scholarly journals Contemporary Art in Applied Dimensions: A Reflective Review of Art as Therapeutic Process

Author(s):  
Oscar López ◽  

A common perception about contemporary art is the perception that it excludes a majority of people as being its legitimate viewers or judges, by virtue of the fact that it contains exclusive or encrypted messages. A small, privileged group of experts grant value, acceptance and endow public popularity of such works for the market and media. In this research we seek to provide an insight into a cluster of contemporary abstract art forms and show how such art forms anticipate closer and more common sensory and hermeneutic experience. Art like that of Hamish Fulton is built on experiences that enables us to connect with them, thereby redefining the concepts and ideas of these arts through an alternative phenomenological experience of their methods and processes of making art. Fulton’s art is based on a visual translation of his experiences of healing walks through mountainous terrain. We may build a personal, general methodology of interpretation by building personal synergistic links with the methods of creation – that could in turn generate therapeutic effects both in the viewer or in the interpreter of such art, through self-reflection and re-construction of the concepts proposed in the framing. Likewise, we will reflect briefly on art therapeutic projects that we studied for patients with ADHD. We analyze the expressions and suggest a method of therapeutic art creation based on similar processes as in Fulton.

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 211-226
Author(s):  
Katarina Rukavina

The paper aims at mapping and theoretically conceptualizing the controversies around the “relational form.” It does not, however, seek to conciliate the different positions or take “sides” in the debate; instead, it is based on concept-based methodology as an instrument offering a better insight into the researched object. Even though the form of contemporary art, be it as a process or as a procedure, is “broken” according to the traditional idea, the aim of this work is to examine the opposite. In the first part, the notion of “relational form” and the discourses related to its articulation are analyzed. The second part focuses on the techniques and procedures or strategies of the conceptual avant-gardes during the 1990s and 2000s. Eventually, the conclusion considers the efforts, debates, and possibilities of art in the extended field of relational practices. The aim of this research is to define more precisely the ontological status of contemporary art forms.


Somatechnics ◽  
2012 ◽  
Vol 2 (2) ◽  
pp. 263-283 ◽  
Author(s):  
Svenja J. Kratz

Abstract: Presented from an ArtScience practitioner's perspective, this paper provides an overview of Svenja Kratz's experience working as an artist within the area of cell and tissue culture at QUT's Institute of Health and Biomedical Innovation (IHBI). Using The Absence of Alice, a multi-medium exhibition based on the experience of culturing cells, as a case study, the paper gives insight into the artist's approach to working across art and science and how ideas, processes, and languages from each discipline can intermesh and extend the possibilities of each system. The paper also provides an overview of her most recent artwork, The Human Skin Equivalent/Experience Project, which involves the creation of personal jewellery items incorporating human skin equivalent models grown from the artist's skin and participant cells. Referencing this project, and other contemporary bioart works, the value of ArtScience is discussed, focusing in particular on the way in which cross-art-science projects enable an alternative voice to enter into scientific dialogues and have the potential to yield outcomes valuable to both disciplines.


Author(s):  
Rebecca LeMoine

From student protests over the teaching of canonical texts such as Plato’s Republic to the use of images of classical Greek statues in white supremacist propaganda, the world of the ancient Greeks is deeply implicated in a heated contemporary debate about identity and diversity. Plato’s Caves defends the bold thesis that Plato was a friend of cultural diversity, contrary to many contemporary perceptions. It shows that, across Plato’s dialogues, foreigners play a role similar to that of Socrates: liberating citizens from intellectual bondage. Through close readings of four Platonic dialogues—Republic, Menexenus, Laws, and Phaedrus—the author recovers Plato’s unique insight into the promise, and risk, of cross-cultural engagement. Like the Socratic “gadfly” who stings the “horse” of Athens into wakefulness, foreigners can provoke citizens to self-reflection by exposing contradictions and confronting them with alternative ways of life. The painfulness of this experience explains why encounters with foreigners often give rise to tension and conflict. Yet it also reveals why cultural diversity is an essential good. Simply put, exposure to cultural diversity helps one develop the intellectual humility one needs to be a good citizen and global neighbor. By illuminating Plato’s epistemological argument for cultural diversity, Plato’s Caves challenges readers to examine themselves and to reinvigorate their love of learning.


