scholarly journals "My Soul Got a Little Bit Cleaner"

2021 ◽  
Vol 5 (CHI PLAY) ◽  
pp. 1-19
Author(s):  
Julia A. Bopp ◽  
Jan B. Vornhagen ◽  
Elisa D. Mekler
Keyword(s):  
Emotional Responses ◽  
Artistic Expression ◽  
Study Materials ◽  
Transformative Potential ◽  
Art Forms ◽  
The Status ◽  
Player Experience ◽  
Emotional Resonance

Videogames receive increasing acclaim as a medium capable of artistic expression, emotional resonance, and even transformative potential. Yet while discussions concerning the status of games as art have a long history in games research, little is known about the player experience (PX) of games as art, their emotional characteristics, and what impact they may have on players. Drawing from Empirical Aesthetics, we surveyed 174 people about whether they had an art experience with videogames and what emotions they experienced. Our findings showcase the prominence of epistemic emotions for videogame art experiences, beyond the negative and mixed emotional responses previously examined, as well as the range of personal impacts such experiences may have. These findings are consistent with art experience phenomena characteristic of other art forms. Moreover, we discuss how our study relates to prior research on emotions and reflection in PX, the importance of games' representational qualities in art experiences, and identify lines of further inquiry. All data, study materials, and analyses are available at https://osf.io/ryvt6/.

scholarly journals ”My Soul Got a Little Bit Cleaner”: Art Experience inVideogames

2021 ◽  
Author(s):  
Julia Bopp ◽  
Jan Benjamin Vornhagen ◽  
Elisa D Mekler
Keyword(s):  
Emotional Responses ◽  
Artistic Expression ◽  
Study Materials ◽  
Transformative Potential ◽  
Art Forms ◽  
The Status ◽  
Player Experience ◽  
Emotional Resonance

Videogames receive increasing acclaim as a medium capable of artistic expression, emotional resonance, and even transformative potential. Yet while discussions concerning the status of games as art have a long history in games research, little is known about the player experience (PX) of games as art, their emotional characteristics, and what impact they may have on players. Drawing from Empirical Aesthetics, we surveyed 174 people about whether they had an art experience with videogames and what emotions they experienced. Our findings showcase the prominence of epistemic emotions for videogame art experiences, beyond the negative and mixed emotional responses previously examined, as well as the range of personal impacts such experiences may have. These findings are consistent with art experience phenomena characteristic of other art forms. Moreover, we discuss how our study relates to prior research on emotions and reflection in PX, the importance of games' representational qualities in art experiences, and identify lines of further inquiry. All data, study materials, and analyses are available at https://osf.io/ryvt6/?view_only=965fa2fd34dc4f728685fe865f09b446

scholarly journals ‘I’m Not that Kind of Doctor’

2019 ◽  
Vol 26 (1) ◽  
pp. 12-20
Author(s):  
Erica Nelson
Keyword(s):  
Latin America ◽  
Global Health ◽  
Critical Reflection ◽  
Sexual And Reproductive Health ◽  
Status Quo ◽  
Health Interventions ◽  
Health Practice ◽  
Transformative Potential ◽  
The Status ◽  
Complex Relationships

Within multi-disciplinary global health interventions, anthropologists find themselves navigating complex relationships of power. In this article, I offer a critical reflection on this negotiated terrain, drawing on my experience as an embedded ethnographer in a four-year adolescent sexual and reproductive health research intervention in Latin America. I critique the notion that the transformative potential of ethnographic work in global health remains unfulfilled. I then go on to argue that an anthropological practice grounded in iterative, inter-subjective and self-reflexive work has the potential to create ‘disturbances’ in the status quo of day-to-day global health practice, which can in turn destabilise some of the problematic hubristic assumptions of health reforms.

Acoustic Art Forms in the Age of Recordability

2015 ◽  
Vol 20 (2) ◽  
pp. 200-206
Author(s):  
Gerald Fiebig
Keyword(s):  
Visual Art ◽  
Electroacoustic Music ◽  
Sound Art ◽  
Sound Recording ◽  
Technological Basis ◽  
Sonic Art ◽  
Art Forms ◽  
The Status ◽  
History Of ◽  
Radio Art

Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as ‘recordability’, spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their shared technological basis and the multiplicity of their reference systems rather than by subsuming one into another.

scholarly journals Obraz kobiety w twórczości Anandy Devi

2020 ◽  
Author(s):  
Anna Szkonter-Bochniak
Keyword(s):  
Artistic Expression ◽  
Female Characters ◽  
Postcolonial Feminism ◽  
Modern Writer ◽  
Patriarchal Society ◽  
The World ◽  
The Status ◽  
Western European ◽  
Place And Identity ◽  
Status Of Women

