Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The purpose of the dissertation is to specify the meaning and consequences of the following proposition: A great work of art is an inductive game. I consider three axioms: the first states that an accurate induction is; the second asserts that the essential activity of a human organism is making accurate inductions; and the third asserts that a work of art is an inductive game which exercises the deepest habitual responses of the organism. Since the meaning of the latter two axions depends upon the meaning of the first, I begin by constructing a formal logic of induction and illustrating its application to an inductive situation. I then specify the meaning of the latter two axioms. Lastly, I discuss and illustrate the stractural consequences of the axioms with respect to the traditional formal canons of the arts, distinguishing between narrative and non-narrative arts. [TRUNCATED] / 2031-01-01

Thesis (M.F.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

In this body of work I explore the changing qualities of nature and I strive to represent these subtle qualities in my earthy patinas and brightly enameled pieces. My work examines how the elements affect our natural world and how changing seasons and the passing of time causes humankind to change shape, and grow. I also strive to honor our natural world and my jewelry pays homage to nature and it’s transformative elements.

Uppsatsen beskriver hur fyra olika utbildningar i Europa definierar och förmedlar konstnärlig kunskap. Uppsatsen tar sitt avstamp på Dômen Konstskola i Göteborg där författaren undervisar. Utifrån denna erfarenhet undersöker sedan hon utbildningar på en högskoleförberedande nivå på Chelsea School of Art (CSA) i London, Universidad de Castilla-La Mancha  (UCLM)  i Cuenca, Kungliga Konsthögskolan (KABK) i Haag. Undersökningen utgår från intervjuer gjorda med lärare och elever på respektive skola, observationer gjorda på plats av författaren mellan 2007 och 2011 samt texter från hemsidor och kataloger som skolorna själva gett ut. I jämförelsen hittade författaren likheter beträffande feedback, självreflektion och utgångspunkter men även många olikheter. Olikheterna handlade om vilka delar av innehållet i utbildningen som prioriterades. Ingen av konstskolorna definierade den konstnärliga kunskap de sades förmedla. KABK och CSA hade den mest sammanhållna pedagogiken medan utbildningen på UCLM berodde på läraren och den på DK berodde både på lärare och år. Samtliga skolors konstsyn relaterades till N. Carolls definition av konstbegreppet. Här visade sig skolorna ligga relativt nära varandra.

This thesis establishes an understanding of how public school art teachers are incorporating service-learning into their art classroom curriculum. Through conversations with three public school art teachers and one administrator, observations of the teachers' instruction, and written reflections from several students, I have introduced how service-learning can impact students. Additionally, this thesis identifies resources that help create and sustain a successful service-learning curriculum. Using case study methodology, an investigation was made of service-learning philosophies and perspectives, methods of application and practice, and impacts on the students and the art classroom environment. Through this research I have gained an understanding of what I believe to be best practices of service-learning found in the art classroom, which are particularly helpful for real world application. / text

<p> An Exploratory Study of Problem Solving for Leaders Drawing on the researcher's experience as an artist, art therapist, and Art Therapy educator, this exploratory study used Art Based Research to closely observe how (if at all) engagement in the process of the creation of a painting enhances leaders' problem solving in complex situations.</p><p> This study found that the Art Based procedure did, in this case, facilitate problem solving in a complex situation by allowing the leader to get in touch with a wider range of conscious and tacit or unconscious knowledge, capture experiential information, and look at the wide picture in one glance, with the art work mirroring the thinking process, serving as documentation, and reflecting changes in perspective.</p><p> Furthermore, the use of an introspective, systematic, Art Based approach to closely observe the creative process revealed that while in theory verbal metaphors differ from visual metaphors, and rational, logical thinking differs from intuition and imagination, in practice they were interwoven and constantly evolved and reconstructed each other, often resulting in what the researcher came to think about as idiosyncratic metaphors.</p><p> Besides its contribution to the field of leadership, by offering a new method for leaders who need new tools for dealing with the growing complexity of this world, this study offers a systematic method to look into the process of problem solving while creating a painting. It demonstrates the value of Art Based Research for closely observing individual thinking processes, and contributes a model for a systematic Art Based Research method.</p><p> <i>Keywords:</i> leaders, problem solving, creative process, art, painting, nonverbal, Art Based Research, Art Therapy, tacit knowledge, idiosyncratic, metaphor.</p>