2016 ◽  
Vol 17 (4) ◽  
pp. 395-407 ◽  
Author(s):  
Luciana Cordeiro ◽  
Cassia Baldini Soares ◽  
Leslie Rittenmeyer

Action research is a participatory approach that is used in an array of contexts. From its first proposition it comprises four core principles: participation and collaboration; a constant spiral cycle of self-reflection; knowledge generation; and practice transformation. Praxis and emancipation are two important analytical categories in AR, but are conceptualized differently in the two existing AR traditions. These conceptualizations reveal different AR aims, which lead to either the use of AR as a method (Northern tradition) or as a methodology (Southern tradition). Much depends on the researchers’ interest and worldview. Our objective in this paper is to compare how emancipation and praxis are theorized in both traditions. This discussion intends to add insight into the methodological understanding and utilization of AR.


2021 ◽  
Author(s):  
◽  
Acushla Deanne O'Carroll

<p>Haka and hula performances tell stories that represent histories, traditions, protocols and customs of the Maori and Hawai'ian people and give insight into their lives and the way that they see the world. The way that haka and hula performances are represented is being tested, as the dynamics of the tourism industry impact upon and influence the art forms. If allowed, these impacts and influences can affect the performances and thus manipulate or change the way that haka and hula are represented. Through an understanding of the impacts and influences of tourism on haka and hula performances, as well as an exploration of the cultures' values, cultural representations effective existence within the tourism industry can be investigated. This thesis will incorporate the perspectives of haka and hula practitioners and discuss the impacts and influences on haka and hula performances in tourism. The research will also explore and discuss the ways in which cultural values and representations can effectively co-exist within tourism.</p>


Author(s):  
Nicky Mouha ◽  
Nikolay Kolomeec ◽  
Danil Akhtiamov ◽  
Ivan Sutormin ◽  
Matvey Panferov ◽  
...  

At FSE 2004, Lipmaa et al. studied the additive differential probability adp⊕(α,β → γ) of exclusive-or where differences α,β,γ ∈ Fn2 are expressed using addition modulo 2n. This probability is used in the analysis of symmetric-key primitives that combine XOR and modular addition, such as the increasingly popular Addition-Rotation-XOR (ARX) constructions. The focus of this paper is on maximal differentials, which are helpful when constructing differential trails. We provide the missing proof for Theorem 3 of the FSE 2004 paper, which states that maxα,βadp⊕(α,β → γ) = adp⊕(0,γ → γ) for all γ. Furthermore, we prove that there always exist either two or eight distinct pairs α,β such that adp⊕( α,β → γ) = adp⊕(0,γ → γ), and we obtain recurrence formulas for calculating adp⊕. To gain insight into the range of possible differential probabilities, we also study other properties such as the minimum value of adp⊕(0,γ → γ), and we find all γ that satisfy this minimum value.


2020 ◽  
Vol 65 (1) ◽  
pp. 175-184
Author(s):  
Carmen Belean

"Reflections on the concept of objective art in the context of contemporary art. Objective art communicates about the human being and his/her place in the universe, about the cosmic laws and the role they play in human life and provide clues as to how man can relate to them. From literary sources attesting to the idea that art in its origin had the role of transmitting knowledge to future generations, we deduce that in ancient times all art forms could be read like a book, and those who knew how to read, fully understood the meaning of the knowledge that was incorporated in these art forms. Nevertheless, there are two forms of art, one very different from the other: objective art and subjective art. Everything that we call art today is subjective art. Objective art is the authentic work resulted from the deliberate, premeditated efforts of a conscious artist. In the act of his creation, the artist avoids or eliminates any subjective or arbitrary element and the impression that such a work evokes in others is always defined. Keywords: objective art, the art of antiquity, contemporary art "


Author(s):  
Amy Kelly Hamlin

Entartete Kunst (Degenerate Art) is a term that was used by Nazi authorities to identify, censure, and confiscate art they considered inconsistent with their ideology. It was the cornerstone of an ambitious propaganda campaign that culminated in the exhibition Entartete Kunst, which took place in Munich in 1937. The majority of this so-called degenerate art was Avant-Garde in both form and subject. Abstract Art by German artists, including Max Beckmann, Max Eernst, Ernst Ludwig Kirchner, Paul Klee, and Franz Marc, was particularly vulnerable to Nazi attack; non-German artists such as Vasily Kandinsky and Piet Mondrian were also singled out. As a polarizing concept, Entartete Kunst stems from an essentially anti-modernist, xenophobic and anti-Semitic position. It was designed to legitimize the art of the Third Reich, which was rooted in traditional art forms and characterized by an idealized naturalism that promoted heroic virtues and racial purity.


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