This research is concerned with the utilization of chance as a stimulus to encourage experiment and discovery in sculpture. The aims of this research project were: to examine the role of chance within the creative process and previous artists' use of chance; to develop and test a 'chance orientated device' which can introduce chance into any sculptor's creative process; to consider the results of such tests and postulate as to the efficaciousness of such a device. An initial interest in chance came about through the author's personal experience of making sculpture and the fact that the author derived greater pleasure from the end product when to some extent its final form had been determined by factors beyond the author's control. Also, such work appeared to receive more favourable peer judgement and praise than work in which chance had played no part. These events aroused a curiosity as to why chance appeared to have such a positive effect upon the author's creative process and whether or not this effect could be enhanced, and extended to other sculptors. A critical review of literature concerning the scientific study of creativity revealed that chance was recognised as a contributory and often catalytic factor in all fields of creativity, whilst a review of previous artists' use of chance identified the deliberate use of chance in a number of processes, products and philosophies of major art movements and influential artists throughout the twentieth century. It was concluded that chance was a significant yet neglected factor within the creative process, with little accreditation to be found. The methods that previous artists employed to introduce chance had been based upon idiosyncratic techniques which lacked the cohesion and objectivity which the principle of chance demanded. In order to rectify this, the author proposed the development of a 'chance-orientated interactive device' (C.O.J.D.), which possessed the ability to introduce chance into any person's creative process by exploiting the decision making process inherent within creativity. The device, known as ARP (Art as Random Process), exists in 'Hypercard', an Apple Macintosh application which allows non-linear organization of information in relational structures of either text, image, or sound, and has been designed to introduce chance into both the mental and physical processes of making sculpture. ARP exploits the principle of chance by offering the user an opportunity to receive random selections from various alternatives, all of which (both actually and theoretically), relate to the production of sculpture (for example, the user could receive a randomly selected material, a randomly selected shape, or a randomly selected place, etc). By making use of such chance processes, the user is freed from personal likes and dislikes because ARP provides chance combinations of elements that they perhaps would not have chosen themselves. By encouraging users to consider 'random selections', ARP aims to stimulate creativity by acting as a 'habit breaker' to the more experienced sculptor, and as an 'eye-opener' to the less experienced sculpture student. The development of ARP has involved several experiments (using both author and others as participating subjects), which not only tested the design of the device, but attempted to measure the difference, if any, between sculpture produced by purely 'personal decision making procedures', and sculpture produced by 'chance effected decision making procedures'. Ultimately, ARP has been tested and endorsed by a number of prominent sculptors, the majority of whom found ARP to be fascinating, relevant and stimulating. The prototype has successfully demonstrated the immense potential for the future development of ARP, not only within the sculptor's studio, but as an educational device (in any creative profession), and as a methodological 'tool' for further research.

This multiple-case study examined the factors that influence activist artists in the production of their work. Four artists who were well established in their careers took part. The research was designed to gain insight into what motivates artists to become activists. The research methodology was rooted in qualitative hermeneutic phenomenological traditions with a descriptive, interpretative and exploratory approach, using data collected from in-depth interviews. This study sought to explore and synthesize common patterns and similarities of activist artists. Seven themes emerged: identity, place, and personality as style, life experience, world issues, community and change. Regarding activist artists using a variety of what is typically considered “style” to present their work, this study concluded that there are similarities that support the notion that activist artists can be seen as a group. / Thesis (Master, Education) -- Queen's University, 2010-01-27 15:59:37.792

Orientador: Ligia Arcuri Eluf / Tese (doutorado) - Univesidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T19:04:37Z (GMT). No. of bitstreams: 1 Niculitcheff_Sergio_D.pdf: 15344861 bytes, checksum: ad35877328602d1ad77c5aa64e7b7fef (MD5) Previous issue date: 2009 / Resumo: Neste trabalho abordo minha produção artística tendo a memória como aspecto principal. Rememoro alguns fatos vividos na infância e juventude, demonstrando como eles estão diretamente relacionados às Imagens utilizadas no presente e as relações que se estabelecem com a poética em minhas obras. Mostro a importância da observação no surgimento da imagem, abordando aspectos relacionados às inspirações e à criação de figuras. Exponho procedimentos pessoais, como o de colecionar pequenos objetos, e como também são manifestações da memória. Associo as lembranças a elementos culturais ligados a aspectos formais, tais como as influências da representação do Renascimento. Discorro sobre os elementos de linguagem e de como em minha obra são tratados os procedimentos artísticos, enfoco questões práticas da confecção das obras, relatando as técnicas de pintura, gravura e escultura. Faço um relato sobre a gênese de minha obra, explicitando detalhadamente as etapas de meu processo particular de criação. Desnudo todos os passos; desde a concepção das imagens, as escolhas das formas, a preparação do suporte, a execução da obra e o tratamento pictórico até a finalização do trabalho / Abstract: This work has been developed based in my memory only. Childhood and teenager experienced facts are used as a demonstration that is directly related to actual images, also poethic relation with my work. Observation importance was pointed out at image's construction also comprehending future aspects of picture creation. The relevance of object collection as part of memory perception was also emphasized at this document. Relation of cultural elements and formal aspects, as Renaissance influences as well, are proximately connected at this work. The language elements are mentioned, artistics procedures, practical focus works, relating paint techniques, engraving and sculpture. Reporting of my work's genesis were developed detailing steps of my particular creation process. All steps are explicit; beginning with image conception, shapes choice, support preparation, work execution and pictorial treatment up to work conclusion / Doutorado / Artes / Doutor em Artes

