AP Research and the Arts: Evaluating a New Approach to College Preparation

2017 ◽  
pp. 181-199
Author(s):  
Ivonne Chand O’Neal ◽  
Serena Magrogan ◽  
Lynnette Overby ◽  
Greg Taylor
Keyword(s):  
College Preparation ◽  
New Approach ◽  
The Arts

The Unification of the Arts

2021 ◽  
Author(s):  
Steven Brown
Keyword(s):  
Cultural Evolution ◽  
Visual Art ◽  
Comparative Approach ◽  
New Approach ◽  
Aesthetic Responses ◽  
Music And Language ◽  
The Arts ◽  
Dance Movements ◽  
Evolution Of Music

The Unification of the Arts presents the first integrated cognitive account of the arts that attempts to unite all of the arts into a single framework, covering visual art, theatre, literature, dance, and music, with supporting discussions about creativity and aesthetics that span all of the arts. The book’s comparative approach identifies both what is unique to each artform and what artforms share with one another. An understanding of shared mechanisms sheds light on how the arts are able to combine with one another to form syntheses, such as choreographing dance movements to music, or setting lyrics to music to create a song. While most psychological analyses of the arts focus on perceptual mechanisms alone—most commonly aesthetic responses—the book offers a holistic sensorimotor account of the arts that examines the full gamut of processes from creation to perception for each artform. This allows for a broad discussion of the evolution of the arts, including the origins of rhythm, the co-evolution of music and language, the evolution of drawing, and cultural evolution of the arts. Finally, the book aims to unify a number of topics that have not been adequately related to one another in previous discussions, including theatre and literature, music and language, creativity and aesthetics, dancing and acting, and visual art and music. The Unification of the Arts provides a bold new approach to the integration of the arts, one that covers cognition, evolution, and neuroscience.

scholarly journals Developing Creativity Through Creative Engagement in Art Appreciation: Outcomes in Teaching Humanities

2021 ◽  
Vol 3 (4) ◽  
pp. 49-59
Author(s):  
Ma Cecilia Alimen ◽  
Pinky Jasmin Poral ◽  
Rhounella Rhane Magpantay ◽  
Rosella Quiros ◽  
Ma Elena Azarcon
Keyword(s):  
Student Engagement ◽  
Teaching And Learning ◽  
Art Appreciation ◽  
Personal Reflection ◽  
New Approach ◽  
Outcome Based Education ◽  
The Arts ◽  
Significant Difference ◽  
Approach To Teaching ◽  
Art Activities

This descriptive-correlational study determined the level of creative engagement as part of humanities teaching in the outcome-based education. This focuses on the dimension of student engagement and creativity in the context of a new approach to teaching and learning primarily through the arts. This study captures student creative engagement supported by their personal reflection after the course term. There were eight (8) classes utilized with 134 students. Results showed that the level of students’ creativity in art appreciation was “high” and it was also “high” when they were grouped as to sex. Creative engagement in art appreciation was considered “highly influential” and it was “highly influential” when they were grouped as to sex. No significant difference was noted in the level of the students’ creative engagement and development of creativity. There was a moderate and positive correlation between the level of the students’ creative engagement and influence of creative engagement in art appreciation classes to their development of creativity. The most highly valued creative engagement practices of students in art appreciation are: “I have developed an appreciation for the local arts;” “I have deepened my sensitivity of myself, my community and the society,” and “Inclusion of art activities demonstrated my understanding of art appreciation.

scholarly journals Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century

1997 ◽  
Vol 50 (2-3) ◽  
pp. 387-420 ◽  
Author(s):  
Mark Evan Bonds
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Instrumental Music ◽  
Turn Of The Century ◽  
Work Of Art ◽  
New Approach ◽  
Musical Thought ◽  
Absolute Music ◽  
The Arts ◽  
Aesthetic Principle

The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means by which a beholder could be moved. Through idealism, the work of art became a vehicle by which to sense the realm of the spiritual and the infinite, and the inherently abstract nature of instrumental music allowed this art to offer a particularly powerful glimpse of that realm. Idealism thus provided the essential framework for the revaluation of instrumental music in the writings of Wackenroder, Tieck, E. T. A. Hoffmann, and others around the turn of the century. While this new approach to instrumental music has certain points of similarity with the later concept of "absolute" music, it is significant that Eduard Hanslick expunged several key passages advocating idealist thought when he revised both the first and second editions of his treatise Vom Musikalisch-Schönen. The concept of "absolute" music, although real enough in the mid-nineteenth century, is fundamentally anachronistic when applied to the musical thought and works of the decades around 1800.

scholarly journals Online semi-supervised multi-person tracking with gaussian process regression

2019 ◽  
Vol 277 ◽  
pp. 01003 ◽  
Author(s):  
Baobing Zhang ◽  
Zhengwen Huang ◽  
Babak H. Rahi ◽  
Qicong Wang ◽  
Maozhen Li
Keyword(s):  
Prior Information ◽  
Learning Strategy ◽  
Gaussian Process Regression ◽  
Batch Processing ◽  
Current Frame ◽  
Lighting Condition ◽  
New Approach ◽  
Person Tracking ◽  
The Arts ◽  
Multi Person Tracking

Most existing multi-person tracking approaches are affected by lighting condition, pedestrian pose change abruptly, scale changes, realtime processing to name a few, resulting in detection error, drift and other issues. To cope with this challenge, we propose an enhanced multi-person framework by introducing a new observation model, which adaptively updates fully online to avoid the loss of sample diversity and learning in a semi-supervised manner. We fuse prior information for tracking decision, meanwhile extracted knowledge from current frame is used to assist to make tracking decision, which can be viewed as a transfer learning strategy, and both aspects can ameliorate the tendency to drift. The new approach does not need any calibration or batch processing. Experimental results show that the approach yields comparable or better performance in comparison with the state-of-the-arts, which do calibration or batch processing.

