MOOCs and the Art Studio

2015 ◽  
pp. 61-73
Author(s):  
Howard Errey ◽  
Megan J McPherson
Keyword(s):  
University Education ◽  
Significant Issue ◽  
Policy Issues ◽  
Traditional Art ◽  
Teaching Models ◽  
The Arts ◽  
Studio Arts ◽  
Practice Based Research ◽  
Education Delivery ◽  
The Web

The challenges of MOOCs are currently a significant issue for universities. New contexts of openness, massiveness and collaboration on the Web are challenging traditional forms of university education delivery. These challenges are catalysts for change both generally and in studio pedagogies in particular. This chapter focus on how disruption caused to traditional art studio teaching models occur through intersection with MOOC activity. The provision of studio arts subjects by MOOC providers is also shown to be innovative for MOOC design and delivery. The authors show these challenges by drawing on their participation in two arts based MOOCs, The Art of Photography and Practice Based Research in the Arts. The MOOC pedagogies of openness, massiveness and collaboration, provide opportunities inherent in studio-based arts delivery which contemporary MOOC platforms rarely achieve. The authors draw into question potential frameworks for evaluating choosing and designing contemporary MOOC activity. This chapter falls within the ‘policy issues in MOOCs design' with specific relevance for the topic of ‘technology and change management for the MOOCs environment'.

scholarly journals The rediscovery of an Adoration of the Shepherds by Jacques Jordaens: a multidisciplinary approach combining dendroarchaeology and art history

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Johannes Edvardsson ◽  
Andrea Seim ◽  
Justin Davies ◽  
Joost Vander Auwera
Keyword(s):  
Art History ◽  
Multidisciplinary Approach ◽  
Traditional Art ◽  
Secondary Sources ◽  
The Arts ◽  
Oak Trees ◽  
Dendrochronological Analysis ◽  
Religious Paintings ◽  
Production Period ◽  
Panel Paintings

AbstractThe implementation of multidisciplinary research approaches is an essential prerequisite to obtain comprehensive insights into the life and works of the old masters and their timeline in the production of the arts. In this study, traditional art history, cultural heritage, and natural science methods were combined to shed light on an Adoration of the Shepherds painting by Jacques Jordaens (1593–1678), which until now had been considered as a copy. From dendrochronological analysis of the wooden support, it was concluded that the planks in the panel painting were made from Baltic oak trees felled after 1608. An independent dating based on the panel maker’s mark, and the guild’s quality control marks suggests a production period of the panel between 1617 and 1627. Furthermore, the size of the panel corresponds to the dimension known as salvator, which was commonly used for religious paintings during the period 1615 to 1621. Finally, the interpretation of the stylistic elements of the painting suggests that it was made by Jordaens between 1616 and 1618. To conclude, from the synthesis of: (i) dendrochronological analysis, (ii) panel makers’ punch mark and Antwerp Guild brand marks, (iii) re-examination of secondary sources, and (iv) stylistic comparisons to other Jordaens paintings, we suggest that the examined Adoration of the Shepherds should be considered as an original by Jordaens and likely painted in the period 1617–1618. The study is a striking example of the effectiveness of a multidisciplinary approach to investigate panel paintings.

The integration of computer services with academic arts libraries: new strategies for the hybrid professional

2001 ◽  
Vol 26 (3) ◽  
pp. 8-13 ◽  
Author(s):  
Aniko L. Halverson ◽  
Joye Volker
Keyword(s):  
Network Services ◽  
Library Services ◽  
California Institute ◽  
Universities And Colleges ◽  
The Arts ◽  
National University ◽  
Changing Roles ◽  
Computer Services ◽  
New Strategies ◽  
The Web

Two libraries, the National Institute of the Arts at the Australian National University and California Institute of the Arts in Southern California, describe how each has an interdependent relationship with the information technology or network services units in their respective institutions. Major considerations for both are the introduction of electronic full-text art information on the Web and its pedagogical implications, issues faced by arts libraries in the integration of computer services with library services in universities and colleges, and the changing roles of arts librarians and libraries.

scholarly journals Innovation in Web-Enhanced Learning

2011 ◽  
pp. 1197-1203
Author(s):  
Jane E. Klobas ◽  
Stefano Renzi
Keyword(s):  
World Wide ◽  
Information And Communications Technology ◽  
University Education ◽  
Virtual Universities ◽  
Teachers And Students ◽  
Ict Infrastructure ◽  
The University ◽  
Remote Classrooms ◽  
Enhanced Learning ◽  
The Web

While virtual universities and remote classrooms have captured the headlines, there has been a quiet revolution in university education. Around the globe, the information and communications technology (ICT) infrastructure needed to support Web-enhanced learning (WEL) is well established, and the Internet and the World Wide Web (the Web) are being used by teachers and students in traditional universities in ways that complement and enhance traditional classroom-based learning (Observatory of Borderless Education, 2002). The Web is most frequently used by traditional universities to provide access to resources—as a substitute for, or complement to, notice boards, distribution of handouts, and use of the library (Collis & Van der Wende, 2002). Therefore, most of the change has been incremental rather than transformational. Adoption of WEL has yet to meet its potential—some would say the imperative (Bates, 2000; Rudestam & Schoenholtz- Read, 2002)—to change the nature of learning at university and to transform the university itself.