Denna masteruppsats har formen av en vetenskaplig essä. Dess syfte är att försöka synliggöra vad en bildkonstnärlig process är, undersöka hur den kan beskrivas och på vilket sätt den bygger på kunskap. Uppsatsens första del tar sin utgångspunkt i en berättelse där en konstnärlig process beskrivs och den andra delen i intervjuer med tre verksamma bildkonstnärer. Berättelsen och intervjuerna utgör undersökningens empiriska material och utifrån detta reflekteras och diskuteras olika teman. Ett teoretiskt perspektiv är här filosofen John Deweys begreppsvärld där erfarenhet, handling och görande blir viktiga aspekter. Uppsatsen försöker bryta med förväntningar kring vad en konstnärlig process är såsom exempelvis enbart ett uttryck för personlighet eller som ett direkt uttryck av känslor. Istället lyfts det konstnärliga görandet fram som något som i allra högsta grad bygger på skicklighet och tillägnad kunskap. Den konstnärliga processen beskrivs ha en svårfångad karaktär, därför ägnas sista delen av uppsatsen åt att även diskutera syftets relevans. Här lyfts andra konstnärliga utövares och forskares formuleringar kring konstnärliga processer fram. Frågor ställs kring vad som händer när kunskapsbegrepp används för att beskriva en konstnärlig process och den konstnärliga praktikens relation till det textuella berörs. / This master's thesis has the form of a scientific essay. Its purpose is to try to make visible what a visually artistic process is, investigate how it may be described and in what way it is based on knowledge. The first part of the essay is based on a story in which an artistic process is described and the second part on interviews with three active artists. The story and the interviews together make up the empirical material of the investigation and based on this, different themes are reflected and discussed. A theoretical perspective here is the conceptual world of philosopher John Dewey, in which experience, action and doing are important aspects. The paper tries to break down expectations regarding what an artistic process is, such as a mere expression of personality or a direct expression of emotions. Instead, the artistic performance is brought forward as something which to a great extent is based on skill and acquired knowledge. The artistic process is described as having an elusive character and therefore the last part of the essay is also dedicated to discussing the relevance of the purpose. Here are presented phrasings by other artistic practitioners and researchers’ in regards to artistic processes. Questions are asked regarding what happens when knowledge concepts are used to describe an artistic process, and the relationship between the artistic practice and the textual is touched upon.

A high school visual art educator, along with 20 students enrolled in this teacher/researcher's Advanced Placement (AP) studio course, investigated the processes involved in creating artwork. Understanding artistic processes beyond skills and techniques is significant for curriculum development, but it is also key in conceptualizing art as a way of knowing. The arts based research strategy utilized in this study was a/r/tography, which focuses on the interconnectedness between artist, researcher, and teacher/learner. This highly reflective form of action research allowed the researcher and students to uncover new understandings of what it means to be an artist-researcher through a combination of knowing, doing, and making. Student-researchers learned several arts based forms of inquiry by analyzing the processes of contemporary artists. They were invited to record and reflect upon their own processes in a research journal as they generated artworks. The teacher-researcher also kept an intensive reflective journal concerning artmaking, but also included pedagogical concerns, questions, observations, and insights. At the conclusion of the semester, students were taught to analyze their own artistic process via their sketchbook entries by creating two visualizations: a mind map and an artwork as a data visualization of their process. Several important understandings are drawn from this study that transform this educator's practice as an artist-educator. These include the following concepts: not knowing as an artist, researcher, student and teacher; anxiety may be a necessary factor in artistic creation and pedagogy; and pretending is a strategy that allows one to productively move through uncertainty, ambiguity, and anxiety.

No description available.

