Art Making, Maps of Interpersonal Space, and the World of Art

2003 ◽  
pp. 179-191
Author(s):  
Pavel Machotka ◽  
Lori Felton
Keyword(s):  
Art Making ◽  
The World ◽  
Interpersonal Space

Materials of the Data Map

2011 ◽  
Vol 2 (1) ◽  
pp. 14-26 ◽  
Author(s):  
Brian Evans
Keyword(s):  
Information Design ◽  
Data Mapping ◽  
Art Making ◽  
Leverage Points ◽  
Systems Perspective ◽  
The World

Data mapping is the essence of being human. This report follows the process of data mapping; the transmission of a structured utterance from one domain to another. It starts with signals in the world and moves through experience and engagement with the world through those signals. The paper develops descriptions of the materials and mechanisms of data mapping. The descriptions are aids and conveniences in the effort to understand the systemic workings of the process of communication. From a systems perspective one might find points of leverage in their own involvement with the processes of communication and data mapping. Recognizing these leverage points can help in activities of art making, information design and in simply living.

scholarly journals Seeing and Being Seen: The Impact of Art Making on the Experience of Isolation and Fear in Patient Care

2020 ◽  
Vol 7 (6) ◽  
pp. 839-841
Author(s):  
Libby Byrne
Keyword(s):  
Mental Health ◽  
Adverse Effect ◽  
Patient Care ◽  
Well Being ◽  
Art Making ◽  
Incurable Illness ◽  
The World ◽  
Health Burdens ◽  
The Impact

A positive diagnosis for COVID-19 is a threat not only to the health of an individual but also to the community where the disease manifests. Rather than being the discreet experience of a few or some, many people now appreciate our shared vulnerability with the threat of uncontained and incurable illness in our midst. “In this era of unspecified isolation, contagious disease, and with no sign of returning to normal life soon, coronavirus is putting an adverse effect on people’s mental health” (1). While managing the spread of COVID-19 has necessitated the use of social distancing and isolation a means of expressing care, equating care with the experience of fear and isolation can place unseen mental health burdens on inner resources for supporting the well-being of patients and those who care for them. Art can offer a remedy for this experience, lending the quality of durability to our fragile human experience and inviting us to extend the ways in which we see, think, and make sense of the world.

scholarly journals Even as We Keep Trying: An Ethics of Interculturalism in Jérôme Bel's Pichet Klunchun and Myself

2014 ◽  
Vol 55 (2) ◽  
pp. 185-201 ◽  
Author(s):  
SanSan Kwan
Keyword(s):  
Subject Matter ◽  
The Body ◽  
Set Design ◽  
Art Making ◽  
Classical Dance ◽  
Avant Garde ◽  
The World ◽  
Spatial Composition ◽  
Concert Dance ◽  
East West

In 2004, Singaporean presenter Tang Fu Kuen commissioned French avant-garde choreographer Jérôme Bel to create a work in collaboration with classical Thai dancer-choreographer Pichet Klunchun. The resulting piece is unlike most intercultural collaborations. In the world of concert dance, East–West interculturalism takes place in a variety of ways: in costuming or set design, in theme or subject matter, in choreographic structure, in stylings of the body, in energetic impetus, in spatial composition, in philosophical attitude toward art making. Bel's work, titled Pichet Klunchun and Myself, does not combine aesthetics in any of these ways. In fact, the piece may more accurately be described not as a dance but as two verbal interviews (first by Bel of Klunchun and then vice versa) performed for an audience and separated by an intermission. There is no actual intermingling of forms—Thai classical dance with European contemporary choreography—in this performance. The intercultural “choreography” here comprises a staged conversation between the artists and some isolated physical demonstrations by each.

scholarly journals What Does a Mythopoetic Inquiry Look Like?

