Interspecies Bodies and Watery Sonospheres: Listening in the Lab, the Archives and the Field

2020 ◽  
Vol 30 ◽  
pp. 95-98
Author(s):  
Janna Holmstedt
Keyword(s):  
Knowledge Systems ◽  
Situated Knowledge ◽  
Artistic Practice ◽  
Interspecies Communication ◽  
Political Implications ◽  
Knowledge Practice

In this text, the author brings together scientific interspecies communication experiments, artistic practice and feminist posthumanities to inquire into the transformative role of sound and listening. Departing from an archive with recordings of human-dolphin language experiments, this research attends to sound as evidence and listening as a situated knowledge practice, with ethico-political implications that trouble Western, visually oriented knowledge systems. By imploding interfaces into situations of shared surfaces, the author directs attention to the logics of the skin to bring forth matters of care and suggest how listening might contribute to more careful and attentive modes of knowing.

Track 2.a Introduction

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Sucharita BENIWAL ◽  
Sahil MATHUR ◽  
Lesley-Ann NOEL ◽  
Cilla PEMBERTON ◽  
Suchitra BALASUBRAHMANYAN ◽  
...  
Keyword(s):  
Case Studies ◽  
Local Knowledge ◽  
Ways Of Knowing ◽  
Social Contexts ◽  
Knowledge Systems ◽  
Theoretical Frameworks ◽  
Native Communities ◽  
Cultural Systems ◽  
Local Practices

The aim of this track was to question the divide between the nature of knowledge understood as experiential in indigenous contexts and science as an objective transferable knowledge. However, these can co-exist and inform design practices within transforming social contexts. The track aimed to challenge the hegemony of dominant knowledge systems, and demonstrate co-existence. The track also hoped to make a case for other systems of knowledges and ways of knowing through examples from native communities. The track was particularly interested in, first, how innovators use indigenous and cultural systems and frameworks to manage or promote innovation and second, the role of local knowledge and culture in transforming innovation as well as the form of local practices inspired innovation. The contributions also aspired to challenge through examples, case studies, theoretical frameworks and methodologies the hegemony of dominant knowledge systems, the divides of ‘academic’ vs ‘non-academic’ and ‘traditional’ vs ‘non-traditional’.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

Te Waka Oranga: An Indigenous Intervention for Working with Māori Children and Adolescents with Traumatic Brain Injury

2013 ◽  
Vol 14 (3) ◽  
pp. 415-424 ◽  
Author(s):  
Hinemoa Elder
Keyword(s):  
Traumatic Brain Injury ◽  
Brain Injury ◽  
Extended Family ◽  
Child And Adolescent ◽  
Vital Role ◽  
Cultural Knowledge ◽  
Knowledge Systems ◽  
Leading Role ◽  
Kaupapa Māori

Background: Application of salient cultural knowledge held by families following child and adolescent traumatic brain injury (TBI) has yet to be documented in the literature. While the importance of the family is a well-established determinant of enhanced outcomes in child and adolescent TBI, the emphasis to date has been on the leading role of professional knowledge. The role of whānau (extended family) is recognised as an essential aspect of hauora (wellbeing) for Māori, who are overrepresented in TBI populations. However, whānau knowledge systems as a potent resource for enhancing recovery outcomes have not previously been explored. This paper describes the development of an indigenous intervention, Te Waka Oranga.Method: Rangahau Kaupapa Māori (Māori determined research methods) theory building was used to develop a TBI intervention for working with Māori. The intervention emerged from the findings and analysis of data from 18 wānanga (culturally determined fora) held on rural, remote and urban marae (traditional meeting houses).Results: The intervention framework, called Te Waka Oranga, describes a process akin to teams of paddlers working together to move a waka (canoe, vessel) in a desired direction of recovery. This activity occurs within a Māori defined space, enabling both world views, that of the whānau and the clinical world, to work together. Whānau knowledge therefore has a vital role alongside clinical knowledge in maximising outcomes in mokopuna (infants, children, adolescents and young adults) with TBI.Conclusion: Te Waka Oranga provides for the equal participation of two knowledge systems, that of whānau and of clinical staff in their work in the context of mokopuna TBI. This framework challenges the existing paradigm of the role of families in child and adolescent TBI rehabilitation by highlighting the essential role of cultural knowledge and practices held within culturally determined groups. Further research is needed to test the intervention.

scholarly journals Jesuit Sanctity: Hypothesizing the Continuity of a Hagiographic Narrative of the Modern Age

