scholarly journals Crónica de un artista-investigador-docente.

2021 ◽  
Vol 1 (12) ◽  
pp. 29-39
Author(s):  
Arturo Valencia Ramos
Keyword(s):  
Digital Platforms ◽  
The Arts ◽  
The World ◽  
Scientific Reflection ◽  
Artistic Research

Este artículo rescata una serie de experiencias que se han presentado a lo largo del semestre que corre de agosto a diciembre de 2020, año que nos ha dejado marcados por la pandemia del covid y cuyas consecuencias aún estamos lejos de evaluar. He recurrido al recurso de la narración como una forma idónea de presentar los hechos y las reflexiones que los acompañan puesto que, ante todo, ha sido desde el territorio de la literatura que hace ya muchos años me he introducido al mundo del arte y a la reflexión científica.  La narración revive el día a día de la impartición de clases por medio de plataformas digitales, a la vez que discute las posibilidades de la investigación artística como generadora de conocimiento, así como la legitimación de ese conocimiento entre las comunidades de discurso tanto de las ciencias como de las artes.    Abstract This article rescues a series of experiences that have been presented throughout the semester that runs from August to December 2020, a year that has left us marked by the covid pandemic and whose consequences we are still far from evaluating. I have resorted to the resource of narration as an ideal way of presenting the facts and the reflections that accompany them since, above all, it has been from the territory of literature that many years ago I have been introduced to the world of art and scientific reflection. In the narration, the day-to-day teaching of classes through digital platforms is revived, while the possibilities of artistic research as a generator of knowledge are discussed, as well as the legitimation of that knowledge among the communities discourse both of the sciences as of the arts.

scholarly journals drawing perform’s: An Artistic research

2018 ◽  
Vol 5 (1) ◽  
pp. 55-66
Author(s):  
Karna Mustaqim
Keyword(s):  
Lived Experience ◽  
Arts Education ◽  
Academic Research ◽  
Human Knowledge ◽  
Art Practice ◽  
Artistic Practice ◽  
The Arts ◽  
The World ◽  
Artistic Research

The determination of academic research on the field of the arts education troubling its own artistic practices. It was assumed by clarifying the objective and method of doing the research, art was believed would be contributing to a greater intellectualisation, otherwise it is just an art practice without justification from science, and therefore no contribution worth to human knowledge. Since it contrastive to the nature of artistic practice embodied in the arts itself, which unfortunately not even realize by the artist his/herself. Whilst it is well said by Joseph Kosuth (1971) that: “the artist, not unlike a scientist for whom there is no distinction between working in the laboratory and writing a thesis, has now “to cultivate the conceptual implications of his art propositions, and argue their explication.” This paper is about explicating the writer as the artist himself who done the livedexperience of drawing performs as the research processed. Artists use drawings an activity or a way of understanding the meaning of who we are and how we lived in the world. However, the objective of this research is an exceptional one, it searches for the dual experiences of the researcher as the artist as the instrument who producing the drawing and as the spectators himself welcoming and appreciating as he/she reveals him/ herself capable of wondering. In a particular way, this research is to show that through the making of drawings, the drawing performs lived-experience, that it can be another paradigm so called art-based or artistic research.

scholarly journals Abstraction and art

2003 ◽  
Vol 358 (1435) ◽  
pp. 1241-1249 ◽  
Author(s):  
Bernard Gortais
Keyword(s):  
Visual Arts ◽  
Science And Technology ◽  
Work Of Art ◽  
Digital Platforms ◽  
The Arts ◽  
Successful Work ◽  
The World ◽  
The Spectator ◽  
Definition Of ◽  
Generic Representation

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

Karl Popper on the Unknown Logic of Artistic Production and Creative Discovery

2016 ◽  
Vol 4 (2) ◽  
pp. 263-282
Author(s):  
Alexander Naraniecki
Keyword(s):  
Scientific Discovery ◽  
Evolutionary Epistemology ◽  
Alternative View ◽  
Karl Popper ◽  
Objective Knowledge ◽  
Artistic Production ◽  
Profound Influence ◽  
The Arts ◽  
The World ◽  
Artistic Research

In the field of artistic research there has recently been a resurgence of interest in Karl Popper’s thought on scientific methodology. However, the current literature on artistic research has tended to reduce his methodological thought to the arguments in his book The Logic of Scientific Discovery (1959). Although greatly influential, this book does not represent Popper’s “mature” or later arguments. This article provides an alternative view of Popper better suited to debates on creativity and discovery. Contrary to his popularity in political and scientific circles, the relation of Popper’s arguments to the arts is less well known and has not seriously been studied, despite his profound influence on the art historian Ernst Gombrich. This article points out ways in which Popper’s thought can continue to contribute to the current debates on artistic research and creative production. It does this by disclosing the way in which his later writings on evolutionary epistemology and theory of objective knowledge, otherwise called the “World 3 Thesis,” can contribute to the field of artistic research.

Book Review

2016 ◽  
Vol 6 (2) ◽  
pp. 386-389
Author(s):  
Eduardo Oliveira
Keyword(s):  
Urban Planning ◽  
Urban Design ◽  
Olympic Games ◽  
City Image ◽  
European Capital Of Culture ◽  
The Arts ◽  
The World ◽  
The City ◽  
The Olympic Games

Evinç Doğan (2016). Image of Istanbul, Impact of ECoC 2010 on The City Image. London: Transnational Press London. [222 pp, RRP: £18.75, ISBN: 978-1-910781-22-7]The idea of discovering or creating a form of uniqueness to differentiate a place from others is clearly attractive. In this regard, and in line with Ashworth (2009), three urban planning instruments are widely used throughout the world as a means of boosting a city’s image: (i) personality association - where places associate themselves with a named individual from history, literature, the arts, politics, entertainment, sport or even mythology; (ii) the visual qualities of buildings and urban design, which include flagship building, signature urban design and even signature districts and (iii) event hallmarking - where places organize events, usually cultural (e.g., European Capital of Culture, henceforth referred to as ECoC) or sporting (e.g., the Olympic Games), in order to obtain worldwide recognition. 