Ce projet de recherche a pour objectif de mieux cerner l’émergence des émotions et plus particulièrement de définir et cerner l’émotion esthétique, au sein de l’atelier et lors du processus et de la relation art-thérapeutique. Il s’agit de constater que les émotions, et les émotions esthétiques ressenties, ont des effets art-thérapeutiques sur la personne détenue privée de liberté. Pour ce faire j’ai utilisé une méthodologie comportant plusieurs bases de données. Cette recherche a été réalisée à partir de 50 séances sur une année, dispensées auprès de 19 personnes détenues au sein de deux Maisons Centrales d’un Centre Pénitentiaire de très Haute Sécurité. Le dispositif repose sur une consigne d’atelier, l’expression d’une production artistique, des grilles d’observations, des questionnaires/carnets de bord remplis par les détenus à la fin de chaque séance, l’analyse du contenu des productions graphiques et picturales réalisées par les détenus et des prises de notes. Les résultats permettent de constater l’émergence d’émotions et d’émotions esthétiques ayant des effets art-thérapeutiques tels que ; l’apaisement, le plaisir, la joie et la surprise, mais la colère et la frustration ont aussi pu s’exprimer et s’élaborer afin de se métaboliser c’est-à-dire de se transformer, ce qui est positif. / This research project aims to better understand the emergence of emotions and more specifically to define the aesthetic emotion, within the workshop and during the art therapeutic process and the art-therapeutic relationship. It is a matter of noticing that the emotions and the aesthetic emotions felt, and of seeing their therapeutic effects on the detained person deprived of liberty. To do this I used a methodology with several databases. This research was carried out based on 50 sessions over a year given to 19 detainees in two Central Houses of a very High Security Prison. The device is based on a workshop instruction, the expression of an artistic production, observation grids, questionnaires/diaries filled in by each prisoner at the end of each session, analysis of the content of the graphic productions and paintings carried out by prisoners and note-taking. The results reveal the emergence of aesthetic emotions and emotions with art-therapeutic effects; Such as feelings of appeasement, pleasure, joy but also anger and frustration have been expressed and elaborated in order to metabolize, that is to say to be transformed, which is positiv.

This is a fascinating time of digital media and new technologies. They offer immersion and interaction and they challenge us, as creators, to work in alternative ways, create more space for the audience and develop our ideas across media while staying true to our artistic principles. During my research, I developed a body of work that includes films, VR, AR, film and stand up comedy as a way to investigate cross-fertilisation in the creative field between different formats, practices and individuals. / <p>This is the written part of the research and is supplementing the exposition in Research Catalogue.</p>

Integration of young migrants to the czech society by art practice Bc. Barbora Gallová 2012 ABSTRACT This thesis is concerned with the integration of juvenile migrants to the new host (Czech) society. The integration process is a complex phenomenon, which happens in the various levels of social life and its course is influenced by many aspects such as degree of cultural differences between immigrants and the host society, the amount of their mutual social ties, and psychological disposition of individuals to cope with the new conditions, etc. The goal of my work is to discuss a potential of art, artistic process, to have a positive effect on personal and social life of young migrants in the new society and to facilitate the coexistence of majority-minority population. At the same time, through the analysis of two selected artistic projects that are focused on working with migrants, I am trying to show, how the articstic and prague's project are using art for working with young migrants and whether their method is effective in influencing the integration process.

I och med de senaste decenniernas digitalisering och tekniska utveckling inom musikproduktion har det i högre utsträckning blivit möjligt för enskilda utövare att stå för alla led i produktionskedjan - komposition, produktion, ljudteknik, mixning och mastring. Dessa möjligheter har otvivelaktigt satt sin prägel på den moderna musikproduktionen och termer som laptop-producent och engelskans bedroom producer kan idag användas för att beskriva många av vår samtids mest framgångsrika artister och producenter. Jag själv tillhör denna nya generation, för vilken musikproduktion närmast är synonymt med laptop-produktion, och har i min egen praktik upptäckt ett par återkommande problem som jag misstänker har med denna totala kontroll över arbetsflödet att göra. I det här arbetet utforskar jag enkla demos som ett verktyg för att skapa och bibehålla perspektiv på produktionsarbetet av min egenkomponerade musik. Genom kvalitativa intervjuer med andra som också ägnar sig åt att producera egenkomponerad musik fördjupar jag dessutom min problembeskrivning ytterligare och visar att den i all väsentlighet delas av andra som arbetar på liknande sätt som jag gör. / Is temporary loss of perspective an inevitable part of any artistic process? In this project, I explore a strategy to deal with such problems in music production, namely the demo. With the advance of digital audio workstations and the internet, music production has become more accessible than ever before. The term bedroom producer has gone from being slightly derogatory to nowadays aptly describe many of our most influential and popular contemporary artists and producers. Historically, the music production process has been defined by a clear division of labor: artist/songwriter, producer and engineers that record, mix and master. Today, however, artists and producers have the possibility to control most, if not all, of these stages of production on a single computer. The advantages are many to this development, as it increases an individual’s ability to have detailed control of their output. There is, however, a risk that such solitary work becomes unnecessarily frustrating as a consequence of the insistence on doing everything oneself. Put simply, one might overwork and lose perspective on one’s art because so much uninterrupted time is spent with the project at hand. Being of this generation of producers myself, I have lately come to wonder whether my process - writing, producing and mixing my own songs - could become less ridden with temporary loss of perspective by applying a more clear division in my own labor. More precisely, I focus on the earliest part of the production process, the demo. Instead of laboring over longer periods of time with the entire production chain - from inception to final mix - I want to explore a different workflow, which allows me to better sustain a constructive perspective on my songs and productions. In this project, I dedicate time specifically to produce simple demos, the sole purpose of which is to document an idea and guide the potential final production at a later stage. I also interview others who produce their own songs in order to deepen my analysis and strengthen the relevance of my project.