Ananda Devi, an accomplished modern writer from Mauritius, creates texts that are difficult to classify according to their style and genre. The author is reluctant to accept the treatment of her writings as feminist, particularly Western European feminist, they are surely closer to postcolonial feminism and eco-feminism. Nevertheless, the status of women, their rights and tolerance for otherness are the key elements of Devi’s artistic expression. Her characters rebel against the patriarchal society, they endeavour to discover their own place and identity, which frequently means regaining control over their bodies in the first stage of the transformation. Devi’s female characters live close to nature, where they find comfort, some of them go through a regress to the world of animals and plants.

scholarly journals “How often can you ask your reader to leave?” Text and Reader in Lars Skinnebach: Din misbruger (You/r addict)

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 145
Author(s):  
Marianne Ølholm
Keyword(s):  
Characteristic Feature ◽  
Artistic Expression ◽  
Literary Genre ◽  
Avant Garde ◽  
Poetic Voice ◽  
The Status ◽  
Role Of The Reader ◽  
Radical Approach

A characteristic feature of Avant-garde art is the radical approach to established artistic forms. One way of describing tradition and norms of artistic expression is through genre: Literary genre represents a set of conventions which are transcended by the experimental text. The poetic genre can be defined through the expectations of the reader, and this approach seems particularly relevant in the case of Lars Skinnebach's Din misbruger (You/r addict) (2006) as this work actively addresses the role of the reader, his or her expectations of the text, and the status of the work as an object of interpretation. This paper investigates the conditions of the construction of poetic voice in the Din misbruger (You/r addict) and how it challenges the role of the reader as well as the status of the text as a literary product. 

Bodenwieser, Gertrud (1890–1959)

2018 ◽  
Author(s):  
Amanda Card
Keyword(s):  
Modern Dance ◽  
Avant Garde ◽  
Art Forms ◽  
The Status

Gertrud Bodenwieser was an Austrian-born dancer, teacher, and choreographer who made major contributions on two continents to the development of what she called New Dance, and what others have called modern dance, or Ausdruckstanz. Since the 1940s she has enjoyed the status of a dance pioneer in Australia. More recently, her legacy has been recognized in her native Austria, allowing her a place amongst Vienna’s interwar modernist avant-garde. In both countries Bodenwieser is remembered as an inspired experimenter who stirred a prodigious loyalty among her students. Her early experimentation solidified into a formal technique, which she imparted through her teaching in Vienna in the 1920s and 1930s and in Sydney in the 1940s and 1950s. Her pedagogic principles supported her choreographic practice, as did her belief in the interconnectedness of all the art forms. In her works of pure abstraction or her dance dramas, music was a constant inspiration and improvisation a key process in the realization of her kinetic and thematic ideas.

Artistic Vision of the Urban Landscape Design

2014 ◽  
Vol 584-586 ◽  
pp. 625-629
Author(s):  
Yong Zhang
Keyword(s):  
Urban Landscape ◽  
Physical Space ◽  
Landscape Design ◽  
Artistic Expression ◽  
Operating Mechanism ◽  
Integrated Arts ◽  
Art Forms ◽  
Artistic Vision ◽  
The Operating Mechanism

The urban landscape is the image of a city's social and cultural atmosphere , a physical space for the operating mechanism of the material and the formation of a comprehensive space artistic expression , urban landscape design as an integrated arts and other art forms between intrinsically Contact . Thus the various art forms of urban landscape design plays an important role .

scholarly journals Žižekian ideas in critical reflection

2016 ◽  
Vol 8 (1) ◽  
pp. 5-16 ◽  
Author(s):  
Tony Wall
Keyword(s):  
Design Methodology ◽  
Critical Reflection ◽  
Emotional Responses ◽  
Status Quo ◽  
Content Type ◽  
Case Examples ◽  
New Ways Of Working ◽  
The Status ◽  
Key Indicators ◽  
Practical Implications

Purpose The purpose of this paper is to examine how deeper psychosocial structures can be examined utilising a contemporary provocative theory within workplace reflection to generate more radical insights and innovation. Design/methodology/approach This paper outlines a provocative theory and then presents case examples of how deeper structures can be examined at the micro, meso and macro levels. Findings Deeper psychosocial structures are the forces that keep the status quo firmly in place, but deeper examination of these structures enable radical insights and therefore the possibility of innovation. Research limitations/implications Deep psychosocial structures shape and constitute daily action, and so work-based and practitioner researchers can be tricked into thinking they have identified new ways of working, but may be demonstrating the same workplace behaviours/outcomes. Workplace behaviours, including emotional responses to apparent change, are key indicators of deeper structures. Practical implications Ideas and processes for examining deeper structures can be integrated into daily reflective practices by individuals, within organisational processes, and wider, system processes. However, because deeper structures can appear in different forms, we can be tricked into reproducing old structures. Social implications Examining deeper structures increases the possibilities for more radical insights into workplace structures, and therefore, how to potentially mobilise innovations which may better serve people and planet. Originality/value This paper is the first to examine the work of Slavoj Žižek in the context of work-based learning.

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