Editorial

2017 ◽  
pp. 2-3
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
New Technologies ◽  
Editorial Team ◽  
Local Market ◽  
Design History ◽  
Recorded Sound ◽  
The Arts ◽  
The World ◽  
1960S And 1970S ◽  
New Zealanders

Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

Competitiveness in the era of global digitalization

2020 ◽  
pp. 30-40
Author(s):  
E. Smirnov
Keyword(s):  
International Economic ◽  
International Business ◽  
World Economy ◽  
Development Strategies ◽  
Global Market ◽  
Antitrust Policy ◽  
Economic Dynamics ◽  
Digital Platforms ◽  
The World

In the context of digitalization in the world, competition is intensifying, lead-ing to a significant transformation of international business and a change in the development strategies of global digital platforms in the global market. The article analyzes and summarizes the prevailing approaches to competition and antitrust policy in the context of the “platformization” of the world economy and its impact on international economic dynamics.

The Music Therapist: Creative Arts Therapist and Contemporary Shaman

2016 ◽  
Vol 2 ◽  
Author(s):  
Joseph Moreno
Keyword(s):  
Native American ◽  
Creative Arts ◽  
Indian Culture ◽  
Music Therapist ◽  
Psychotherapy Practice ◽  
The Arts ◽  
Contemporary Psychotherapy ◽  
The World ◽  
Traditional Healing Practices

While much of contemporary psychotherapy practice often focuses primarily on verbal exchange between therapists and clients, it is important to recognize that verbal expression is just one mode of expression, and not necessarily the deepest or most profound. Many clients in therapy may be more comfortable in expressing themselves in other ways through the modes of music, art, dance and psychodrama. The sources of the arts in healing extend back for many thousands of years and their modern expression through the creative arts therapies are now widely utilized in the mainstream of modern psychotherapy. Traditional healing practices are still widely practiced in many indigenous cultures around the world today and an appreciation of these practices can deeply enrich our understanding of the essential role of the arts in human expression. The aim of this paper is to consider the roots of the arts therapies and really all of psychotherapy, going as far back as pre-historic evidence, followed by an overview of living indigenous healing practices in such settings as Bushman culture in Namibia, Native American Indian culture, as well as in Kenya, Bali, Malaysia, Mongolia and more.

scholarly journals What Did Angola Learn from the World and What Did the World Learn from COVID-19? Reflection on Epidemiological Surveillance in Health

2020 ◽  
Vol 22 (4) ◽  
pp. 528-540
Author(s):  
Euclides Nenga Manuel Sacomboio
Keyword(s):  
Critical Thinking ◽  
Critical Analysis ◽  
Epidemiological Surveillance ◽  
Professional Experience ◽  
State Of Emergency ◽  
The World ◽  
History Of ◽  
The Government ◽  
Scientific Reflection ◽  
Epidemiological Situation

The global community is racing to slow down and eventually stop the spread of COVID-19, which is a pandemic that has killed thousands of lives and made tens of thousands sick. The new coronavirus has already reached Angola, with 25 confirmed cases, among them 2 died and 6 were cured. The government has decreed a state of emergency on 24 March 2020 for 15 days, which was extended twice for the same number of days that will make it possible to reduce clusters of people and keep them at home. This study reflected on the diverse ways of leadership. It is an article of theoretical, technical and scientific reflection, based on the experience of a new epidemiological situation, with a critical analysis based on technical, scientific and professional experience, with bibliographic input of data obtained from information published in scientific articles, newspapers, magazines and other official documents published in Angola and worldwide related to COVID-19. This article emerged from critical thinking based on the current situation of COVID-19 in Angola in the world and is reflected in this article, what Angola should learn and learned from the experience of other countries that also imported the disease, their history of investment in health, characteristics of their populations, their economies and other aspects.

The impact of the COVID-19 pandemic on the arts, culture, and heritage sectors in the African Union member states

2020 ◽  
Vol 27 (4) ◽  
pp. 477-480
Author(s):  
Angela Martins ◽  
Vicensia Shule
Keyword(s):  
Union Member ◽  
African Union ◽  
Member States ◽  
The Arts ◽  
The World ◽  
The Impact

Africa as a continent has been hit by the coronavirus – the COVID-19 pandemic – as have many parts of the world. Many African Union (AU) member states were badly hit by the virus, while others were only mildly impacted. The arts, culture, and heritage sectors have been severely hit by the pandemic. Fortunately, in many countries in Africa, arts, culture, and heritage were placed at the heart of strategic priorities at the national, regional, and continental levels of combating COVID-19.

scholarly journals Geopoetics: Storytelling against mastery

2021 ◽  
pp. 204382062098639
Author(s):  
Aya Nassar
Keyword(s):  
International Relations ◽  
Open Space ◽  
Arts And Humanities ◽  
The Earth ◽  
The Arts ◽  
The World

In this engagement with Eric Magrane’s article, ‘Climate Geopolitics (The Earth is a Composted Poem)’, I follow two provocations: first, geopoetics as travelling through disciplinary turfs, and second, geopoetics as storytelling. Coming from a disciplinary trajectory that spent a long stop at international relations (IR), these provocations attach me to geopoetics as practice and a growing field. My engagement here is oriented to geopoetics not only at the threshold of geography and the arts and humanities, but also the intersections of geography and politics. I primarily propose that viewing geopoetics as an open space for experimenting allows for disrupting masterful understandings of the academic self and counters a univocal, universal narrative of the world.

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