Becoming-Nomadic through Experimental Art Making with Children

This paper investigates through a series of immersive and interactive installations how traditional notions of family archives have altered due to new media. Notions regarding the affect this might have on the performance of memory are central to this investigation. My creative praxis is situated within a practice-led research methodological paradigm. As this paper will discuss, practice-led research centralises interdisciplinary practices, fosters a holistic and experimental art-making process and is informed by theoretical frameworks and subjectivity. Photographs, videos and personal belongings are sourced from own family’s archives. Consequently, my research approach positions me as artist, subject and researcher working within a framework that encourages subjectivity and reflexivity. This paper will explore the importance for transitional dialogues in practice-led research between theory and artistic practices, processes and products.

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Supplemental Material for Enhancing and Explaining Art-Making for Mood-Repair: The Benefits of Positive Growth-Oriented Instructions and Quiet Ego Contemplation

Psychology of Aesthetics Creativity and the Arts ◽

10.1037/aca0000286.supp ◽

2019 ◽

Keyword(s):

Art Making ◽

Quiet Ego ◽

Mood Repair ◽

Positive Growth

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Screening Statues

10.3366/edinburgh/9781474410892.001.0001 ◽

2017 ◽

Author(s):

Steven Jacobs ◽

Susan Felleman ◽

Vito Adriaensens ◽

Lisa Colpaert

Keyword(s):

Contemporary Art ◽

Three Dimensional ◽

Interdisciplinary Approach ◽

Film History ◽

Two Dimensional ◽

Artistic Practice ◽

Experimental Art ◽

Broad Scope ◽

Art Practices ◽

Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

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Digital Uncanny

10.1093/oso/9780190853990.001.0001 ◽

2019 ◽

Cited By ~ 1

Author(s):

Kriss Ravetto-Biagioli

Keyword(s):

Feedback Loop ◽

Aesthetic Experience ◽

Software Systems ◽

Repressed Memories ◽

Experimental Art ◽

The Uncanny ◽

Art Works ◽

Data Flows ◽

Human Gestures ◽

New Type

We are confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as déjà vu or when confronted with robots that are too lifelike. Today’s uncanny refers to how nonhuman devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, intimating we are machines and our behavior is predicable because we are machinic. It adds another dimension to those feelings we get when we question whether our responses are subjective or automated—automated as in reducing one’s subjectivity to patterns of data and using those patterns to present objects or ideas that would then elicit one’s genuinely subjective—yet effectively preset—response. This anticipation of our responses is a feedback loop we have produced by designing software that studies our traces, inputs, and moves. Digital Uncanny explores how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny that Freud tied to a return of repressed memories, desires, and experiences to their anticipation. Through a close reading of interactive and experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon Biggs, Sue Hawksley, and Garth Paine, this book is designed to explore how the digital uncanny unsettles and estranges concepts of “self,” “affect,” “feedback,” and “aesthetic experience,” forcing us to reflect on our relationship with computational media and our relationship to others and our experience of the world.

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The Power of Art to Cope With Trauma: Psychosocial Intervention After the Tsunami in Japan

Journal of Humanistic Psychology ◽

10.1177/0022167820982144 ◽

2020 ◽

pp. 002216782098214

Author(s):

Tami Gavron

Keyword(s):

Natural Disasters ◽

Psychosocial Intervention ◽

Cultural Context ◽

Psychosocial Interventions ◽

Kindergarten Teachers ◽

Japanese Culture ◽

Art Making ◽

Cultural Expression ◽

The Arts

This article describes the significance of an art-based psychosocial intervention with a group of 9 head kindergarten teachers in Japan after the 2011 tsunami, as co-constructed by Japanese therapists and an Israeli arts therapist. Six core themes emerged from the analysis of a group case study: (1) mutual playfulness and joy, (2) rejuvenation and regaining control, (3) containment of a multiplicity of feelings, (4) encouragement of verbal sharing, (5) mutual closeness and support, and (6) the need to support cultural expression. These findings suggest that art making can enable coping with the aftermath of natural disasters. The co-construction underscores the value of integrating the local Japanese culture when implementing Western arts therapy approaches. It is suggested that art-based psychosocial interventions can elicit and nurture coping and resilience in a specific cultural context and that the arts and creativity can serve as a powerful humanistic form of posttraumatic care.

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