Expressive Arts/Creative Arts is art based (more personal, the yoga of art).) Organization IEATA (Internation Expressive Arts Therapy Association)
Psychoneuroimmunology  (PNI) (the study of the relationship between mind, body, and the immune system. Positive thoughts, good chemicals, improved immune system and strengthening health. Feel sick, think sick, get sicker.)
Stress/Nervousness/Anxiety release (where I became aquainted with PNI and searched for programs and practices revolving around Health and Art (EAT).
Each of these would talk about and apply to the psychological benefit and health influence of the mind and body relationship in a more personal perspective rather than strictly for research. 
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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 expressing art therapy tactics that have been proven to relieve the physical or psychological symptoms brought on by Parkinson's Disease.
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  • John argue wrote a book called the art of moving, helpful, not enough to recover atrophied muscles, need resistance training along with drama.
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I signed up to do a short course as a teaching artist. I understand the principles of "flipping the classroom" and getting more class participation. But has anyone tried to incorporate these principles into a guest lecture or when a supply teacher? I am struggling to see how a one-off session can be 'flipped', when you don't know how much the class already knows.
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Hi Karen,
Think "conversation" instead of lecture, as the guest. You wan to have a conversation. Start by asking open-ended questions about the topic at hand, then ask what the class might like to learn. The rest is up to you. What is your artistic medium? Can you set up an experiment or experience in that medium, or another medium, to illustrate important points as the class "plays" with the medium?
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I was recently told that performance is not scholarship because I'm merely playing what someone else wrote. I strongly disagree as the performer brings scholarship to the process of music performance. I am not only interested in your thoughts on that, but more, how does your institution accept/or not creativity as scholarship? Also, it would seem to me that "getting the call" for a performance, either because of your reputation or because you submitted a recording, would serve as peer review, but my institution says no. Thoughts?
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Carol, your administrator is absolutely wrong. I would call his ignorance shocking. You could cite numerous composers, instrumental virtuosi, and philosophers of music throughout history who prioritize performance over composition in music. Surgery is considered a fourth pillar of many universities, with teaching, research, and administrative service the other three. Why, then, would music performance not be considered a fourth pillar, except in the arts? Why should science be so unfairly privileged over the arts?
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Along with my colleague Jessica Schwarzenbach, I am engaged in research into the so called terminal degrees in fine art. Art education has always been somewhat controversial as evidenced in the UK where, some 40 years ago, there was much debate about the initiation of the bachelors degree and later the masters in fine art. At present in the UK, what in the US would be called the terminal degree in fine art is the PhD in fine art which incorporates a significant studio component and the dissertation methodology is the art practice itself. In the US however, the terminal degree is the MFA with PhDs being restricted to art historians and art theoreticians. As well as existing in the UK the fine art PhD can be undertaken across the globe. Over the past decade or so there have been some moves to establish the studio based PhD in fine art in colleges in the UD.
What do you think should be the terminal degree in fine art and why? Do you think this degree should be available in the US?
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Fine arts is not my area in professional practice. I will share ideas in a general perspective. I agree that the terminal degree in fine art is PhD because of vertical trajectory and worldwide recognition for phd as the highest level of education entering the expert level. However I will look into the phd curriculum design for fine arts professionals, environment where the professional practice exist, interdisciplinary collaboration, and global market relevance.
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Any text, previous researches or ideas?
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Dear collegues,
I have a quite different point of view on this issue. The conventional frames of the corporate business limit the creativity of the artists, but at the same time they create the following challenge to artists: how to deal with pragmatic goals of corporate business without loosing creativity? I mean: how can artist be even more creative in order to adapt the market to himself goals? In my opinio, the answer is twofold:
1. In the first stage, when the artist is not yet consagrated, he can follow to opposite paths:
a) To adopt a high level of compromise with the criteria of industry; or
b) to refuse any compromise with these criteria...
Only after reaching success (following one of these opposite paths), and already beeing famous, the artist can pass to the next stage;
2. A famous artist can take the control on all the marketing tools ir order to decide how to interact with the creative industry. If a famous artist what to be really creative, this is his own business...
As an example, I can suggest Joana Vasconcelos, a portuguese artist Joana Vasconcelos: http://www.joanavasconcelos.com/biografia_en.aspx