2013 ◽  
Vol 6 ◽  
Author(s):  
Susanna Ruebsaat
Keyword(s):  
Common Ground ◽  
Art Making ◽  
The World ◽  
The Common

A Mythopoetic Inquiry is a narrative of the imagination which creates an alternate story to the dominant story (individually or collectively). We create the story as we are living it; writing the narrative at the same time as we are reading it to ourselves and the world. Creating a vision while seeing; an imaginative vision about what is and what can be. A mythopoetic inquiry has its own logic but also needs to connect to reality. Art making (and other creative activities), can be a bridge between imagination and reality; letting the art tell the story from that liminal place between the conscious and unconscious. It is important to consider that there are practical aspects of this imagining. As humans we have a shared imagination (myths and archetypes) that is the common ground of this imagining.

scholarly journals Prisms of the abstract: Material relations in Icelandic art

2016 ◽  
Vol 22 (1) ◽  
pp. 72-92
Author(s):  
Elizabeth A Hodson
Keyword(s):  
Social Context ◽  
Mental Capacity ◽  
Art Making ◽  
Constitutive Function ◽  
The People ◽  
Contextual Understanding ◽  
The World

This article seeks to re-imagine the concept of abstraction as a material mechanism for art-making. Abstraction is traditionally divorced from the discipline of anthropology, which is rooted in social context and descriptive particulars. Within this debate, abstraction, as a mental capacity, is contrasted with contextual understanding and entails a removal from the life of the people studied. But, for the artist, this conclusion may be premature and abstraction is more accurately regarded as a constitutive function of art-making. The author draws explicitly on this proposition and proposes that abstraction affords artists a material means of transforming how they relate and re-imagine the world, offering them a means of separating the properties of things from the things themselves. Integral to these affordances is abstraction as an art historical construct. Thus abstraction is not the erasure of context, whether conceptual or material, but its imbrication. To illuminate this proposition, this article focuses on the working practice of one Icelandic artist, through which the author suggests that abstraction can be envisaged as a prism of open connections that lead from the artist into the world.

The Presence of Real Reality: Six Theses on Dance Animateuring

2014 ◽  
Vol 5 (2) ◽  
pp. 36-43
Author(s):  
Raisa Foster
Keyword(s):  
Contemporary Art ◽  
The Self ◽  
The Other ◽  
Art Making ◽  
Dance Movement ◽  
The World ◽  
Performance Challenges

Abstract Tanssi-innostaminen® (‘dance animateuring’ in English) is an artistic and pedagogical method, which I have developed in order to empower both individuals and communities. By dance animateuring I refer to dance/ movement based activity, in which everyone can find their own way of moving and expressing by movement, but also reflecting the self and its connections to the other and the whole world. In this paper I will argue the six theses that define my approach to contemporary art making in dance animateuring practice: 1) The dancer should never aim to produce something specific but only to be present. 2) The performance shows that everyone can dance. 3) The performance is born from action, not from an idea. 4) The performance is multisensory and multidisciplinary artwork. 5) The performance is incomplete and ambiguous. 6) The performance challenges the conventional ways of seeing the world and people.

Materials of the Data Map

2012 ◽  
pp. 163-175
Author(s):  
Brian Evans
Keyword(s):  
Information Design ◽  
Data Mapping ◽  
Art Making ◽  
Leverage Points ◽  
Systems Perspective ◽  
The World

Data mapping is the essence of being human. This report follows the process of data mapping; the transmission of a structured utterance from one domain to another. It starts with signals in the world and moves through experience and engagement with the world through those signals. The paper develops descriptions of the materials and mechanisms of data mapping. The descriptions are aids and conveniences in the effort to understand the systemic workings of the process of communication. From a systems perspective one might find points of leverage in their own involvement with the processes of communication and data mapping. Recognizing these leverage points can help in activities of art making, information design and in simply living.