XIX: Toward a Modern Humanism

PMLA ◽  
1936 ◽  
Vol 51 (1) ◽  
pp. 284-299 ◽  
Author(s):  
Martin Schütze
Keyword(s):  
Annual Meeting ◽  
Critical Survey ◽  
Central Theme ◽  
New Approach ◽  
Biological Organism ◽  
The Arts ◽  
The Social ◽  
Mode Of Life ◽  
Economic Beliefs ◽  
The Ideal

(Read under the title “Main Types of Literaturwissenschaft: A Critical Survey and a New Approach,” at the Fifty-first Annual Meeting, in Philadelphia, 1934. —Ed.) A MODERN humanism would be a mode of life controlled by an active aspiration to adjust present conditions to the highest interests and values of personality. It would be three-fold, involving (1) the physical-biological organism, (2) the powers finding expression in letters and the arts, and (3) the social, ethical, religious, political and economic beliefs, theories, interests, and circumstances by which personality is affected. The principle of integral unity—which is the central theme of this essay and the ultimate measure of the reality, validity, and value pertaining to the ideal of humanity here projected—demands an unremitting endeavor to combine and harmonize those three main parts of personal being. Culture is an ultimate personal unity of values.

Design Rhetoric: Studying the Effects of Designed Objects

2015 ◽  
Vol 10 (3) ◽  
pp. 333-356 ◽  
Author(s):  
Annina Schneller
Keyword(s):  
Design Research ◽  
Design Analysis ◽  
Empirical Testing ◽  
Specific Design ◽  
Design Rules ◽  
New Approach ◽  
Design Effects ◽  
The Arts ◽  
The Creation ◽  
Rhetorical Methods

Many of the ways in which artifacts appear to or actually do affect us—as elegant, dynamic, comfortable, authentic—are based on the fact that they are designed objects. Design is an effect-oriented process that resorts to design rules linking formal aspects of designed artifacts to specific design effects. Design rhetoric tries to capture these links between design techniques and resulting effects. This article presents design-rhetorical methods of identifying design rules of intersubjective validity. The new approach, developed at Bern University of the Arts, combines rhetorical design analysis with practice-oriented design research, based on the creation and empirical testing of design variants in accordance with effect hypotheses.

On Formalization and Representation in Collaborative Research

2018 ◽  
pp. 89-97
Author(s):  
Paolo Diviacco
Keyword(s):  
Knowledge Representation ◽  
Collaborative Research ◽  
Scientific Reasoning ◽  
Scientific Research ◽  
Cognitive Models ◽  
New Approach ◽  
Transmission Of Knowledge ◽  
The Arts ◽  
Graphic Representations ◽  
Individual Use

The aim of this chapter is to delve into the issues related to the formalization and transmission of knowledge within the scope of collaborative scientific research and to propose a new approach to address such difficulties. Analyzing methods and practices of collaborative research, the authors highlight that observation and reasoning are systematically prone to flaws, so that theorization is made highly conjectural. To gain reliability, points of views and visions need then a support from a community; in other words, they become public. To allow convergence to take place, conceptualizations need to be understood by people with possibly different cognitive models. Therefore, the authors propose using artifacts that can be strongly structured in individual use while weakly structured in common use. These artifacts take place generally as graphic representations, and as in the case of the arts, they can be realistic or abstract, they can emphasize, hide, or allow different, contrasting and concurrent interpretations of the exposed knowledge. Keywords: Collaborative Research, Scientific reasoning, Knowledge Representation, Knowledge Formalization, Boundary objects.

The Birth of the Modernist Art Museum

2013 ◽  
Vol 72 (4) ◽  
pp. 503-529
Author(s):  
Katherine Kuenzli
Keyword(s):  
Formal Language ◽  
Art Museum ◽  
Educational Programs ◽  
The Political ◽  
New Approach ◽  
The Public ◽  
The Arts ◽  
Museum Design

The Folkwang Museum (1902) in Hagen, Germany, represented a radically new approach to museum design and display. Based on principles of a Wagnerian Gesamtkunstwerk, the museum overturned historicist museum principles. Following Nietzsche, the Folkwang’s founder and director, Karl Ernst Osthaus, advocated a spontaneous and individual relationship to artworks and praised art that yielded rich, synesthetic experiences. With the help of art critic Julius Meier-Graefe and designer Henry van de Velde, Osthaus defined an advanced formal language based in Parisian painterly aesthetics that he believed could provide the terms for coordinating the arts. In The Birth of the Modernist Art Museum: The Folkwang as Gesamtkunstwerk. Katherine Kuenzli shows that at the Folkwang, principles of simultaneity displaced linear narrative and historical and geographical classification. Through visually striking displays and ambitious educational programs, Osthaus and his colleagues also sought to expand the public for art. Unity remained elusive, however; Osthaus, Meier-Graefe, and van de Velde adopted competing ideological agendas that reveal the political heterogeneity of the Gesamtkunstwerk around 1900.

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