<p> Since the Devonian Period, 360 million years ago, trees have been foundational for the survival of aerobic life. Today, most humans relate to trees through the idea, material and commodity of wood. This understanding is primarily informed by its use as a building material: the formal attributes of its grain pattern read to assess structural integrity and aesthetic applications. I think of these marks as autonomous and unique natural drawings, documenting time in a scale different from our lifespan. Wood&rsquo;s composition of cellulose and lignin create patterns that record temporal fluctuations in precipitation and the unique soil compounds of each tree&rsquo;s growth site as a codex. As an MFA candidate, I used woodworking techniques to explore the relationship between temporality and materiality. Along the way, I became interested in the reductive carving techniques of woodturning as a metaphor for this investigation: cutting through layers of time. Small segments of wood were laminated together in mathematical patterns and turned to reveal parabolic grids on the interior and exterior surface of each object. This study led me to consider the limitations that traditional art display conventions impose on the viewer&rsquo;s perception of an artwork, and to the realization of the <i>Thoughtitarium; </i> an eight-foot diameter fiberglass hemisphere that hovered above the gallery floor in architectural scale.</p>

<p> As a community-based art educator, I advocate for an arts-based educational environment that embraces postmodern tenets and encourages individuals to reflect on self and society in relation to the places in which they dwell and learn. This thesis is a dialogue on emplaced community-based art education. Issues of urban education, social justice, and critical pedagogy are considered in relation to participants&rsquo; enactments of place within two distinct community-based educational settings. In order to investigate the connections between a culture of place, place-based education, and the community-based programs of each site, the role of art and artifacts was carefully considered in building a sense of place and placemaking within the comparison of each case study. Data was collected over the course of a year and later analyzed through the lens of narrative analysis-a focus on how people spoke to personal values and social beliefs associated with their enactment of place-based education. </p>

<p> This Q methodological study addresses the subjective opinions of arts educators concerning the values the arts bring to the school curriculum and to society. In order to effectively defend the inclusion of the arts in budget-constrained schools, to clarify confusing and contradictory rationale for arts education and potentially to guide teacher training decisions, it was considered necessary to identify what opinions arts educators hold in terms of value orientations. A review of relevant literature in education, aesthetics, psychology, sociology and related fields was conducted to identify the breadth of the field and to develop an initial interview protocol. Six arts educators representing visual arts, music and drama were subsequently interviewed. The results of the interviews and the literature review were used to construct a 47 statement Q set which was sorted by 25 arts educators. PQMethod software was used to analyze the results and a three factor solution resulted. In addition to the comparison of statement positions on each factor, narrative input provided by the participants and interview commentary provided by interviewees who defined the factors aided in the interpretation of the results. The three factors were interpreted to be Arts Orientation, Student Orientation and Equity Orientation. Themes in the Arts value orientation included passion for the arts and quality of life; whereas Student orientation values the connectedness of the arts to other subjects, academic benefits and the learning environment. Equity orientation values the arts for bringing cultural equity into the schools and values accessibility for all. Common perspectives amongst the factors were associated with creativity and problem solving, communication roles, and rejecting the value of an art for only its excellence in the art. Demographic data was solicited addressing age, gender, education and discipline taught. An orientation distinction between visual and performing arts educators is suggested.</p>

<p>The use of quantitative data-driven instruction and assessment in the visual arts curriculum could impact the outcome of student creativity if employed within the visual arts, a content area that uses primarily qualitative pedagogy and assessment. In this paper I examine the effect upon measured creativity resulting from the use of Quantitative Data-Driven Assessment compared to the use of Authentic Assessment in the Visual Arts curriculum. This initial experimental research exposed eighth grade Visual Arts students to Authentic Assessment in one group, and Quantitative Data-Driven Assessment in another. Two experiments were conducted from the results. In the first experiment, both groups of student post-test art works are compared for mean creativity scores as defined by an independent expert panel of Art Educators. The second experiment compares for gains in pre-test/post-test creativity as the teacher assessed. Gains in mean creativity scores are compared between groups. Difference in assessment motivations are discussed as possible influencing factors.