Theorizing Dramatization as Research

2019 ◽  
pp. 19-40
Author(s):  
Erin M. Kamler
Keyword(s):  
Human Rights ◽  
Participatory Action Research ◽  
Feminist Theory ◽  
Liberation Psychology ◽  
Participatory Action ◽  
The Arts ◽  
Human Rights Abuse ◽  
The Social ◽  
Practice Based Research ◽  
Creative Interventions

This chapter explores the range of scholarly and practical approaches that situate Dramatization as Research (DAR) at the nexus of intersecting fields within the social sciences and the arts. I first introduce the concept of social catastrophe—the inability of the community to respond to its own trauma— which suggests a need for new types of creative interventions that prompt a change in awareness among those who are implicated in any given human rights abuse. After exploring some of the arts-based interventions that have been used by others, I then turn to discussion of feminist theory (DAR’s primary epistemological lens); Participatory Action Research (PAR) and Practice-Based Research (PBR) (which guide the DAR methodology); and liberation psychology (which forms its primary ontological foundation). Following a brief overview of my research design, I conclude by setting up the chapters to follow.

Inside the discipline, outside the paradigm: keeping track of the New Art History

1997 ◽  
Vol 22 (3) ◽  
pp. 12-18 ◽  
Author(s):  
Lyn Korenic
Keyword(s):  
Graduate Student ◽  
Art History ◽  
Interdisciplinary Approach ◽  
Point Of View ◽  
The Internet ◽  
Historical Sources ◽  
Traditional Art ◽  
New Methodologies ◽  
The Web ◽  
The Way

From the point of view of a student of art history in the 1980s re-entering the discipline as a graduate student, the ‘new’ art history represents a dramatically wider field of enquiry involving new methodologies, although ‘old’ art history is still pursued by some academics. The ‘new’ art history employs an interdisciplinary approach which embraces materials far beyond ‘traditional’ art historical sources, and so information has to be sought outside the art library and via the Internet. Librarians responsible for supporting art history studies need to keep in touch with teachers, with curriculum developments, and with the discipline itself; it may also be helpful to get involved in staff/student use of the Web, and to collaborate with other Humanities librarians. The way in which the ‘new’ art history branches out in all directions parallels the hypertext linkages of the Web and the complexity of our globally-connected world.

The Arts and Arts Policy: Issues of Work, Money, and Power

1990 ◽  
Vol 19 (4) ◽  
pp. 518
Author(s):  
Judith Huggins Balfe ◽  
Milton C. Cummings ◽  
Richard S. Katz ◽  
J. Mark Davidson Schuster ◽  
Margaret J. Wyszomirski ◽  
...  
Keyword(s):  
Arts Policy ◽  
Policy Issues ◽  
The Arts

‘The apotheosis of man, the forgotten peacock’

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 169-174
Author(s):  
Takis takis is a London-b
Keyword(s):  
Stage Design ◽  
Design Elements ◽  
Interactive Performance ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The World ◽  
Practice Based Research ◽  
Design Students ◽  
Second Year ◽  
The University

The interdisciplinary practice-based research project, ‘The apotheosis of man, the forgotten peacock; from deconstruction to reconstruction to re-proposal of the male suit’, through a series of workshops and an interactive performance installation, aims to challenge the persisting conventional tradition of designing and wearing the male suit, proposing alternative perspectives by researcher – performance designer. The investigation focuses on the tools and means of processing the male suit in practice. It explores how to overcome conventions, generate artistic ideas, and how to apply this to something wearable. This visual essay demonstrates how the outcomes of three workshops fed on the creation of the experimental research driven suits. In all the workshops the participants were set the task to create a series of male garments by questioning and reinterpreting the notion of the masculinity and by using concepts and methods representative of deconstruction. Every participant designed and made a male garment by recycling a male suit jacket. The first presented workshop took place in May 2007, at the University of the Arts Bucharest, Romania and the participants were the second-year fashion design students. The second took place in September 2013 at the ‘World Stage Design Exhibition’, as part of the ‘Costume in Action series – Upcycling Costume: DeReconstructing Masculinity’. The participants were a mixture of student and professional international performance designers. The final two pages demonstrate the Plus Series suits, based on the addition of design elements to the suit.

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