Artist as teacher and model

2019 ◽  
Vol 8 (3) ◽  
pp. 197-202
Author(s):  
Raymond Yeager
Keyword(s):  
Learning Environment ◽  
Art Practice ◽  
Art Making ◽  
Traditional Role ◽  
Art Students ◽  
Art Educators ◽  
The World ◽  
Lev Vygotsky ◽  
The Many

Abstract Being an artist is often an enigma to art students. They need a model who will demonstrate a way to navigate the world as an artist. We are that model. As art educators, we can help demystify the practice of being an artist and help our students understand it by offering ourselves as models and mentors. In this undertaking, we should be open with students about our own odysseys as artists. Especially the many failures and hardships we faced and overcame to succeed. This modelling of art practice is a form of ‘lending consciousness'. Developed by Russian psychologist Lev Vygotsky, this concept asserts the idea that development is a social or communal process as well as a pedagogical one. By creating a learning environment where we model, as well as instruct, we alter the traditional role we play in the classroom. When our teaching and art-making become intertwined, the students benefit greatly from a more engaged instructor, and it is more likely that they will see themselves as artists-in-training.

Arts-Based Research

2019 ◽  
Author(s):  
Janinka Greenwood
Keyword(s):  
Social Sciences ◽  
Ways Of Knowing ◽  
The Political ◽  
Ethical Awareness ◽  
Art Making ◽  
Arts Based Research ◽  
Aesthetic Responses ◽  
The Arts ◽  
Wide Range ◽  
The World

Arts-based research encompasses a range of research approaches and strategies that utilize one or more of the arts in investigation. Such approaches have evolved from understandings that life and experiences of the world are multifaceted, and that art offers ways of knowing the world that involve sensory perceptions and emotion as well as intellectual responses. Researchers have used arts for various stages of research. It may be to collect or create data, to interpret or analyze it, to present their findings, or some combination of these. Sometimes arts-based research is used to investigate art making or teaching in or through the arts. Sometimes it is used to explore issues in the wider social sciences. The field is a constantly evolving one, and researchers have evolved diverse ways of using the communicative and interpretative tools that processes with the arts allow. These include ways to initially bypass the need for verbal expression, to explore problems in physically embodied as well as discursive ways, to capture and express ambiguities, liminalities, and complexities, to collaborate in the refining of ideas, to transform audience perceptions, and to create surprise and engage audiences emotionally as well as critically. A common feature within the wide range of approaches is that they involve aesthetic responses. The richness of the opportunities created by the use of arts in conducting and/or reporting research brings accompanying challenges. Among these are the political as well as the epistemological expectations placed on research, the need for audiences of research, and perhaps participants in research, to evolve ways of critically assessing the affect of as well as the information in presentations, the need to develop relevant and useful strategies for peer review of the research as well as the art, and the need to evolve ethical awareness that is consistent with the intentions and power of the arts.

scholarly journals The case of Sofia: an example of the dynamic properties of the therapeutic relationship

2018 ◽  
Author(s):  
Laura Barca ◽  
Monica De Marchis
Keyword(s):  
Therapeutic Relationship ◽  
Dynamic Properties ◽  
Clinical Intervention ◽  
Current Case ◽  
The Core ◽  
Decision Points ◽  
The World ◽  
Relational Space ◽  
Interpersonal Space

From a constructivist, post-rationalist cognitive perspective the core of any clinical intervention is attention to relationships and ways of assigning meaning to the world. After a brief discussion of recent evidence regarding the healing role of ruptures in the therapeutic relationship and its dynamical properties, a clinical case is illustrated. The case is presented by outlining some of the key “decision points” faced jointly by client and therapist, both of whom are actively involved in dynamically constructing a shared relational space. Each actor in this process has a unique perception of reality, but all are faced with jointly constructing a therapeutic relationship. In this process, the reciprocal legitimation and continuous flow between the actors' mind states helps individual meanings and experiences to emerge in their shared and unique interpersonal space. The current case provides information about the multifaceted aspect involved in reconstructing therapeutic alliance after a period of impasse.

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