2022 ◽  
Vol 9 (1) ◽  
pp. 1-14
Author(s):  
Franco Motta ◽  
Eleonora Rai
Keyword(s):  
Early Modern ◽  
Society Of Jesus ◽  
Special Issue ◽  
Medieval Period ◽  
Late Medieval ◽  
Late Medieval Period ◽  
Modern Age ◽  
Political Implications ◽  
History Of

Abstract The introduction to this special issue provides some considerations on early modern sanctity as a historical object. It firstly presents the major shifts in the developing idea of sanctity between the late medieval period and the nineteenth century, passing through the early modern construction of sanctity and its cultural, social, and political implications. Secondly, it provides an overview of the main sources that allow historians to retrace early modern sanctity, especially canonization records and hagiographies. Thirdly, it offers an overview of the ingenious role of the Society of Jesus in the construction of early modern sanctity, by highlighting its ability to employ, create, and play with hagiographical models. The main Jesuit models of sanctity are then presented (i.e., the theologian, the missionary, the martyr, the living saint), and an important reflection is reserved for the specific martyrial character of Jesuit sanctity. The introduction assesses the continuity of the Jesuit hagiographical discourse throughout the long history of the order, from the origins to the suppression and restoration.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

scholarly journals Motivación en educación artística. Tiempo y variables

2020 ◽  
pp. 56-61
Author(s):  
Inés López Manrique
Keyword(s):  
Arts Education ◽  
Educational Context ◽  
Artistic Practice ◽  
Comfort Zone ◽  
Education Students ◽  
Fundamental Factor ◽  
Artist Studios ◽  
Student Today ◽  
Work Done

Motivation is a fundamental factor for all kinds of activities, highlighting in it the role of emotions. Motivation is present, both in artistic practice and in the educational context, classifying as extrinsic or intrinsic. Reviewing fundamental authors on motivation directed to arts education students, variables such as time, resources, passion and the environment were found. Other strategies consist of evaluating: the importance of emotions, spaces, experimentation, recognition of the work done, reinforcement of the feeling of value and creative abilities, ideas, the introduction of new tools, unexpected objects and unexpected people. The importance of teamwork, getting out of the comfort zone, visiting artist studios or inviting artists to participate in classes is also defended. Attention is paid to the rhythms of each student, some faster, others calmer, giving them the necessary time according to the rhythm of each student. Today the increase in digitization also affects motivation in Art Education

scholarly journals Dutcher's Impact: Wolastioqiyik Lintuwakonawa as a Case Study for the role of Music in Preserving Traditional Knowledge

2019 ◽  
Vol 15 ◽  
Author(s):  
Kathryn E. Newhook
Keyword(s):  
Knowledge Management ◽  
Traditional Knowledge ◽  
Technical Skill ◽  
Knowledge Systems ◽  
Dynamic Nature ◽  
Diverse Field ◽  
Information Professionals ◽  
Knowledge Preservation

Knowledge Management is a diverse field of study, dealing in the facilitation of knowledge sharing, the creation of knowledge systems, knowledge transfer, and knowledge preservation. Information professionals play an important role in helping these processes happen. Equally important is the preservation of Traditional Knowledge. Recognized as the knowledge Indigenous people have accrued over millennia, and formed through their interactions with their environment, Traditional Knowledge and its preservation also fall into the world of Knowledge Management. The performance of a piece of music is the manifestation of knowledge and, in the case of Jeremy Dutcher, is a form of knowledge preservation. Traditional Knowledge’s more fluid and dynamic nature is preserved in Dutcher’s 2018 album Wolastioqiyik Lintuwakonawa, where the artist creates a conversation between technical skill and the knowledge and language of the album. In the case of this paper, Dutcher’s album serves as an example of the way Traditional Knowledge can impact and provide new tools to the information profession and world of Knowledge Management.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

The artistic practice of exorcism: Shabnam Shabazi (in conversation with Simon Ellis)

2020 ◽  
Vol 11 (2) ◽  
pp. 279-298
Author(s):  
Shabnam Shabazi
Keyword(s):  
Creative Work ◽  
Artistic Practice

This is a conversation between artist Shabnam Shabazi and choreographer (and Choreographic Practices co-editor) Simon Ellis. They discuss Shabazi’s practice and focus on her interest in the archive as a creative resource, the role of the concept of home in her creative work and in the ways in which our bodies are sites of transformation for artists and participants.

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